Mix Interiors magazine’s November issue ran a feature on the award winning Adobe workplace project with a selection of my pictures.
Mix Interiors is the leading magazine for the commercial interiors market. Aimed at the architectural and design community each issue of Mix Interiors includes a number of detailed case studies.
The Adobe scheme has been designed by Gensler and Hoare Lea, and managed by Turner & Townsend and is a mixture of open plan areas, meeting rooms, social hubs, a library, tech cafe and games room. The creative work environment equally prioritises both individual and group space and equips employees with the technology they need to easily and efficiently collaborate. A major feature includes a ‘Customer Experience Centre’ – providing UK and European customers with an environment to experience Adobe’s technology. The office boasts cutting-edge connectivity and technology alongside bright and open areas where teams can meet and work together, as well as quieter spaces for individual work.
An interconnecting feature staircase constructed in bold, red perforated metal mesh around a steel structure that sits on a combination of concrete and timber platforms. Light cubes on wire mimic falling pixels spreading through the void space. The feature stair connects staff across levels 7 and 8 and reflects the industrial feel of the building. The overall aim was to create a feeling of home, not just a workspace that tells the story of the Adobe brand and culture.
To read the online case study -
I recently photographed the new Adobe cutting edge office in London’s Shoreditch. The offices are located on the ‘Silicon Roundabout’ in London’s Tech City, a hive of innovation and the third-largest technology cluster in the world after San Francisco and New York City.
The scheme has been designed by Gensler and Hoare Lea and managed by Turner & Townsend and is a mixture of open plan areas, meeting rooms, social hubs, a library, tech café and a games room. A major feature includes a ‘Customer Experience Centre’ – providing UK and European customers with an environment to experience Adobe’s technology.
Como was assigned to complete the 45,000 sq ft fit out with features including an interconnecting feature staircase constructed in bold, red perforated metal mesh around a steel structure that sits on a combination of concrete and timber platforms. Light cubes on wire mimic falling pixels spreading through the void space. The feature stair connects staff across levels 7 and 8 and reflects the industrial feel of the building. The overall aim was to create a feeling of home, not just a workspace, which tells the story of the Adobe brand and culture.
The soffit is generally exposed with fabric baffles aiding acoustics and aesthetics, punctuated with areas of suspended metal mesh. The fabric baffling continues with meeting rooms and meeting pods, along with large AV arrangements.
This layout provides a fluid working environment, meant to spur new ideas and unexpected collaborations. The employees may have an assigned desk or access to quieter individual work spaces, but they’ll also have a variety of group spaces if they need to work in a collaborative way.
Towards the end of last year I worked with DRAX Biomass at their Baton Rouge Port operation and the Morehouse Bioenergy pellet production fascility in Texas.
I was commissioned through Vismedia to photograph and capture the manufacturing process of compressed wood pellets from sustainable working forests in the U.S. south. These high density wood pellets are then used as a low carbon alternative to coal in the upgraded biomass units in their power station.
Corporate photography has changed drastically in recent times with more content being online. The annual report has been the traditional sales tool of companies, but it makes financial sense to capture images which become part of a larger media library for the client.
I have been photographing corporate photography for twenty years and have come to understand that value for money means exceptional photography delivering the companies ethos.
Corporate photography has to communicate a company’s business from the manufacturing, distribution and sales, through to the personality of the people that make that business. This is often highly diverse photography from a photojournalistic style, to portraits, studio, interior and architectural photography. The corporate photographer has to be technically competent in all fields of photography.
The knee jerk alternative for photography is to look towards stock agencies for imagery. Generic images of people working or communicating in a workspace that is not that of the companies can create doubt in the mind of the viewer and raise questions of professionalism. Commissioned, dynamic photography of a company’s activities and employees shows their individuality and personality.
A corporate photographer is not just someone who has an expensive camera who will record whatever they are shown. A corporate photographer works with the client prior to the shoot to determine what they want to capture and then will assist with the logistics of achieving this. The corporate photographer needs to understand a company’s business production so that they can come away with a set of pictures that invoke a clear strong statement about the company. Equally the photographs have to demand the attention of the viewer by catching the moment in an arresting manner. The photographs should be worthy of the many international corporate photography awards.
I have been photographing architecture and interiors in all sectors of the industry for 20 years. I am privileged to enjoy a close working relationship with some incredible architects, designers and fit-out firms. I place a great deal of importance on discussing a project with the designer in advance of a shoot, understanding the design concept and the creative thinking behind an idea. I like to talk over the designer’s key features and the parameters that they had to work within. I believe that this gives me a better understanding of the space and contributes to me capturing the overall design.
Nando’s is working with a handful of talented designers producing some amazing interiors. I have photographed restaurants with features including 7000 beer bottles hung from the ceiling in a wave like instillation … intriguing use of materials such as a sculpted concrete bar … staircases made out of metal mesh and plywood … walls clad in everything from copper panels to wooden shingles but the new Nando’s restaurant in Oxford really did answer the question of “what came first the chicken or the egg”?
STAC Architecture designed the space around the simple concept of new beginnings and the egg. The restaurant has the yellow yoke centre with a Nando’s design pallete surrounding it. On the surface this design concept is a simple and affective idea but when you start looking at what the centre of the restaurant includes it is far from it.