Coworking Spaces by Izaskun Chinchilla Architects by The Bartlett School of Architecture UCL

CHAPTER TITLE Bartlett Design Research Folios

Izaskun Chinchilla Architects Coworking Spaces

IZASKUN CHINCHILLA ARCHITECTS

COWORKING SPACES

BARTLETT DESIGN RESEARCH FOLIOS

Izaskun Chinchilla Architects Coworking Spaces

IZASKUN CHINCHILLA ARCHITECTS

COWORKING SPACES

CONTENTS

Project Details

Statement about the Research Content and Process

Introduction

Aims and Objectives

Questions

Context

Methodology

Dissemination

Project Highlights

Bibliography

Related Publications

1 (previous) Canteen at Utopicus Clementina, Barcelona. 2 La Nube, Madrid. Theatre with foldaway furniture.

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Project Details Author

Izaskun Chinchilla

Title

Coworking Spaces

Output Type Building and interior design Projects

Utopicus Clementina, Barcelona (2019) La Nube, Madrid (2017) Utopicus Conde de Casal, Madrid (2016) Príncipe de Vergara, Madrid (unrealised, 2018) Nida, Madrid (unrealised, 2016)

Commissioners Colonial, Espais Blaus, Fundación Biodiversidad, Red.es, Utopicus Architectural Team Adriana Cabello, Roberto de Vicente, Alejandro Espallargas, Guillermo Sanchez, Jesús Valer, Mercedes Zapico Architectural Assistants

Ismael Fernández, Cristina Traba

Preliminary Research

Alejandro Espallargas

Structural Calculation Tender

BAC Engineering Consulting Group

Structural Consultant

Roberto Marin

Site Supervision Accountant

Amanda Basso

Service Engineer

Jaume Mata

Project Management

Gerard Casas, Miguel Tello

Lighting Consultancy

ERCO

Textile Design

Sunbrela

Lighting and Furniture

Santiago Sevillano

Ceramics

Vives

Embroidery

Raquel Rodrigo

PROJECT DETAILS

Carpentry and Basket Making

Teodoro Sanchez

Artist

Luis Jimenez

Contractors

Penta, David Ruiz Garcia, Handyman Group

Local Heritage Commission at Gràcia District

Eloi Badia, Janet Sanz

Supervisor at Gràcia District Council

Laia Isern Granados

Client Representatives for Red.es

Beatriz Bosch Lozano, Enrique Guisasola Piqueiro

Methodology for PostOccupancy Evaluation

Insighters Experience

Budget

€922,600

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Statement about the Research Content and Process Description

Methodology

Izaskun Chinchilla Architects have designed five coworking spaces for Spanish cities, three of which have been realised. Highly customised for their specific location and users, these environments make use of an original appropriation of IKEA components combined with local craft and passive climatic and biophilic strategies.

1. Space Syntax, interdisciplinary collaboration and user engagement; 2. Hacking with the coworking community; 3. Low-cost materials and artisanal craftsmanship; 4. Passive climatic strategies and biophilic principles;

Questions

5. Post-occupancy evaluation. 1. How can the architectural typology of coworking spaces evolve by involving users in the design and alteration of space?

Dissemination

Chinchilla has presented her coworking projects in four print publications (Co-Working Space Design, Deco Journal, NAN Arquitectura y Construcción and WA Magazine) and in lectures at over 30 universities and institutions worldwide. Since 2016, the series has featured in over 30 architectural magazines and specialised websites, like ArchDaily and Diseño Interior. Two international group exhibitions have featured aspects of the series, at SCI-Arc in Los Angeles (2018) and La Cité de l’Architecture et du Patrimoine in Paris (2020).

2. How can coworking environments reflect local architectural contexts? 3. How can architecture benefit from hacking, local craftsmanship and an inventive, versatile and economical adaptation of IKEA furniture? 4. Which environmental principles can be applied to the design of coworking spaces, considering that many operate in existing buildings?

STATEMENT ABOUT THE RESEARCH CONTENT AND PROCESS

Project Highlights

La Nube was Izaskun Chinchilla Architects’ winning entry to an architectural contest run by Red.es, a public corporate entity of the Ministry of Energy, Tourism and Digital Agenda of the Government of Spain, which aims to stimulate the digital economy by supporting young professionals and small and medium-sized enterprises. The combined knowledge base of the five projects presented in this folio have enabled Izaskun Chinchilla to act as a consultant for the implementation of coworking spaces for organisations such as Booking.com and Colegio Oficial de Arquitectos de Madrid.

3 Conde de Casal, Madrid. New York-inspired entrance and front desk.

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Introduction Between 2016 and 2019, Izaskun Chinchilla Architects designed five coworking spaces, three of which were realised: Utopicus Conde de Casal (2016) and La Nube (2017), both in Madrid, and Utopicus Clementina (2019) in Barcelona. Each project has site-specific characteristics and user requirements, promoting social, visual and acoustic comfort. Two design proposals in Madrid – Nida (2016) and Príncipe de Vergara (2018) – remain unrealised. Utopicus was one of the first companies to introduce coworking spaces in Madrid. Architects are commissioned through competitions, a strategy that contrasts companies like We Work who use internal teams of designers. Chinchilla’s work was instrumental in consolidating a model for Utopicus’ vision of coworking. It has influenced the real-estate company Colonial to invest €30 million since 2017, with an aim to open 13 new spaces in Madrid and Barcelona by 2021.

Conde de Casal, Madrid

Utopicus Conde de Casal, in the largely residential area of El Retiro Park, offers 1,000 m2 for 120 coworkers across two floors. The project involved participatory design, construction and hacking of mobile office equipment in its construction. Built with a limited budget, it improves the environmental credentials of the existing buildings and has helped to attract a creative community to the neighbourhood. It also provides a venue for local extracurricular activities such as Scouts.

4 Clementina, Barcelona. Staircase featuring embroidery by Raquel Rodriguez.

INTRODUCTION

5 Clementina, back façade and courtyard.

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6 Clementina, canteen with crafted lamps and manually cut wallpaper.

7 Technical details for Clementina’s canteen furniture.

INTRODUCTION

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Clementina, Barcelona

Utopicus Clementina is located in Gràcia, a key location of Catalonian modernism, which is controlled by strict planning regulations set by the Heritage Commission. Izaskun Chinchilla Architects was the second practice to apply for planning approval and succeeded with help from multiple detailed studies of the street context. The 500 m2 renovation, across all levels of the existing concrete slab and column structure, provides space for 60 coworkers. Special attention was paid to the architectural heritage of the area, craft techniques and the use of passive climate strategies (4–6). This was the first Utopicus site to enable a coworking club, hosting social programmes after work hours, and a canteen that opens onto the street offering free workspaces.

La Nube, Madrid

La Nube is a private office space in Madrid owned by public corporate entity Red.es. Chinchilla designed a flexible space of 240 m2 – ‘innovation room’ – for external stakeholder meetings. Working alongside the final users, Chinchilla’s team were able to customise foldaway furniture for flexibility and adaptability (8–9). Extensive use of hacking throughout fabrication was based on research into how digital systems, such as Windows, could help organise space.

8 La Nube, Madrid. Theatre distribution.

INTRODUCTION

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9 La Nube’s training room distribution.

INTRODUCTION

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Príncipe de Vergara and Nida, Madrid

Chinchilla’s unrealised design, Príncipe de Vergara (10), promotes flexible work and is organised using colour-coded screens. Another unrealised design is Nida – for Fundación Biodiversidad – in which the furniture has been designed using discarded materials. Nida’s glass roof features solar panels so that it is fully powered by renewable energy (11–2).

10 Rendering of Príncipe de Vergara, Madrid (unrealised).

INTRODUCTION

Izaskun Chinchilla’s series of coworking projects constitutes a solid knowledge base that has enabled her to act as a consultant. She has advised on the implementation of coworking spaces for Booking.com (February to June 2018) and Colegio Oficial de Arquitectos de Madrid (October 2017 to August 2018).

11 Nida, Madrid (unrealised). Interior view rendering. 12 Rendering of canopy system for Nida.

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Aims and Objectives

Questions

1. Explore the potential of coworking spaces as incubators of collaborative culture, inheriting values from makers and hackers normally excluded from corporate workspace design and fabrication;

1. How can the architectural typology of coworking spaces evolve by involving users in the design and alteration of space?

Izaskun Chinchilla’s approach to coworking spaces has been developed in opposition to the architecturally compromised norms of corporate environments that tend to separate working areas from networking areas. Typically, investment in such environments is prioritised to the communal areas (€500–550/m2), hence workers are offered small substandard cells (€250– 300/m2) with insufficient natural light and acoustic privacy. Chinchilla’s designs offer a refreshing alternative by blurring distinctions between open plan and individualised blocks, and distribute comfort across all spaces.

2. Work with users to customise spaces for working. This differs from global brands that tend to use design standardisation; 3. Adapt the design to site-specific conditions, contributing to placemaking and heritage preservation; 4. Explore alternative aesthetic, acoustic and perceptive atmospheres that offer comfort, e.g. avoid impersonal semi-industrial environments with low acoustic quality; 5. Reappraise the qualities of the handcrafted over the prefabricated to create satisfying work environments; 6. Pursue gender-sensitive design strategies; 7. Develop circular economy and hacking architectural processes by repurposing industrial furniture for environmental, financial and user benefits; 8. Implement passive climatic strategies to avoid the use of air-conditioning, decrease emissions and reduce energy consumption; 9. Contribute to street life and introduce educational and cultural facilities in neighbourhoods without such amenities; 10. Promote coworking in local spaces as a way to create shorter commutes, enabling low-impact transportation that reduces carbon emissions.

AIMS AND OBJECTIVES / QUESTIONS

13 La Nube, Madrid. Axonometric rendering.

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14 Clementina, Barcelona. Ground floor axonometric rendering.

QUESTIONS

15 Clementina, first floor axonometric rendering.

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16 Patio club proposal for Clementina’s courtyard. Render showing sunshade system.

QUESTIONS

Chinchilla’s human-centred approach to design aims to improve the user experience. It aligns with recent critiques of the white, masculine culture that dominates tech office culture (Wiener 2020). Although intending to provide flexibility and freedom, prevailing design approaches for corporate coworking spaces can often create intimidating working environments. Chinchilla’s approach differs by actively involving users in the design process and focusing on improving their physical and psychological comfort through architecture, which is believed to increase a person’s sense of wellbeing (Dodge et al. 2012). To achieve this, her approach to design mixes three elements: · Domestic environments and materials · Activities associated with leisure time and rest, e.g. picnic lunches · A technical investigation of the psychological perception of acoustics, lighting, colour and pattern

17 Clementina, balconies inner room.

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The desk design for Conde de Casal (2016) sought to overcome criticism of other Utopicus workstations as lacking convenient storage, privacy, acoustic comfort and the possibility to alter seating positions. Chinchilla repurposed the two levels of IKEA’s SVÄRTA bunk bed as a desk and canopy, and also provided storage space (18). By cutting and manipulating the structure, Chinchilla created four workstations, subdivided using acoustic absorbent materials. Each offers three seating possibilities and movable textile blinds to provide privacy. The Red.es company lounge is another example where user feedback influenced the design process. The workers created the brief and selected two representatives to collaborate with the architects. A number of problems needed to be addressed: colours that may contribute to stress, lack of natural light and views, lack of flexibility and a need for areas to rest and informally interact. In a collaborative workshop, the team designed a flexible configuration of semi-open rooms and partitions, kept away from the glass façade. Users were given the opportunity to select colour, pattern and material pallets, and, with the architects, defined five common spaces: small meetings in the entrance, two foldable rooms (ten people), a larger room with space for equipment (20 people) and a brainstorming room (50 people). All spaces incorporated playful details, including cushions, blankets and swings. 18 IKEA SVÄRTA bunk bed assembly instructions alongside hacked desk design for Conde de Casal. 19 La Nube’s pixelated clouds ceiling design. The colour palette was defined in collaboration with the final user.

QUESTIONS

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QUESTIONS

20 Conde de Casal, Madrid. Back side view of the front desk. 21 La Nube, Madrid. Stage and bleachers.

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2. How can coworking environments reflect local architectural contexts?

Inspired by vernacular architecture, the five coworking spaces presented in this folio work as community hubs. A number of adaptable ‘staged’ spaces draw inspiration from local landmarks, streetscapes and markets. To provide security and intimacy at Booking.com’s new Amsterdam headquarters, workstations open or close like a closet with doors inspired by the façades of local buildings. For the outdoor courtyard of Clementina, Chinchilla’s team developed a movable stall, inspired by the terraces in Barcelona, using locally produced flatware (23). Similarly, the design proposed for Colegio Oficial de Arquitectos de Madrid was based on local houses and the proposed canteen at Príncipe de Vergara enabled local restaurants to bring in their products.

22 Rendering of Booking.com’s Amsterdam-inspired desks.

QUESTIONS

23 Rendering of a hacked stall for a coworking canteen.

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24 Rendering of a kitchen for Colegio Oficial de Arquitectos de Madrid.

QUESTIONS

The design of Clementina´s façade responded to strict regulations from the Local Heritage Commission. From August 2016 to December 2017, Chinchilla’s team presented the local authorities with 24 versions of the façade before finally gaining approval (26). Together with the council, the architects selected eight specific reference buildings (25). Their use of ceramic strips, balconies and increased size and proportion of windows were particularly influential (29). In particular, Calle de Bretón de los Herreros and Plaça de la Vila de Gràcia informed the window distribution of Clementina´s façade, while the selection of colours was based on the Barcelona Colour Plan. Chinchilla referenced the semi-glazed ceramic tiles of Gràcia´s protected buildings, enlarging them to 100 x 40 cm to create a trans-ventilated façade. Each tile was divided into two areas and aliphatic polyurethane enamel was then stencilled on by hand (30).

25 Building façade research for Clementina, Barcelona.

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QUESTIONS

26 Clementina, façade evolution poster. 27 Clementina, preliminary façade with inspiration taken from the local area.

28 (overleaf) Clementina, elevations and planning of manual painting integration on the façade.

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QUESTIONS

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3. How can architecture benefit from hacking, local craftsmanship and an inventive, versatile and economical adaptation of IKEA furniture?

· · ·

Chinchilla’s research has a strong focus on the circular economy. At the beginning of each project, the team systematically evaluates the possibilities of recycled/ reusable materials and hacking techniques. Environmental impact, value, price, carbon footprint, waste, time and engagement are all taken into consideration. The team researched how IKEA furniture could be combined with other standard commercial products and then customised with connection joints and handcrafted elements made from raw materials. In contrast with mass-produced items usually found in offices, these hacked and handcrafted elements aim to better represent the personalities of producer and user. Each project attempts to engage with the demographic of its workers: Utopicus Clementina focused more on craftsmanship, while La Nube and Utopicus Conde de Casal – both intended for the digitally trained community – focused on hacking. The advantages of the hacking process were remarkable: · Price: the cost of the hacked desk (29) was significantly cheaper than a customdesigned desk, and the money saved could be spent on the labour required for personalisation; · Functionality: the hacked design allows users to personalise the space based on their preferences, e.g. blinds are available to create privacy; · Investment recovery: the coworking provider is able to reuse and repurpose much of the hacked version; · Customising opportunities: the design can easily be customised and adapted;

Design uniqueness: the hacked design acquires a distinctive identity; Waste: the hacked design only has packaging leftovers; Carbon and impact: IKEA’s FJELLSE is made from renewable wood, while its SVÄRTA will be made of 100% recycled steel by 2030. All elements can be repurposed.

QUESTIONS

29 Conde de Casal, Madrid. Desk fabrication costs.

30 (overleaf) Rendering of Conde de Casal’s coworking desks.

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4. Which environmental principles can be applied to the design of coworking spaces, considering that many operate in existing buildings?

Solar Chimneys and Air Flow Izaskun Chinchilla Architects have a longterm commitment to demonstrating that air-conditioning should be completely avoided, even in Mediterranean cities, given its negative impact on environment and health. Passive and vernacular solutions, like solar chimneys, have proven their efficiency in past projects. For example, Chinchilla introduced 42 solar chimneys at Castillo de Garcimuñoz (Chinchilla 2014) where the supporting air-conditioning system was required only for ten days in 2019. The solar chimney at Clementina enables natural ventilation and refrigeration of the entire building (31–2). Chinchilla covered the staircase with a metal-frame gable roof that features a large south-facing glass surface. Immediately under the glass is a black lacquered slat panel, which is heated throughout the day by the sun. Air between the glass and panel creates an upward draft along the staircase, which exits through a ventilation grille on the roof. Interior glass walls do not meet the ceiling and allow air to flow through the entire building.

31 Rendering of the preliminary solar chimney for Clementina, Barcelona.

QUESTIONS

32 Clementina, drawing of staircase cover with solar chimney and canopy section. 33 (overleaf) Clementina, drawing of general section.

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QUESTIONS

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Energy Efficiency Without a solar chimney, the estimated refrigeration energy consumption for the building is 6,285 kWh/year; with a solar chimney this decreases to 4,525.2 kWh/year, ultimately reducing CO2 emissions by approximately 300 kg. Clementina has two solar thermal panels to provide hot water. Nine PV panels, with an estimated annual production of 1,210.65 kWh, save 2,361 kg in CO2 emissions. To install these panels without compromising leisure space on the roof terrace, Chinchilla designed a metal-frame canopy, which also protects a small kitchen from the elements. The ventilated façade system leaves an air chamber between the cladding and inner sheet, preventing thermal bridges and condensation (34). This system protects the inner sheet as well as the structure, reducing the risk of pathologies caused by weather exposure. The system has a transmittance of 0.30 W/m2-K. Cellulose insulation is used because of its ecological credentials. It has a thermal conductivity of 0.040 W/mK and a thermal capacity of 2 kJ/kg.

QUESTIONS

34 Clementina, section drawing of the ventilated façade.

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Daylight At Clementina, the carefully designed façade system provides a saving of 4,136.25 kWh/year, reducing CO2 emissions by 500 kg/year. The façade and plan distribution of the building is based on a technical study of natural light, seeking optimum levels for a given activity. Working areas are positioned at the northern and southern façades, with a solar chimney designed to flood the central area with light. To resolve excessive reflection on the southern façade, the architects created a small room for reading behind the balconies. Worktables are set back to avoid direct light and external blinds provide additional control (36–7). Patterned ceramics, inspired by the modernist housing in the area, enhance the domesticity of the space, and blankets, cushions and plants improve comfort and acoustics. At Nida, the central space has been entirely covered in glass. A system of traditional Spanish wood blinds, controlled by users, helps to reduce reflections and overheating. Natural light provides 87% of light required during the year.

35 Clementina, north façade balcony technical detail. 36 (overleaf) Clementina, south façade balcony technical detail. 37 (overleaf) Clementina, drawing of south façade sunblind system.

QUESTIONS

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QUESTIONS

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Lighting Strategy At Clementina, the architects researched and developed a lighting strategy that radically differs from typical office lighting trends. Spanish regulations recommend 500 lx for office use, which is notably different from domestic environments where lighting rarely exceeds 100 lx. It would be incorrect, however, to assume that all office use requires 500 lx. Homogeneous lighting strategies make it difficult to understand a given space and can contribute to fatigue. For these reasons, the architects drew from their experience in museography design to strategically light objects and workspaces. They also used soft lighting for spatial boundaries. In collaboration with ERCO, they applied ‘qualitative lighting design’ and decreased light levels to correspond with the function of each space: · Rest space: max. 20 lx; · Circulation and buffer zones: max. 20 lx; · Skype rooms and areas for phone use: 20–50 lx; · Computer workspace: 100 lx (with individual control of lighting facilities available). On projects where lighting was already on a 500 lx grid, the architects introduced new circuits to create more differentiation (ERCO 2020).

QUESTIONS

38 La Nube, Madrid. Ceiling and lighting detail.

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Context Chinchilla’s extensive research on an adaptable approach to the design of coworking spaces began by researching the Bürolandschaft concept developed by Eberhard and Schnelle in the 1950s and 60s. The concept proposed the flexible and strategic provision of different ‘clusters’ within the workspace, an idea supported by recent research confirming the negative effect of open-plan offices on collaboration (Bernstein and Turban 2018). Chinchilla found that Bürolandschaft-like solutions would work well for smaller fixed areas used by small groups or individuals; while in larger spaces it would be beneficial to provide flexibility. Zygmunt Bauman’s Liquid Times: Living in an Age of Uncertainty (2007) was influential on this approach. Centraal Beheer by Herman Hertzberger provided further inspiration: the project sought to create ‘permanent adaptability’ and captured ‘the ambience of a community workplace’ (Hertzberger 2016, pp. 5–7). Further to this, Chinchilla consulted studies that have attempted to identify how workspace layout affects patterns of work (Laing et al. 1998, pp. 21–4). Chinchilla drew from Richard Sennett’s studies of craft and collective cultures, particularly The Craftsman (2008) and Together: The Rituals, Pleasures and Politics of Cooperation (2012). Sennett proposes that ‘makers’ are spontaneously predisposed to collaborate, and the informality of their meetings can encourage exchange of skill and ideas (Sennett 2012, p. 237). Charles Jencks and Nathan Silver’s manifesto Adhocism (1972), which opposes modernism and the preference for mass-produced items, was a point of reference; as were Maker Faire events, particularly in the development of Conde de Casal. Chinchilla also studied coworking movements such as Impact Hub and Jelly.

39 La Nube, pop-up meeting rooms.

CONTEXT

40 Rendering of La Nube’s pop-up meeting rooms.

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CONTEXT

41 Clementina, Barcelona. DIY flower lamp made using recycled bike wheels. 42 Rendering of Clementina’s flower lamps.

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43 Nida, Madrid. Rendering of closed wood blinds. 44 Nida, rendering of open wood blinds.

CONTEXT

45 Rendering of Nida’s hammock bleachers. 46 (overleaf) Rendering of Nida’s rest area.

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CONTEXT

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Methodology 1. Space Syntax, interdisciplinary collaboration and user engagement

Izaskun Chinchilla Architects consulted user studies carried out at Utopicus Duque de Rivas and Utopicus Colegiata. They also referred to publications such as Deskmag, whose annual surveys reveal past, present and future trends in coworking including comprehensive statistics of the ages and professions of coworkers. With this information, the architects developed preliminary designs. Design proposals were further evaluated by the methodologies of Space Syntax. Different layouts were analysed to establish their potential impact on social behaviour (Sailer and McCulloh 2012). Close collaborations with specialist consultants, engineers, quality control and heritage officers were also important. Chinchilla, who received a UCL Public Engagement Fellowship in 2015, used her expertise to consult with present and future users of coworking spaces, discovering that most shared a passion for travel. As a result, the reception area at Conde de Casal was designed to reference classic New York buildings, using IKEA bunk beds and brick wallpaper to recreate the city’s distinctive fire escapes (47). The design of meeting rooms was inspired by Japanese architecture. This approach proved popular with the coworking provider who led the Utopic_ School to hold cooking classes, seminars and other events inspired by these cities.

47 Conde de Casal, Madrid, 2016. Entrance and front desk.

METHODOLOGY

2. Hacking with the coworking community

Izaskun Chinchilla Architects designed several pieces of versatile mobile office furniture that are memorable and unique. The hacked pieces of IKEA furniture can be further adapted and appropriated within the coworking space. For a detailed description of the advantages of hacking, see pp. 40–1. To engage with the coworking community, a workshop was held at Utopicus Conde de Casal. The Utopicus community was invited to create a lamp by building and hacking various IKEA products (48). Participants were provided with a range of materials. They fabricated the lamp onsite and finalised it at home.

48 DIY lamp designed and assembled in a Utopicus School workshop at Conde de Casal, Madrid.

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First floor. Scale 1.100

49 Conde de Casal, plans.

METHODOLOGY

Ground floor. Scale 1.100

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3. Low-cost materials and artisanal craftsmanship

The team spent a significant portion of the budget on local craftsmanship, but were careful to source low-cost materials given financial constraints. Design details, such as embroidered stairways and painted floor tiles (50–1), helped to personalise interiors. Chinchilla conducted exhaustive research to acquire ecological, low-maintenance ceramics of high artisanal quality. At Clementina, the architects used a brick and render finish, consisting of four layers, on the internal façades to lower costs. This was applied onsite by an experienced bricklayer. The design optimises the performance of cellulose insulation and enhances acoustic performance. Plaster with a white polyurethane finish was applied to the interior and Vives Laverton tiles were arranged in a herringbone pattern around the base of the wall for ease with cleaning and general maintenance (52).

50 Clementina, Barcelona, 2019. Painting ceramic floor tiles by hand. 52

51 Clementina, handpainted ceramic floor tiles. 52 Clementina, plaster application following organic shapes.

METHODOLOGY

53 Technical details for the different finishings at Clementina.

54 (overleaf) Drawing of Clementina’s second floor interior wall finishings.

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METHODOLOGY

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4. Passive climatic strategies and biophilic principles

Chinchilla employed biophilic design principles, considering each building as a living organism. Extensive research on the use of natural light, solar chimneys, air flow and other passive environmental strategies were carried out to responsibly connect the building with the environment. Colours and materials were chosen to reflect natural landscapes, while the architects sought to minimise emissions and energy consumption. A qualitative lighting design strategy was developed in collaboration with ERCO, see pp. 54–5.

55 Renderings of the preliminary glass cover for Clementina’s staircase.

METHODOLOGY

5. Post-occupancy evaluation

Utopicus runs sociological studies on new, previous and potential users of coworking spaces to determine their strategy. Chinchilla’s team designed Utopicus Conde de Casal based on studies from previous Utopicus spaces. Surveys carried out as part of the post-occupancy evaluation of Conde de Casal then helped to inform the design of Utopicus Príncipe de Vergara, Utopicus Clementina and, to a degree, La Nube. Based on user responses, Príncipe de Vergara was designed to facilitate better project organisation, communication and time management. Izaskun Chinchilla Architects have been based at Utopicus Conde de Casal for four years, which allows them to gather empirical data on spatial usage and preferences of the coworking community.

56 Príncipe de Vergara, Madrid (unrealised). Rendering detail of floating desk organisation system. 57

57 Clementina, Barcelona. Rendering of a preliminary design for the teacup lamp in the canteen.

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Dissemination

Project Highlights

Since 2016, Izaskun Chinchilla has presented her coworking projects in four print publications (Co-Working Space Design, Deco Journal, NAN Arquitectura y Construcción and WA Magazine). The series has also featured in over 30 architectural magazines and specialised websites, like ArchDaily and Diseño Interior. Two international group exhibitions have featured aspects of the series, at SCI-Arc in Los Angeles (2018) and La Cité de l’Architecture et du Patrimoine in Paris (2020).

Owing to Chinchilla’s unique design approach, which promotes the individual identity and emotional wellbeing of coworkers, these projects have featured in two international group exhibitions at SCI-Arc in Los Angeles (2018) and La Cité de l’Architecture et du Patrimoine in Paris (2020). La Nube was Izaskun Chinchilla Architects’s winning entry in a closed architectural competition by the promoter Red.es. These projects have contributed to subsequent work, including the project Connective Nature that Chinchilla is developing with the wood manufacturer Finsa, which investigates how work and domestic spaces can be arranged to facilitate connectivity and how the presence of natural light, ventilation, live materials and views can promote comfort.

Chinchilla has spoken about the projects at more than 30 US, UK and European institutions, including: · La Cité de l’Architecture et du Patrimoine, Paris (2020) · Madrid Design Festival (2020) · Universidad Veritas, San José (2020) · Karlsruhe Institute of Technology (2019) · MEF University, Istanbul (2019) · SCI-Arc, Los Angeles (2019) · Caixaforum Barcelona (2018) · Madrid Design Festival (2018) · Oslo Association of Architects (2018) · The Bartlett School of Architecture, UCL (2018) · The Bilbao Fine Arts Museum (2018) · CENDEAC, Murcia (2017) · Colegio Oficial de Arquitectos de Madrid (2017) · La Térmica, Málaga (2017) · Stockholm Architects’ Association (2017) · The Royal Academy of Arts, London (2017)

DISSEMINATION / PROJECT HIGHLIGHTS

58 Conde de Casal, Madrid. Meeting rooms.

DISSEMINATION / PROJECT HIGHLIGHTS

59 Clementina, Barcelona. Main façade featuring the handpainted cladding system.

60 Conde de Casal, Madrid. Desk area.

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COWORKING SPACES

Bibliography

Sailer, K. and McCulloh, I. (2012). ‘Social Networks and Spatial Configuration: How Office Layouts Drive Social Interaction’. Social Networks. 34 (1). pp. 47–58. Sennett, R. (2008). The Craftsman. New Haven: Yale University Press. Sennett, R. (2012). Together: The Rituals, Pleasures and Politics of Co-operation. London: Allen Lane. Wiener, A. (2020). Uncanny Valley: A Memoir. Farrar: MCD.

Bauman, Z. (2007). Liquid Times: Living in an Age of Uncertainty. Cambridge: Polity. Bernstein, E., and Turban, S. (2018). ‘The Impact of the “Open” Workspace on Human Collaboration’. Philosophical Transactions of the Royal Society. 373 (1753). Chinchilla, I. (2014). Refurbishment of Garcimuñoz Castle. https://bartlettdesignresearchfolios.com/ refurbishment-of-garcimunoz-castle/ Dodge, R., Daly, A., Huyton, J., Sanders, L. (2012). ‘The Challenge of Defining Wellbeing’. International Journal of Wellbeing. 2 (3). pp. 222–35. ERCO (2020). ‘Work - Light for Office – and Administrative Buildings’. ERCO. [Viewed 8 December 2020]. www.erco.com/planning-light/work/ work-6443/en/ Hertzberger, H. (2016). The Future of the Building ‘Centraal Beheer’. [Viewed 14 May 2020]. www.hertzberger.nl/images/nieuws/ TheFutureOfTheBuildingCentraal Beheer2016.pdf Jencks, C. and Silver, N. (1972). Adhocism. New York: Doubleday & Company, Inc. Laing, A., Duffy, F., Jaunzens, D. and Willis, S. (1998). New Environments for Working: The Redesign of Ofﬁces and the Environmental Systems for New Ways of Working. London: Spon. Preiser, W. F. E., Rabinowitz H. Z. and White, E. T. (1987). Post-Occupancy Evaluation. New York: Van Nostrand Reinhold.

BIBLIOGRAPHY / RELATED PUBLICATIONS

Related Publications by the Researchers Chinchilla, I. (2016). ‘Izaskun Chinchilla Architects: Co-working Utopic_US Conde de Casal, Madrid, Spain’. WA Magazine. pp. 24–31. Chinchilla, I. (2019). ‘Utopicus Clementina’. Deco Journal. 293. pp. 128–41. Chinchilla, I. (2020). ‘La Naturaleza Como Fuente de Inspiración’. NAN Arquitectura y Construcción. 152. p. 44. Chinchilla, I. (2020). ‘La Nube’. Co-Working Space Design: Creating a Productive Workplace. Shenzen: Artpower. pp. 172–7.

Related Writings by Others Álvarez, A. (2018). ‘Ventanas a la Creatividad’. Diseño Interior. 300. pp. 140–45. Biagi, M. (2019). ‘Caruso St John e Izaskun Chinchilla’. Ornamento Casabella. 904. pp. 48–75. Biagi, M. (2019). ‘Izaskun Chinchilla Architects: Coworking Utopicus Clementina, Barcelona’. Ornamento Casabella. 904. pp. 62–75. Novo, L. (2017). ‘Nuevos Espacios de Trabajo’. Diseño Interior. 291. pp. 76–81. Novo, L. (2019). ‘Reinterpretando Gràcia’. Diseño Interior. 317. pp. 112–21. Rojas, P. (2017). ‘Izaskun Chinchilla Utiliza la Metáfora de la Ventana para Diseñar un Espacio de Trabajo’. ArchDaily. 15 December. Singhal, S. (2019). ‘Clementina Cowork in Barcelona, Spain by Izaskun Chinchilla Architects’. AEC Café. 26 May. Vallespín Toro, N., Solana Suárez, E., Vega de la Rosa, C. (2019). ‘From the Infraordinary to the Extraordinary. Outlines of An Architectural Conceptualisation’. EGA: Revista de Expresión Gráfica Arquitectónica. 24 (36). pp. 210–21.

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IZASKUN CHINCHILLA ARCHITECTS

COWORKING SPACES

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