Like all organic materials, timber has some natural characteristics. And because it responds to its environmental forces and changes over time, these natural characters and quirks are what adds to the “personality” of the wood.

As such, each board is unique in its characteristics and will vary from species to species, grade to grade and even piece to piece.

Sapwood

Often seen as very light streaks within the wood, sapwood is the living part of the tree through which water and sap flow.

It tends to be lighter in colour than the heartwood, and certain fuming, smoking and colouring processes emphasize it since it doesn’t react to these treatments to the same degree.

By definition, sapwood contains more moisture, however, this is no cause for concern because timber has been carefully dried and its stability is ensured when supplied in an engineered form.

Sapwood is more permeable resulting in high moisture content, less durable and usually lighter and creamier in colour — but as the tree ages and its trunk increases in diameter, sapwood turns to heartwood, and the characteristics begin to change accordingly.

The relative amounts of sapwood in flooring can vary greatly among species, and this may affect the way it accepts stain and finish and, therefore, the finished appearance of the floor.

Generally, sapwood is less conspicuous in quarter-sawn and rift-sawn flooring compared to plain-sawn flooring and will tend to have a straighter grain and more uniform appearance.

Staining the boards can lessen the appearance sapwood, but it doesn’t entirely hide these natural characteristics. The stain helps to blend the natural characteristics but doesn’t eliminate it. Fuming has the opposite effect on heartwood and sapwood. Fumed floors are designed to make very distinctive sapwood even more prominent, especially over time.

Knots

Knots are unique circular or oval-shaped markings caused due to natural forces.

They can vary widely in size and occur from two circumstances: firstly, when a new branch grows from the trunk or from a dormant bud, the conjunction forms a huge, dark spot called a “live knot” — secondly, they form due to a tree scar. These scars then manifest as “dead knots” on wood panels.

Knots are usually with a darker coloured centre, outlined with resin and standing out from the grain. They give wood special character and make timber boards look more authentic as no two knots look the same.

The visibility of the size and frequency of knots is largely affected by the grade of flooring you choose. Knots can be treated with chemicals to ensure that they don’t bleed when stains or sealants are applied.

Medullary Rays

Medullary rays (also referred to as pith rays, oak figure or tiger stripes) are thin horizontal rays that extend radially from the core of the tree toward the bark.

They can appear very shiny and vary in height; from a few cells in some species to four or more inches in oak.

The presence of medullary rays is a clear indication that the flooring has been crafted from quality quarter sawn oak.

Exposed rays will often gleam under direct sunlight, and add visual appeal and character to the wood surface.

Shakes

Shakes are naturally-occurring marks in the wood, usually between or through the rings of annual growth.

These may take place as a result of external stress factors like frost, high winds and temperature extremes, or due to rapid or uneven drying, and trees being felled past maturity.

Simply put, cracks or splits in timber are called shakes.

These cracks are usually filled but in some cases may be partly-filled to maintain the floor’s feature.

Due to the immense strength of oak, they are not a cause for concern in premium quality boards and are considered part of the floor’s charm. Like most wood flaws, the frequency and size of the shakes on floorboards is again affected by the grade you choose.

Checks

Checks are the formation of cracks in the wood normally caused by tension stresses that develop in the outer part, or shell, of boards due to poor or improper drying processes.

Surface checks originate roughly twice as much along with the growth rings. They often develop early in drying because the lumber surfaces dry too quickly as a result of low relative humidity.

Checking usually does not extend from one end to the other side of a beam, and rarely a structural concern.

Oak, however, can have surface checks everywhere, which many people feel adds so much of character — and a big part of what makes wood unique and different from any other material in the world.

Conclusion

Every knot, medullary ray and crack is a testament to a tree’s life and the years it lived through. This is what makes real wood more interesting and special than other construction materials. All of these characteristics come together to create authentic, beautiful patterns that enhance the visual appeal of the wood floor.

Indoor environmental quality (IEQ) affects significant facets of human life — health, performance, resilience, sleep, and comfort.

Human beings have profoundly altered their living conditions in order to create indoor environments in which they can feel comfortable.

Research guidelines from ASHRAE recommend that, since modern humans spend about 80–90% of their time indoors, creating optimal indoor environments is important — and factors that cause any discomfort, illness or dissatisfaction are linked to characteristics of the building.

Architects and designers are increasingly prioritising sustainability and eco-friendliness to meet the needs of both people and the environment — and indoor conditions of a building have become a focal point; from air quality to exposure to natural light.

After all, the built environment is a vital part of human life, it makes sense that evidence-based design decisions should be used to ensure that the indoor space provides healthful benefits to occupants.

Poor indoor experience is caused by a variety of harmful factors and can stifle productivity and affect occupant health. When it comes to understanding the relationship between health and the indoor environment, we must first understand the physical characteristics that are most likely to minimise or optimise individual physical, mental, and emotional wellbeing.

Indoor elements

Our understanding of the relationship between the health of occupants and the interior spaces they inhabit continues to evolve. Indoor environmental quality refers to the quality of a building’s environment in relation to the health and wellbeing of those who occupy space within it — and is determined by many factors, including lighting, air quality, and damp conditions.

Indoor environments are highly complex and contribute significantly to human exposure to a variety of contaminants.

While research has shown that some respiratory symptoms and illnesses can be associated with exposure to natural pollutants such as allergens, dampness and mould, it is still unclear what measurements of indoor contaminants show that occupants are at risk for disease.

The ability of our spaces to cause health effects varies, and most recently, attention has increasingly focused on materials with high levels of volatile organic compounds (VOCs). VOCs are noticeably higher indoors and harmful to air quality. Since VOCs can be released from products such as paints, varnishes, wood preservatives, office equipment, building materials.

Thankfully, health effects are usually temporary and improve once the source of the exposure is identified and removed.

As sustainable practices advance, green building materials that have low or no VOCs can help keep harmful concentrations in the air to a minimum and can help keep occupants healthy.

Natural comfort and human wellness

Physical comfort is closely related to well-being — and contributes largely to work effectiveness, satisfaction, physical and psychological balance.

Two issues are key to understanding the importance of our comfort. Firstly, our ambient preferences differ from one person to another (this is known as inter-individual differences). These differences result from a combination of influences, including cultural experiences and lifestyle.

Secondly, change is constant and a given person varies over time depending upon their state of health, activities, professional work, and so forth (these are known as intra-individual differences.)

For most of human history, people have actively adjusted the environment and their behaviour to make living and working conditions healthy and comfortable. Yet 30% of new buildings continue to be designed with a “one size fits all” approach. Very few buildings or workstations are consistent with basic physiological needs — and rarely enable occupants to control lighting, temperature, ventilation rates, or noise conditions.

Biophilic design: stress reduction, health and well-being

Over the years, the concept of biophilia has proved that beauty is not in the eyes of the beholder but rather built into their minds.

Biophilic design supports the innate human-nature connection by integrating multi-sensory experiences and design elements into the built environment.

A growing body of research consistently shows that biophilic design provides many health benefits — such as improved concentration, comfort, satisfaction, creativity, healing and overall well-being.

Building occupants who have window views of nature; from daylight to plants and flowers, experience numerous opportunities of restoration. They are less stressed and more patient, and experience overall life satisfaction, enhanced mood and better health than those who do not have visual access to the outdoors or whose view consist of built elements only. The positive effects of nature may also extend to the immune system, thereby directly affecting human physical health.

In one form or another, nature is a dominant feature of green buildings. Whether nature’s presence comes from natural materials, daylight, views of the outdoor landscapes, courtyards, natural landscaping, water features and interior designs that mimic shapes and forms found in nature, there is growing evidence of positive impacts on people. Most of the studies have focused on emotional states and stress reduction; however, there is growing evidence of a strong linkage to the development of perceptual and expressive skills, cognitive functioning, imaginative and social capacity.

9 foundations of a healthy building

At Harvard University’s T.H. Chan School of Public Health, a multidisciplinary team of experts led by Environmental Design professor Joseph Allen, are undertaking healthy buildings research to find out exactly what it means and how it sets new standards for indoor health.

The Healthy Building project is designed to be “a clear and actionable distillation of the core elements of healthy indoor environments.”

These foundations are the elements that make up the indoor built environment: air quality, thermal health, moisture, dust and pests, safety and security, ventilation, water quality, noise, lighting and views.

The 9 foundations are a standardised, holistic approach to understanding how buildings impact the people inside them.

Air quality as an essential indoor element

While all of the 9 foundations for a healthy building are essential, the element that has received the most attention is indoor air quality (IAQ).

Building attributes such as wall and roof covering, paint material and office furniture can have airborne toxins and noxious chemicals harmful to occupants’ health. Enhanced indoor air quality from reduced use of toxic and noxious materials is a core feature of green buildings.

Improved IAQ is also central to the arguments about ancillary benefits. Fisk and Rosenfeld developed a model that suggests improved air quality could result in significant reductions in illness and absenteeism associated with respiratory disease, asthma and allergies, as well as sick building syndrome symptoms.

They indicate that productivity gains and improved worker performance are a result of eliminating or reducing air pollution, improving ventilation, and utilising air cleaners.

Sick building syndrome and building-related illness

SBS is a group of health problems that are linked to being in a building or other type of enclosed spaces like offices or a dwelling.

Closure of natural openings, use of new construction material which are not properly tested and certified, various types of furniture, and office equipment could all contribute to SBS.

Symptoms may include throat irritation, breathing difficulties, body aches, dry, itchy skin rash etc.

Based on the research, SBS is attributed to poor indoor air quality. The symptoms seem to improve after leaving the hazardous building in question, only to come back when you return to the same indoor space.

Continuous monitoring of indoor air, as well as monitoring and control of all the water pipes and wet areas in order to reduce dampness, and the selection of appropriate, certified building materials are best actions to take for indoor environmental quality and reduction of SBS.

Buildings and worker performance

Maintaining a comfortable physical environment in the workplace is vital. Optimum environmental conditions are key to work better and feel better. High-performing buildings enable employees to be comfortable, productive, healthier and have a lower absenteeism rate.

Performance is viewed as a function of these three factors acting together: ability, motivation, and opportunity. Negative impact on the ability to perform is associated with conditions that are uncomfortable, distracting, hazardous, or noxious.

In addition to the overall effect of being in a better building, green-certified office environments also positively affect these three factors by providing conditions that promote positive affective functioning, psychological engagement, and personal control.

Conclusion

The quality of the building we inhabit is critical to human health, well-being and comfort. Now more than ever, indoor environmental quality has become a matter of concern as people spend a good deal of their time inside. Architects and designers are recognising the importance of implementing healthful building practices. Design that takes into consideration the positive and negative impacts of indoor environmental conditions will potentially improve health, productivity, wellness and comfort

We all seem to have a great understanding of the value of good design.

But what is good design?

When Dieter Rams, a German industrial designer and academic, developed the 10 brilliant design principles (sometimes referred to as the 10 commandments) in the late 1970’s, he was deeply concerned by the state of the world around him: “an impenetrable confusion of forms, colours and noises”.

After training as an architect in 1955, Rams went on to work for the consumer-electronics company, Braun, until retirement in 1997 — where he introduced the world to “functionalist” industrial design.

In functionalist design, he brought simplicity and style to everyday objects: radios, shavers, coffee makers and more.

Over time, this adherence to functionalism became known as the Braun design process —   where the purpose intended for the object is the guiding force behind its making.

Every decision about the product (shape, colour, texture, cost etc) is made to maximise the objects capacity to fulfil its intended purpose.

In the process, he created iconic designs that have stood the test of time, including furniture for what was then a small company, Vitsoe.

His 606 Universal Shelving System for Vitsoe remains an astonishing and “close to perfect” piece.

“I always strive for things to be sustainable. By that I mean the development of long-lasting products, products that don’t age prematurely, which won’t become out of style. Products that will remain neutral, that you can live with longer” —   Dieter Rams

Considering how much consumer products and technology have changed tremendously, Dieter Rams principles of good design remain valuable guidelines not only for industrial designers, but for anyone working in the field of design, including architects, interior and experience designers.

For more than 50 years, the godfather of industrial design transformed the nature of consumer products.

Here are his 10 commandments of good design (the explanation of each principle has been retrieved from www.vitsoe.com/us/about/good-design):

1. Good design is innovative

The possibilities for innovation are not, by any means, exhausted. Technological development is always offering new opportunities for innovative design. But innovative design always develops in tandem with innovative technology, and can never be an end in itself.

2. Good design makes a product useful

A product is bought to be used. It has to satisfy certain criteria, not only functional, but also psychological and aesthetic. Good design emphasises the usefulness of a product whilst disregarding anything that could possibly detract from it.

3. Good design is aesthetic

The aesthetic quality of a product is integral to its usefulness because products we use every day affect our person and our well-being. But only well-executed objects can be beautiful.

4. Good design makes a product understandable

It clarifies the product’s structure. Better still, it can make the product talk. At best, it is self-explanatory.

5. Good design is unobtrusive

Products fulfilling a purpose are like tools. They are neither decorative objects nor works of art. Their design should therefore be both neutral and restrained, to leave room for the user’s self-expression.

6. Good design is honest

It does not make a product more innovative, powerful or valuable than it really is. It does not attempt to manipulate the consumer with promises that cannot be kept.

7. Good design is long-lasting

It avoids being fashionable and therefore never appears antiquated. Unlike fashionable design, it lasts many years — even in today’s throwaway society.

8. Good design is thorough down to the last detail

Nothing must be arbitrary or left to chance. Care and accuracy in the design process show respect towards the user.

9. Good design is environmentally friendly

Design makes an important contribution to the preservation of the environment. It conserves resources and minimizes physical and visual pollution throughout the lifecycle of the product.

10. Good design is as little design as possible

Less, but better — because it concentrates on the essential aspects, and the products are not burdened with non-essentials. Back to purity, back to simplicity.

Conclusion

Many of Dieter Rams designs are featured in museums throughout the world.

His “less, but better” approach influences a generation of products, and the 10 principles of good design are a timeless source of inspiration that any designer can appreciate.

The straightforward list lays down key points: Good design is innovative, useful, aesthetic, understandable, unobtrusive, honest, long-lasting, thorough, conscious of its environment and is as little design as possible.

She first made her name with her New York Times bestselling book “The Life-Changing Magic of Tidying Up — The Japanese Art of Decluttering and Organising”.

When it was originally published in 2014, Marie Kondo had established herself as a Japanese organising pro, and has since reached a wider audience.

Today, she’s has taken our closets, bookshelves, bedrooms and other cluttered areas of our homes by storm with her crazy-popular Netflix show “Tidying Up with Marie Kondo”, and has rightfully been named one of TIME’s “100 most influential people”.

Her revolutionary clutter-free ideas and a track record of clients who never relapsed back into their old hoarding ways are getting people off the couch… Now everyone wants a piece of the KonMari method.

What is the KonMari Method?

The KonMari Method (a portmanteau of her first and last names) is a minimalism-inspired approach that simply encourages you to re-evaluate your possessions and tackle your clutter category-by-category rather than room-by-room.

There are six basic rules to get started:

• Commit yourself to tidying up
• Imagine your ideal lifestyle
• Finish discarding first
• Tidy by category, not location
• Follow the right order
• Ask yourself if it sparks joy

And five categories to focus on:

• Clothes
• Books
• Papers
• Komono (miscellaneous Items)
• Sentimental Items

Numerous studies suggest that an unkempt space can negatively affect many areas of our lives.

For example, clutter can impede progression due to the inability to focus on a task, which explains why some people can’t stand to work at a messy desk.

Clutter can also make it harder to fall asleep, leading to feelings of anxiousness and stress — while the effects of tidying can leave us feeling invigorated and satisfied.

Lighten up with the KonMari Method

While many people associate her method with simplifying and organising the home, it’s really about getting rid of physical items that do not bring joy into your life.

To determine what you need to eliminate from your space, the KonMari instructs that you start by taking stock of every article of clothing you have in your closet and drawers (category one), remove all the books off your shelves (category two), remove all the paperwork out of your desk and bins (category three) and so on.

Pick each item and ask yourself the following question: does it spark joy? If not, thank it for its service and gently set it aside.

In essence, the method’s anchoring principle that we hang onto only what “sparks joy” cleverly reconfigures the idea of tidying and decluttering as mere throwing away — setting the tone for a total life transformation appears to be Kondo’s lesson.

Once you’ve tossed items in every category, you should have a much smaller set of remaining things that you can return to various closets, drawers, shelves, and boxes.

One key thing to remember about the KonMari checklist… finish one category before moving onto the next as this helps keep you organised while organising.

How to design your home using KonMari Method

Designing your home using KonMari naturally grows from the space you have created through decluttering.

Once you’ve applied the KonMari method in making space in your home, there will be much more room for you to do the things you love! All the while surrounded by the possessions you truly adore.

More importantly, actively choosing items that spark joy and eliminating what doesn’t allows you to end up with a harmonious home that is better able to make a huge difference to your happiness, productivity and lifestyle choices.

While tidying, she encourages you to visualise your new organised life and the good feeling that come with it — to be more joyful and less anxious, for example — and what you need to get there.

Anything that won’t help on that journey isn’t deserving of your space or you.

The main KonMari tip for your home design is to know the difference between sentimental and nostalgia.

With that, you can wonderfully turn a disorderly sty into a relaxing refuge — one that showcase only most treasured and beloved possessions.

An item that brings you joy will greet you each time you step into your living space.

Conclusion

Marie Kondo brings her organising expertise by implementing the KonMarie method to help people transform their homes into peaceful, inspiring spaces.

The Japanese neatness guru advises that we keep only items that “spark joy” and discard those that don’t.

Through the process of clearing out unwanted items, Kondo goes on to offer specific techniques for organising every area of your home and tips for tasks like how to properly fold clothes.

After going through the KonMari method, perhaps you will find yourself thinking more carefully and consciously about the things you bring into your home — ultimately decreasing the amount of items you purchase, or that have no value in your life.

We spend a lifetime collecting things, it’s important to have patience getting rid of the unnecessary in order to create the calm and peaceful home we all crave.

“If you can create something time cannot erode, something that ignores the eccentricities of particular eras or moments, something truly timeless… this is ultimate victory.” — Dr Ferry Porsche.

Attainable design is about creating a strong foundation and remaining true to personal taste — design that remains effortlessly stylish for years to come and endures the test of time. Rather than adhere to the latest craze trends, it is much more satisfying to fashion a timeless interior that feels contemporary, and brings immeasurable joy, comfort and contentment.

Design defined by storytelling

Often, we focus on what seems to be popular and on-trend right now — but trends are as fickle as the weather, they come and go.

To truly create something timeless and meaningful, it’s essential to incorporate pieces which have a story behind them.

Consider items and furnishings that have been accumulated on travels or family heirlooms that will fill a space with priceless memories.

Invest in distinctive pieces that could also become heirlooms themselves. Whatever the approach, the time has come to be brave, bold and creative in our choices.

But most importantly, the time has come to bring personal style and storytelling to the forefront in the spaces we occupy and identify ourselves with.

The art of slow design

We should begin to celebrate the truest form of handmade, show-stopping pieces, where every detail has been meticulously orchestrated by hand and combined into one amazing piece.

Products that focus on the art of slow design, simplicity and purity are sure to outlive passing trends and phases.

Slow design emphasises the significance of the whole and the interdependence of the parts.

This approach which encourages conscious decisions is essential for the design process to work, and for your space to be a direct reflection of you… an environment where you can be your best self.

Connecting back to nature   

When it comes to interior design, the importance of personal connection to the environments that we occupy cannot be stressed enough.

You want a space that evokes a memory or a feeling — and it is in the spirit of nature that everything is connected.

We can look to nature to create an interior identity by incorporating natural materials into our living spaces: lots of wood, stone and organic fibres.

Keeping attainable design in mind, we can contribute to both wellness and comfort by embracing biophilic design.

This is the concept of utilising natural materials to positively impact our overall well-being.

For instance, we can choose wooden flooring, maximise natural light with large windows, place greenery indoors and other biomorphic forms.

This can help to bring the sounds and textures of the natural world to the inside.

It also provides a multi-sensory experience that can ensure an instinctively strong connection between human beings and nature.

Conclusion

A timeless design is not created to be temporary. It is never anything considered a fad or a trend, but rather, a unique style that is distinctive, determined and self-assured — and this is the true merit of attainable design.

If you wish create an enduring interior, one that is as fresh and relevant today as it was yesterday, and will be tomorrow,  you’ll want to ensure that each space is personalised and tells a story — seek out designs and styles where quality, personal expression and longevity are in perfect harmony.

Known for signature sumptuous interiors and distinctive lifestyle products, Kelly Wearstler’s vibrant work may be found in grand residences and destination-in-their-own-right luxury hotels, from Beverly Hills to the Caribbean.

Inspired by travel, nature, architecture, fashion, literature and art; design is largely intuitive for Wearstler — and her multi-faceted style is governed by a bold and truly rich sense of materiality, intense colour and form, as well as a strong narrative approach.

This is evident in her most notable projects: BG Restaurant at Bergdorf Goodman, the San Francisco Proper Hotel, the Four Seasons Anguilla, and an array of private residences around the world — as well as luxury collections of bespoke furniture and fabrics, lighting, wall coverings, decorative home accessories and objets d’art sold in her West Hollywood store.

Sensitively fusing the natural with the refined, blending sophistication and spirited spontaneity, drama and warmth, and incorporating diverse periods of design elements, she has revolutionised the look, feel and meaning of contemporary American design, repeatedly earning her a spot on Architectural Digest’s prestigious AD100 list, Elle Décor’s A-List of the world’s best interior designers, Wallpaper’s Top 20 Designers and TIME Style & Design’s Design 100 group of global creatives.

Based in Los Angeles, California, Kelly Wearstler is a creator of unique experiences and compelling stories.

Her philosophy being “love colour, take risks, stay curious”, she’s attracted to designs that are visually striking and boldly distinctive.

Maintaining balance is crucial for Wearstler’s design empire, and to each project, she brings a touch of the unexpected and unconventional.

“My job is to be a good listener and run the clients’ vision through my filter. I start by asking them what story they want to tell, how they want to feel. It’s about evoking a mood, telling a story.

Also, scale is imperative. There has to be a hierarchy within a space. Too many starlets in one room create needless drama,” Wearstler says.

“To achieve balance, there must be a thoughtful mixology of texture, history, pattern and colour.

Quieter details are necessary to ground bigger voices and allow statement pieces to shine.”

She views mother nature as the best designer, often injecting elements such as stone, luxe wood and patina metal to conjure up a one-of-a-kind interior. This has made her the go-to design diva for the Proper Hospitality brand.

The newly designed Santa Monica Proper Hotel successfully optimises the use of earthy tones, natural material and organic textures inspired by the local coastline.

Encompassing 271 stylish luxury rooms, a signature restaurant, a sweeping rooftop pool deck with a bar, cabanas and a spa terrace, the newly-built contemporary panache of sleek minimalism, characterised by undulating glass and concrete facades takes residence in a historic six-storey Spanish Colonial Revival building designed by Arthur E. Harvey in 1928.

The layer upon layer of soft palette of sandy hues, light hardwood flooring, organic textiles and indoor palm trees conjure the sensation of a restful day at the beach, enhanced by floor-to-ceiling windows, balconies and garden terraces.

An eclectically curated selection of dashing Art Deco and mid-century furniture, as well as contemporary and vintage artwork by Los Angeles artisans complements the luxurious and striking architectural features, including tile-clad structural columns, abstract, irregular parquetry, and transitional full-height archways of timber.

Conclusion

As one of the presiding grande dames of West Coast interior design, Kelly Wearstler is celebrated for luxurious interiors that capture the swankiness of old-world Hollywood with a modern pop sensibility. Her ornate designs of residences and luxury hotels showcase her intimate love for bold spaces, unique shapes, abundance of pattern play and rich colours juxtaposed with lustrous surfaces.

This has also translated to her eponymous collection of furniture, lighting, decorative accessories and more. The glam design queen continues to push boundaries with her signature glamour-meets-eclectic aesthetic — certainly a true creator of experiences and a multi-hyphenated force to be reckoned with.

The workplace is constantly changing to accommodate different people’s work preference, roles, functions and behaviours.

As a result, many companies are working with experiential graphic designers who understand how people experience and move through space, and how visual storytelling integrates with the overall architectural and interior design layout.

Through experiential graphic design (EGD), we can enhance the architectural setting and make use of visual communication to improve human creativity, mental focus and well-being — eventually creating a true sense of place for employees.

Experiential graphic design employs and reinforces the company values and culture through the use of imagery, colour, typography, pictogram and illustration.

Human-centric design, branding, and interactivity are all vital pieces of the EGD approach that focuses on entirely distinctive experiences for those that use the space.

Nature’s inspiration evoke positive experiences

Experiential graphic design is a key foundation that plays a critical role in how we interact with our workplace.

It can be used to evoke the desired responses within the organisation and enrich the daily lives of those using the space — employees and clients alike.

For example, biophilic design suggests that human connection to nature can improve physical and mental well-being. Such concepts have helped draw attention to a more human-centric design perspective; and while it would be a great idea to place plants and other natural features in an office space, in some cases, such nature sabbaticals are not always an option.

Graphic treatments that take inspiration from nature — visuals of lush forest to a relaxing beach, or any other intriguing landscape you can imagine — can also function as an effective solution within the workplace to achieve similar results: human wellness and betterment.

Harnessing productivity through movement

We spend the greater portion of our workday sitting down, tapping on one device to the next.

To shake things up, people-focused experiential graphic design can be the inspiration needed to intersperse movement and exercises throughout the day in order to boost employee energy, engagement and efficiency

The use of a simple two-dimensional message or making responsive digital stairway features more appealing can subconsciously push employees to take the stairs more. The body is trained to adapt, so freedom of movement has an influence on what we do daily, and can positively trigger the part of our brain responsible for thought, alertness and creativity.

Creating a unique connection

Innovative, well-designed, creative workspaces are increasingly becoming a necessity, especially in creating unique connections.

Strategic experiential graphic design elements have a vital part to positively connect people to their environment and shape an organisation’s desired culture.

When employees feel connected, the benefits are huge. People are at their best when they are able to work in an office environment that enables them to express their individual identity while also connecting to a brand and its narrative.

Adding elements of surprise

With bold environmental graphics and signage, and unique decor, a whimsical space can inspire play and engagement.

For example, incorporating a secret door that leads to a casual speakeasy-themed study room or living-room-style meeting areas where employees can hold meetings.

This “hidden” room can be easily located via directional signage on the floor itself. The idea is simple: only when an organisation welcomes positive distraction from the everyday working experience and reinforces a culture of surprise and delight, employees begin to see work in a different light. New eyes and new perspectives contribute to company success and retention of new employees.

Eye-catching but simple designs

There are many ways in which a company can transform its workplace, and it’s easy to go over-the-top with experiential design.

But, when it comes to implementing this new and exciting concept that reimagines what good design looks like, sometimes less is more.

Once you’ve focused your message that strongly aligns with your brand’s narrative and decided on the content you wish to communicate and to whom, it’ll be much easier to identify a simple design strategy.

Conclusion

Building human-centric spaces goes beyond wellness programs, catered food & beverage, or integrating passing trends.

Companies are considering what it means to create an enriching and quality environment that offer deeper engagement with employees as soon as they physically step into the office.

Experiential graphic design is rapidly becoming more mainstream as brands and interior designers recognise the transformational power it possess in shaping how we think, feel and behave. When people have a quality experience that foster and support their needs, they are more attuned to the values and culture of the company.

Engaging and supportive spaces translates to innovative and creative workers, more customers, retention of new employees, as well as more social shares of well-designed spaces.

The choice between engineered or solid wood flooring usually depends on many factors including, how you want the flooring to be fitted, condition of your sub-floor and what factors are important to you (e.g. ability to sand & refinish, height of floor), cost, and of course, how well the flooring might best benefit a project. Of course, the answer is “it depends”.

There is no “one size fits all” answer. Once you’ve noted and understood all these factors, your ultimate choice will be easier — and more accurate.

Construction

As the name implies, solid wood floors are just that, a solid piece of wood, all the way through. Engineered hardwood flooring is constructed in a thin layer of hardwood veneer on top of multiple layers of different woods, known as ply layers.

Engineered wood floors are real wood floors and should not be confused for laminate flooring. Today, they make up a big part of the flooring market because they have some serious pros when it comes to their dimensional stability, usability and resilience.

Manufacturers may have a wear layer of 4mm and high-quality plywood of  2 – 4 sheets that are dimensionally stable and built to withstand temperature fluctuations.

Plank sizes

Because engineered floors have a more stable substrate, the individual planks can come much wider and longer than typical solid wood floors. Open concept designs lend themselves to engineered wood because the scale of the wide plank floor works better in a wide-open space.

Engineered wood also comes in much longer lengths than solid wood.

Durability

Water damage is one of the biggest concerns when selecting your floors; however, the greatest benefits that engineered flooring provides over solid wood is that it is the most durable option.

While the wear layer of engineered floors is often solid wood, multiple base layers are made out of different materials including plywood.

This plywood delivers exceptional durability and a resilient interior to effectively endure testing conditions such as high temperature, moisture, humidity.

This resilience against moisture makes engineered floors the superior option for highly humid areas.

Installation area

Where you want to fit your floors may help you to decide whether to choose engineered or solid wood flooring.

The wood density of solid wood is forgiving when it comes to high traffic areas as it can be sanded down and refinished multiple times.  So if you are looking for flooring for an entrance hallway or living area then solid wood flooring could be a better choice.

If, however, you want solid wood flooring for a room where temperature or humidity is continually fluctuating, then that’s solid wood’s biggest drawback.  For example, conservatories, rooms with a lot of glazing or even for a kitchen.

On the other hand, engineered wood flooring has enhanced structural stability designed to withstand slight changes in its surroundings. So it is a far more stable flooring material in rooms subject to higher moisture, temperature, and humidity.

Sanding

Solid wood is known for its longevity and can generally be sanded down and refinished more times than engineered wood.

If your wood floor gets scratched, you will need to refinish it by sanding down, and starting the staining and protecting process all over again. As long as you have healthy solid wood, you can do this 4-8 times.

Conclusion

Both have extensive pros and a handful of cons and as such, neither wood floor is “better” than the other. Picking an ideal floor for a project largely depends on all the different scenarios your project may play into, so take some time and plan your project ahead of time to pick the best option for you.

The event attracts talent from all over the world and continues to showcase an abundance of skill and innovation at the forefront of the industry.

2019 sees 100% Design Festival London returned for its 17th edition since its inauguration in 2003, with design-focused events happening across the city.

This years’ festival, which ran from September 14-22, spanned 11 city districts — from Kensington in the west to the Shoreditch Design Triangle in the east — curated with showrooms, pop-ups and site-specific installations.

Design, when showcased at forums in this way, becomes an industry where discussions on broader global issues can proceed. 2019 presented a massive array of expert talks and forward-thinking exhibitions, with “Sustainability” being this years’ key theme.

We showcased a selection of our samples alongside Hayche’s — our new Clerkenwell neighbours and design enthusiasts — at 100% Design (at Olympia) which is part of the London Design Festival.

Hayche creates original and meaningful furniture for discerning customers —  embracing contrasts and celebrating differences, bringing together carefully curated and superbly crafted pieces that make people’s lives richer.

Design fresh at 100% design

This year we saw the return of Design Fresh, which was newly initiated in 2018.

The exhibition celebrates emerging talent selected from major UK design degree shows by Barbara Chandler, design editor of Homes & Property at the London Evening Standard.

Thirty designers introduced their explorative ideas and original products.

Each one either explored a breadth of pressing issues facing the planet today, from eco-aware concepts to innovative manufacturing processes, or as distinctive expressions of beauty.

Translating British heritage into the modern-day, an original 1967 Victoria line tube carriage acted as an exciting and immersive venue for the west Kensington design district.

Created by award-winning textile studio Kirky design, the train’s interior was brought to life in Underground Volume II fabrics, a new collection of velvets and readymade cushions in sophisticated geometries and trendy colours; which recreated iconic moquette designs used for seating fabric across the underground from the 1930s to the present day.

A sense of Finland

Voted as the happiest nation in the world for the second year running, guests had the honour to experience Finland’s famed well-being in an exceptionally staged pavilion at 100% design.

A sense of Finland allows visitors to experience the sounds, sights, touch, smell and taste of Finland’s happiness.

Curated by designer Hanna Laikola, founder of HEMLO, the installation is created in collaboration with renowned Nordic brand Tapio Anttila collection and Polar Life Haus.

They’ve specially constructed an eco-log house to be filled with the best of Finnish furniture, products and lighting, all centred around sustainability, well-being and healthy living environments.

Material studio at 100% design

Material studio brought together a showcase of 22 new and innovative materials from designers and brands across the globe, with a number of them being shown in the UK for the first time.

Created in collaboration with Material Driven, the show featured a careful curation of international and local interior brands such as Margarita Talep, Samira Boon, Red Mud, Baux, Elissa Brunato, Reef Design Lab and Criaterra.

New products with famed designers, such as Totomoxtle by Fernando Laposse, offered an unmissable opportunity for visitors to view brand new and classic collections up-close.

Conclusion

London Design Festival provides a platform for a mix of emerging design brands as well as established and influential names. The 2019 100% Design introduced an incredible line-up of forward-thinking exhibitors; showcasing the latest products across furniture, textiles, glazing, lighting, flooring, accessories and more. Conspicuous installations, inspiring collaborations and striking projects feature thought-provoking experiences and push the boundaries of innovative design.

Environmental impact is a broad topic that more people and sectors of the economy are paying a great deal of attention to when making daily living and business decisions. Data on the matter is especially coming to light in the construction industry, which traditionally is known as one of the waste generating sectors.

With more eco-related challenges than ever, it has become increasingly essential to discover ways to contest for a more sustainable future.

And luckily, from companies to consumers, a change in how we view our planet means people are now taking greater steps to create a greener way of living that contributes to the concept of the circular economy.

Annually, in the United Kingdom alone, 70 – 105 million tonnes of waste is created from demolishing buildings — inducing a substantial environmental impact linked to energy consumption, waste production and direct or indirect greenhouse gas emissions.

According to research by Cardiff University, only 20% of that waste is biodegradable.

With intelligent design and a better comprehension of the biodegradable materials available in construction, it’s up to architects and building engineers to make the proper choices for the entirety of a building’s lifetime.

Reducing waste associated with buildings throughout their lifetime by designing a closed-loop material system made up of biodegradable materials is not entirely part of bigger mainstream practice.

As could be seen from the composition of demolition waste, just a tiny percentage is biodegradable.

Wood, an extensively used biodegradable material, only constitutes 3.1% of the total materials utilised. To boost the usage of biodegradable materials in buildings, a wider range of products is necessary.

More importantly, a clear case needs to be made for the use of biodegradable materials as an essential approach to waste minimisation.

Reimagining building materials

The construction sector currently accounts for 39% of global CO2 emissions — making the built industry among the least environmentally friendly in the world.

According to a report by Chatham House, cement alone creates about 8% of global CO2 emissions. As part of the global endeavour to avert climate crisis, our urban settlements will need to emerge from their dependence on concrete.

Numerous eco-friendly materials have emerged in the marketplace to assist in the reduction of the environmental impact of construction operations. However, identifying the planet’s eco-friendliest building materials could be somewhat tricky because different individuals have different definitions of what they consider sustainable.

Reclaimed timber, for instance, can be used for a plethora of construction purposes, such as structural framing, flooring, siding and interior fixtures.

Density varies depending on the sort of wood and a few stand up better with time. But most wood is vulnerable to pests and degradation, strengthening the necessity to thoroughly inspect every reclaimed piece.

Architects, designers and building personnel should all stay up to date with the trends and shifts driving sustainable construction. Placing eco-friendly materials in the forefront for any architectural project is an essential first step toward making buildings more sustainable.

Products made from organic, renewable materials as well as those that include recycled content are a wonderful place to start.

Looking to a sustainable future

Ushering in a new era of eco-friendly architecture is no simple task.

The construction sector is notoriously reluctant to change, but the industry has to adapt if it is to reduce its massive carbon footprint.

Green building materials are usually sourced from sustainable environments like timber forests. They can also be generated from innovative manufacturing processes that reduce harmful emissions into our surroundings.

Sustainable construction also takes into account a material’s appropriateness for the climate conditions in which it is used. Some materials tend to hold up nicely in anhydrous, cool environments but deteriorate in humid, hot locations. Degradation and replacement frequency need to factor into a material’s overall eco-friendliness to the environment.

Having a classic aesthetic that beautifies any interior space, wood is one biodegradable building material that’s earned its good reputation.

It’s practical and efficient both indoors and outdoors, and you are able to find a place for it virtually everywhere. Timber roofing is especially effective in the reduction of carbon footprint.

Future building plans will also need to place great emphasis on floating parks, rooftop gardens and other forms of urban greenery. As our cities shift toward cleaner, greener technology, standards for sustainability will fortify and designers and architects will need to adapt so as to pass stricter standards.

In pursuit of innovation

Sustainable architecture has given rise to a wave of innovative designs.

Architects and engineers alike are finding ways to utilise biodegradable materials wherever possible in place of toxic ones, like mercury or lead.

Driving change within the building industry is a massive accomplishment, requiring not only innovation but also real collaboration on an international scale.

This challenge comes at a time when urban growth is occurring at a quicker rate than before.

To revolutionise present practices, the general public and private sectors will need to work together closely.

Maybe what the industry requires mostly is a significant shift in mindset, moving away from minimising production costs and towards thinking about the long-term expenses of all design choices.

Conclusion

Since architecture is all about building something fresh and new, oftentimes we forget about the reverse side of the coin: tearing something down and disposing of construction materials. As the planet comes to terms with the degree of harm that non-biodegradable products and materials are doing to the environment, biodegradable options are a part of the future green technology expected to attract change. Relentless effort need to be made by designers, architects, engineers and manufacturers to create safer products employing biodegradable materials.