Every day millions of people around the world go to one place: the office. Why? Technology has freed knowledge workers from the commute and the cubicle, and no one has their best ideas at their desk – and we’ll all be replaced by robots soon anyway. But the office continues to occupy a hallowed place in the corporate mindset and, if anything, a company’s premises are becoming even more essential to its identity and culture. In this article for issue 03 of The Possible, the thought leadership magazine that my company Wordmule produces for WSP, I explored the future of the workplace in an AI era.
Architecture and engineering are both fixated on the idea of genius. Could this be the source of their enduring gender imbalance? I interviewed psychologist Andrei Cimpian about the implications of a groundbreaking piece of research.
Out now: the latest issue of The Possible, the 72-page thought leadership magazine that my company Wordmule produces for global engineering company WSP. I plan, commission, write and edit the content; my partner Nick Jones takes care of production, and the design is by our long-time collaborator Sam Jenkins at Supermassive. Cover artwork by Noma Bar.
In this issue: the pursuit of wellness, the future of the workplace, how digital modelling is changing building design, gender equality in architecture, and what on earth are humans going to do when robots can outperform us at our jobs?
The summer issue of Concrete Quarterly is packed with curiosities: an insurers’ office with a Soviet missile as its centrepiece; an Oxford faculty building compared to a marshmallow, a spaceship, a stack of CDs and a pile of washing up; a ruined Spanish castle controversially refurbished as a block of concrete; and a French music school deliberately splattered with paint. We also ran an exclusive interview with AHMM’s Paul Monaghan about how the practice managed to win the 2015 Stirling Prize with a school largely built in a factory, and how he persuaded Barking council’s housing department to love concrete again…
My company Wordmule has just produced a second issue of This is Concrete, the bespoke 24-page magazine we created for The Concrete Centre last year to tie in with their activities at the Ecobuild exhibition. Their themes were pretty diverse this year, from how to design buildings to last in a changing climate and create high-performance housing for people of all ages, to the thorny issue of accurately calculating the embodied carbon of building products. So we pulled it all together under a “sustainability for life” theme, with a special cover illustration by our very talented designer Nick Watts. Details of The Concrete Centre’s activities at Ecobuild were contained in a pull-out section, to extend the magazine’s shelf life beyond the event itself. Which fits in quite neatly with the theme, come to think of it.
When can you make a sensitive addition to a much-loved streetscape, and a striking brutalist statement at the same time? Why, when you’re expanding one of the UK’s legendary modernist campuses of course. That was the dream commission that Patel Taylor had at the University of Essex, profiled in the latest issue of Concrete Quarterly, which my company Wordmule produces for The Concrete Centre. Also featured: a Tokyo music school that has been named the best new education building in the world, a completely white concrete atrium connecting two neoclassical mansions at an art museum in Avignon, and Antarctic research station architect Hugh Broughton tells us about his favourite buildings.
In October, my regular client WSP Parsons Brinckerhoff sponsored a host room at the annual conference of the Council for Tall Buildings and Urban Habitats in New York. I went along, listened in on two days of presentations and then turned it into a 72-page magazine, to be distributed to the company’s clients and partners worldwide. The overall theme of Skylines is the renaissance of tall buildings. There’s an unprecedented high-rise boom, but the new generation of towers will be very different from those that preceded them – not only in their giant scale but in the kind of spaces they offer, both in the sky and on the ground. Skylines explores what this looks like, from the perspective of designers, developers and city planners around the world.
Concrete Quarterly’s winter edition takes a fascinating look at the world through the eyes of a sculptor – legendary concrete mural artist William Mitchell, now in his 90s, who compares the forms of the UK’s motorway network to sand dunes in the Arabian Desert (p19). Sculptural forms abound elsewhere too – once you start thinking that way, it’s hard to stop. There’s an art gallery in LA where works by Jeff Koons sit within a moulded building that appears to float, a social justice centre-cum-shelving unit in south London, and a kitchen extension made almost entirely of concrete that could have been carved from a single block. I’ve edited CQ for the Concrete Centre since 2010, but you can read the whole archive going back to 1947 here.
Weird and wonderful education buildings fill the pages of the autumn issue of Concrete Quarterly magazine, which my company produces for the Concrete Centre. There’s a Zaha Hadid university extension in Oxford that bends round a giant redwood tree to connect two Victorian houses – and whose computer-generated design is impossible to show on plan or section. Thomas Heatherwick was banned from including corridors and corners from the Nanyang learning centre in Singapore, so he created eight bulging hive-like towers, minutely embellishing every curving surface into the bargain. Then there’s a research facility outside Paris that could be easily mistaken for a public park, hidden under three vast, undulating green roofs. And after all that, Stirling Prize winner Burntwood school by AHMM makes a relatively sedate cover star.