Project Of The Week – Poly Garden Presentation Center

We’ve been working with some of the most skilled and innovative British designers since our beginnings in the 1960s, and sustainable design is definitely one of the major emerging trends over the last few seasons.

Corian achieved zero landfill status back in 2012 by reusing and recycling waste during the manufacturing process. By using scraps and sanding from making solid surface sheets, as well as responsibly reusing packaging and manufacturing materials, makers DuPont have managed to futureproof their own business as well as the installations that are created from Corian.

But sustainable design runs deeper than the manufacturing process, and each week it seems we’re inundated with astounding examples of design for the home that prove that sustainable design is accessible to everyone and really worth investing in. Here are just some of our favourite examples.

Cena Collection by Jamie Mansfield
As part of his studies at Nottingham Trent University, Jamie has carried out research into thelack of utensils in modern kitchens and discovered that customers often find them ugly and out of place in a stylish kitchen setting. Jamie decided that using the waste from new Corian kitchens would be the ideal way to create something bespoke and stylish for homeowners that will complement their new design as well as save scrap material from landfill. The result was the Cena collection a classic utensil set for the modern home.

This innovative reuse of scrap materials is a sustainable solution due to the longevity and durable nature of Corian too. Its nonporous qualities prevent stains from penetrating the material, making them easy to clean and completely hygienic.

Pixel Credenza by Jay Watson

Oxfordshire based designer Jay Watson asked local fabricators and kitchen studios for out-of-date Corian samples to create this abstract pixellated unit. Using sustainably sourced birch plywood for the frame, the unit comprises three drawers with a cupboard either side. Touch opening mechanisms complete the sleek look and feel.
Watson says he chose Corian due to its durability and easytocare for properties. As well as a unique and artistic addition to the home, the credenza is practical too as users can place items on the tabletop without marking or water damaging the surface. Any scratches can be easily sanded or buffed out, making this piece of furniture easy to repair and able to stand the test of time.

ORIGIN light pendant by Gregg Parsell
Another graduate of Nottingham Trent, Gregg Parsell has used the translucent properties of partially recycled Corian to create these beautiful spiral light pendants. By combining American Black walnut with Glacier White Corian, Parsell achieves a dramatic contrast. Routed lines within the spiral, reveal an illuminated pattern with the overall piece inspired by seed pods.

The wood and Corian parts are removable and at the end of the pendant’s life can be recycled separately to further minimise its impact on the environment, meaning consumers with a conscience can still get their fix of style.
With designs such as these breaking into the British market, homeowners are provided with sustainable solutions to everyday home design issues.

Cutting down on resources, reusing and recycling helps keep costs down but also safeguards the future of design for the home, making it much more than a passing trend.

Written by Gary Baker. Gary is the MD of CD (UK) Ltd, the exclusive distributors of Corian in the UK. For more solid surface design ideas and inspiration, you can read Gary’s blog on cdukltd.co.uk.

The rapid and relentless advancement of technology means that the younger generation are increasingly exposed to a wider and more varied source of information. This has a knock-on effect on the evolution of educational techniques, and, in turn, in educational environments. New thinking now places an ever-growing emphasis on the importance of learning spaces, in addition to curriculum, class size and location.

We were lucky enough to speak to Peter Cunningham, the Design Manager of commercial interior design and manufacturers Innova Design Solutions, about the changing face of our children’s classrooms.

In the first segment of this two-part interview, Peter shed some light on how educational interior design has already been evolving, what we can expect in the future, and some role models for the UK to aspire to, among other topics.

Changes: Both Past and Pending

Over the last decade, the way in which our children are being taught has been developing and adapting to the growing influence of technology on education. “Visual and interactive learning spaces are becoming central to teaching with the introduction of smart boards, touch screens and green screen technology. Smart phones and tablets are becoming increasingly used as resourceful tools in lessons,” says Peter.

And this advancement in the influence of technology heralds a change in the teaching spaces themselves. “With the introduction of new technologies, the design of classrooms needs to be optimised to accommodate new technologies, allow seamless cable management, provide secure storage spaces and ensure sufficient power sockets where necessary.”

Technological advancements are not the only steps forward that teaching has taken. Traditionally, students were encouraged to work alone which often stifled some students’ potential, whilst also neglecting the social side of learning. Peter highlights the importance of developing all aspects of a child’s education:

“Group working and live projects is fast becoming an effective method of teaching where students can interact and work together to solve problems or work on a task. Providing learning spaces outside of the classroom is just as important to a student's academic development as the traditional classroom setting. From break-out spaces with modular seating to creative use of corridors, cyber cafes and multi-functional libraries; creating spaces which allow collaborative working will enable schools to foster a culture of teamwork.”

This is reflected in the changes in classroom seating plans over the last decade. “In the industrial era, schools developed as highly controlled environments that reflected the common workplace, in which it was necessary to have discipline.”

But while such plans may have served to keep students in order, new thinking suggests it may have stunted their development in other ways, argues Peter. “Traditional classroom set-ups with rows of students all facing the teacher does not promote creativity or collaboration. Now, classrooms must adapt to suit the information age, reflected through more diverse forms of learning with flexible layouts to suite a variety of teaching styles.”

Overseas Inspiration

According to Peter, there are a multitude of other countries who have already implemented innovative educational interior design ideas which can serve as a role model for the UK. “Counties leading the way in educational interiors include Sweden, Netherlands and Germany. All are forward thinking and innovative in their approach to facilitate learning in the classroom.”

As with many aspects of society, Scandinavian countries lead the way in pioneering ideas. Peter singled out one particular Swedish classroom designed by the architects at Rosan Bosch, which pushed the boundaries of educational interior design. “Two years ago a Swedish architectural practise implemented the very first classroom-less school, creating loosely designed spaces as opposed to fixed classroom bases. The breakdown of physical barriers such as walls and desks has created a free space which allows students to come together to collaborate, imagine and learn.”

Working within Limits to Think outside the Box

A 2012 study by U.K. design firm IBI Nightingale & the University of Salford found that the confluence of classroom design features, such as room orientation, HVAC, acoustics, and furniture, can enhance or set back a student’s academic progress by up to 25 percent during the course of a year.

Peter champions the importance of internal environments in the classroom, and, indeed, has helped to pioneer a new successful classroom model.

“We have recently completed a new build development, which focused on providing inspirational interiors which work for both staff and students. Since the work has been completed, the school has seen phenomenal results, including a 30% increase in pupil numbers despite falling rolls in the district, 2012 record whole school results, 2013 best ever Science results, 2013 best ever Art results, 2013 outdoor concert for audience of 200 and community use 7 days a week.”

However, Peter realises that implementing such designs, as desirable as they might be, will always be difficult in the current economic climate. “The bottom line will be the resources available for school design and more often than not, the budget and availability of space will take precedence.”

Indeed, such a shortcoming in the education budget has led to the government's recent restrictions on school building designs, including a ban on curved and glass walls. However, many architects are using the revealing 2012 study to try and fight the ban. Whilst Peter recognises the constraints that the government operates under, he is keen to stress the dangers of neglecting the educational environment.

“This study is proof that classroom design matters and yet in a lot of projects we see, classroom interiors tend to be the last areas considered, and specifications are often determined by the amount of money that is left in the pot, rather than something that is budgeted for.

“Classroom design, therefore, needs to be at the forefront of school building design as it’s the interiors which make a difference to learners and educators.”

A Better Classroom for a Better Class

A concerted effort to improve the classroom environment has clearly been proved to improve the performance of students. In this segment, Peter laid out the basic changes that have taken and will take place over the coming years, as well as pointing out some early role models and highlighting the challenges posed by budget and space availability.

In the next segment , Peter gets into more specifics about the importance of the appropriate furnishings in the classroom, including furniture, technology and student input, as well as more general contributing factors, like colour schemes and security.

Written by Rob Truslove

As an enthusiastic design fan, lover of interiors and writer, Rob contributes to a smorgasbord of varying website blogs on a number of subjects. Rob is a proud father and husband of an ICT specialist, which drives his interest in educational architecture.

Image Sources:

•    Swedish Classroom # 1: http://i.bnet.com/blogs/telefonplan-school-jan20121.jpg
•    Swedish Classroom # 1: http://i.bnet.com/blogs/telefonplan4-school-jan20126.jpg

But art deco has French origins: its name derives from the 1925 Paris Exposition Internationale des Arts Décoratifs et Industriels Modernes; the shortened name came into widespread use when an English historian, Bevis Hillier, used it in 1968 for one of the first books on the subject, titled Art Deco of the 20s and 30s.

Characterised by its use of luxurious materials, superb craftsmanship and simple shapes, art deco was born out of the rapid industrialisation of the interwar period. It celebrated the age of the machine and was assertively modern, replacing the curving organic shapes of art nouveau which preceded it.

“The new style followed the war when France needed to relaunch herself. People . . . wanted something new and modern,” says Caroline Loizel, press officer for the exhibition 1925, when Art Deco dazzled the World, which is being held at the Cité de L’Architecture et du Patrimoine in Paris until March 3.

In the decade leading up to the first world war, life for many in Paris was good. The elegant department store Galeries Lafayette opened a new branch on Boulevard Haussmann, selling fashion to the middle classes, Louis Blériot flew across the English Channel, French cinema was booming, and the first radio mast was fixed to the top of the Eiffel Tower.

Then war broke out. Although Parisians tried to carry on with the good life, the conflict had a devastating effect owing to the number of lives lost, the impact of rationing and a devastating flu epidemic in 1916.

By 1925 the city was ready to re-establish itself.

The Paris exhibition was designed to show the world that the city was the most fashionable, luxurious and tasteful city of all.

According to the notes from a 2003 exhibition, Art Deco: 1910-1939, hosted by the Victoria and Albert Museum in London: “With over 16 million visitors . . . Paris itself was put on show as the most fashionable of cities. The [1925] exhibition had an immediate and worldwide impact.”

After the 1925 event, French architects, designers and artists were invited to demonstrate their work all over the world.

Fabrice Bana, a London-based interior designer and art deco aficionado, says of the style: “It is elegant, glamorous, functional and modern. The materials used, including shagreen, Makassar [ebony], ivory and mother of pearl, were lavish, in part a reaction to the austerity of the war. But despite their opulence and craftsmanship, the pieces were designed to be used; I’ve sat on a 1928 Jean-Michel Frank shagreen (stingray skin) and oak armchair which was supremely comfortable, ergonomically designed and timelessly elegant,” says Bana.

While the number of art deco buildings is relatively low in the centre of Paris – there was no great need for housing thanks to Haussmann’s building spree, nor had the city been badly bombed – industrialisation meant that factories and facilities for the city’s workers were required. “Renault had its factories in Boulogne-Billancourt, which is a [nearby] suburb of Paris. In addition to the factories, they had to build homes for the engineers and workers. The whole area is very art deco and is now very sought after,” says Loizel.

François Blanc, founder of Communic’Art, lives in an art deco building on Boulevard Raspail in the 14th arrondissement. “Haussmannisation means that while Paris is very beautiful, many of the buildings are very similar,” he says. “I had always walked past this [art deco] building and wondered what it was like inside and when one became available, I jumped at the chance. The high ceiling was a real selling point as it meant it could be converted into a split-level mezzanine and still have light from the tall windows.”

In addition to the high-end materials associated with the period, mass production meant that there was more glass, chrome and mirror used in the home too.

By the 1930s, after Tutankhamun’s tomb had been discovered, Egyptian motifs began to appear, joining other African imagery which was growing in popularity as international travel became more widespread.

One of the most recognisable art deco immeubles is the Walter building in the 16th arrondissement, which was designed in the 1930s by Jean Walter. A three-bedroom apartment in the building is currently on the market for more than £3m.

Pierre Yovanovitch, an interior designer greatly influenced by art deco, knows the building well. “The rooms are large and the apartments tend to be much bigger than other Parisian buildings,” he says. “The ceilings are much higher than Haussmann and the windows are very big too with steel frames.”

Yovanovitch has renovated an apartment in an art deco building in Quai Anatole (in the 7th arrondissement) which he recently sold “for a lot of money”. “Art deco works very well in the 21st century because of the clean, simple lines,” he says.

Jean-Louis Deniot, an interior designer who has renovated buildings and who also designs furniture, says: “It’s very easy to reproduce or manufacture art deco style because of the straight lines. One problem with the Parisian pieces is that they were made for smaller spaces than you find, for example, in the US, so they can get lost in a large room. But while the furniture is smaller, the proportions of the rooms are larger.”

Parquet floors were often inlaid with intricate geometric designs and the plasterwork also featured linear patterns.

According to Bana, it was also a style that was built to last. “Great craftsmanship with superb materials will age gracefully hence the astronomical prices these objects reach at auctions which rival those of the art markets these days.”

Indeed, on March 11 and 12 Sotheby’s Paris is holding an auction of some 300 pieces belonging to the art dealer, collector and art deco pioneer Félix Marcilhac. One of the star lots is a Commode à l’Anglaise, which is black with an abstract orange and yellow pattern, expected to fetch up between €3,000 and €4,000.

By the 1940s the popularity of art deco had waned. Its decorative style seemed out of place in a politically unstable Europe, not to mention the aftermath of the Great Depression. Art deco was replaced by modernism, a style based around simple materials that rejected the idea of lavish ornamentation. Despite this, the impact of art deco continues to be felt today.

Today’s post is dedicated to the second installment about the recently opened The Wellesley hotel in Mayfair.

A lot has happened since Part 1 when A-Gent of Style reviewed the ground floor public areas of the already prestigious hotel.

But first and foremost, congratulations are in order: The Wellesley and award-winning Interior Design company Fox Linton Associates have been shortlisted for three awards at the 2013 European Hotel Design Awards; The Jazz Lounge and Oval Restaurant, The Crystal Bar and also The Suites are now in competition.

What an impressive achievement. Highly deserved.

A-Gent of Style was granted access to all floors of this 5-star ‘new kid on the block’ (The Wellesley itself confirmed it is not a 6-star hotel despite the media hype before its opening) and is taking you today on a private tour of the guest rooms.

Above the public areas of the ground floor, The Wellesley is graced with 36 guest bedrooms spreading over seven floors, the last two culminating in the signature Wellesley Penthouse offering a private terrace with stunning views of Hyde Park.

Every room offers 24-hour-butler-service and is individually finished with sumptuous décor and amenities, equipped with the latest state-of-the art technology ( electric curtains, 52″ flat screen TVs, in-room laptops, Samsung control tablets and complimentary Wi-Fi), all cleverly integrated in the bespoke elements.

The rooms are sheathed in a palette of cream, ivory and off-white – mostly faux leather panels on the walls, luxurious wall-to-wall carpets and beautifully drapes of pleated fabric on the windows – with different accent colours (gold or burgundy in the Deluxe rooms), and some of the bespoke joinery designed by Fox Linton Associates is made of Art Deco-favoured ebony Macassar in a high gloss, veneer-finish. There are hints of brass and bronze in the custom-made lamps by Dernier & Hamlyn (who also created the chandeliers on the ground floor) and also the ribbed lever handles by Joseph Giles (but polished nickel on the bathroom side). The stepped, coffered ceilings provide soft and flattering glow that complement the colour schemes. Elegant black and white framed photographs from Vogue and Vanity Fair archives, probably shot by Blumenfeld, are scattered around the rooms (and the corridors). The headboards are upholstered in leather and the deluxe king-size beds are enveloped in customised luxurious bedding.
A perfect night, no doubt, to be had in the arms of Morpheus.

The Penthouse floors comprise the Churchill Suite, Wellesley I, Wellesley II and Penthouse Suite which are the jewels in the crown of The Wellesley. The latter is situated over the top two floors which are linked by a private leather-panelled staircase. This suite can boast its own private terrace, boardroom and personal humidor.
All the rooms are interconnected and give a great sense of rhythm, fluidity, privacy and exclusivity.

Here, the rooms are wrapped in a palette of champagne and pearl, the accent colours on the sensuous mohairs and velvets are rich, saturated midnight blues and browns, and there are hints of silver and gold to express the glitzy “Roaring Twenties”/Hollywood feel.

A-Gent of Style found the stepped, travertine Art Deco fireplace simply sublime.

A humidor and a wine cabinet, both in high gloss Macassar, are flanked on both sides of the dining table.

All the bathrooms at The Wellesley are equally stunning: the focal point is unquestionably the beautiful, deeply veined Italian Carrara Arabescato marble on the floor and on the walls which give the rooms great character, substance and grandeur. The shiny mirrored, silver-polished vanity units and shelves add a sense of elegance. Top-end bathroom fixtures and accessories by Dornbracht and Villeroy & Boch finish off the décor superbly well.

So, whatever takes your fancy – a top-notch cigar, Cognac, cocktail, intimate meal, celebratory Afternoon Tea or romantic stay in a suite (A-Gent of Style will happily settle for all of them. At the same time) – The Wellesley is the latest ultimate hideaway in London to ‘Chanel’ your inner Agatha Christie in stylish and tasteful surroundings.

A-Gent wishes Fox Linton Associates and The Wellesley good luck on November, 19 at the EHDA awards ceremony.

Situated opposite Hyde Park at Number 11 Knightsbridge where the famous jazz club Pizza on the Park used to be (oh the memories!) and tucked away between the equally opulent ‘grande dame’ hotels The Lanesborough and The Berkeley, the 1920s townhouse is the new contender amongst London’s luxury hotels.

Now owned by Arab Investments Ltd, the hotel was named after Sir Arthur Wellesley, the first Duke of Wellington, a fine military leader who served as the Prime Minister of Great Britain twice between 1828 and 1834, and later as leader of the House of Lords

The beautifully restored and lavishly refurbished hotel is the result of the award-winning Fox Linton Associates who transformed and crafted the interiors of the 36 suites and bedrooms residence with a modern Art Deco feel and sumptuous finishes.

The six-floor hotel is comparatively smaller compared to the more imposing aforementioned hotels but still offers its residents traditional glamour, contemporary luxury and an uncompromising service. Where else do you get a complimentary 24-hour butler service and the courtesy of a Rolls-Royce drop off service within a 1.5mile radius!

The existing, historical aspects of the current building – above the infrastructure of the Piccadilly Line of the London Underground -  were preserved. The orignal facade decorated with stone and faience was retained but a new one was added and constructed this time with brickwork and slate.

A-Gent of Style was given special access to the hotel especially the suites and penthouses but this first part will focus on the ground floor and its common areas.

As soon as you step in past the heavy bronze entrance doors, you know that you are dealing with opulence and excellence. A long, colonnaded, vaulted corridor bedecked in marble welcomes you and invite you to discover the interconnected rooms on either side. Everything here has been custom-made and the craftmanship and attention to detail are second to none: the glitzy crystal ceiling lights, the bespoke art work on the walls, the big stud-patterned desks with leather, marble and metals, and the etched, mirrored arcades above the walls.

But what is special about The Wellesley is that the common areas are relatively small and it hasn’t got the overwhelming grandeur some of its counterparts have. It is very much in a class of its own. For instance, there isn’t an imposing lobby and reception area as such with squads of staff milling about with suitcases or trays. It is contradictorily quite simple yet luxurious and feels very intimate and serene.

The first room on your right is the Crystal Bar which showcases a wall of the finest whiskies, armagnacs and cognacs where you can sip languorously at the wondrous 1920s-like, lit-up, glass and marble bar from the midnight-blue faux-crocodile stools. The floor is covered in Moonlight Grey and Noir St Laurent marble

The Wellesley attracts tobacco enthusiasts as it has one of the largest bespoke humidor in the UK.

On the left, you will find the dark and moody  Humidor Lounge opposite the bar which proved to be the perfect spot for us to have an apéritif the evening I visited. The look of these two rooms is very masculine, sultry and moody a bit like Claridge’s The Fumoir and has the feel of a Gentlemen’s Club. Here the deep-buttoned, Chesterfield black leather sofas and chairs complement well the imposing painting of Winston Churchill and the modern sculptural lights (or is it light sculptures?). The imposing circular blue glass chandelier is undeniably the pièce de résistance. The light fittings in the public areas were made by Dernier & Hamlyn.

There are two outdoor, covered Cigar Terraces (with rugs and art on the walls!) which provide an intimate yet spacious environment to indulge in a fine cigar. The furniture is made of teak and the upholstered in dark blue leather.

Then, on the left-hand side at the end of the corridor, guests will find The Jazz Lounge where they can enjoy a selection of high teas while listening to daytime jazz or settle back with a cocktail during the evening in an intimate, Gatsby style and atmosphere. I liked the palette of soft pinks on the chairs (leather on the seats but silk on the back; great detail) and particularly the bronze screen – I do love a screen – adorned with festoon-shaped pearl strings, mixed with the deep blue on the Gunta Stölz-esque, square-patterned carpet.

Pic. Ivory faux ostrich wall panelling

The Oval Restaurant, on the right, is an intimate hideaway which can seat up to 28 customers offering refined Italian cuisine. Once again, the room is smoothly enveloped in sugar-almond pinks found on the hand-crafted mahogany chairs upholstered with leather on the front and horsehair on the back and deep-buttoned banquettes and is replete with glamourous references to Art Deco from the sunburst-shaped, 2-toned glossy marble on the floor to the cream, fan-shaped leather panels on the walls with brass detailing, the glitzy chandelier on the circular, coffered ceiling and the concertinaed mirrored wall that reminded me of the iconic staircase at the Paris Chanel store, Rue Cambon.

Stay tuned for Part 2 where A-Gent of Style will be taking you on a private tour of the suites and penthouses…

For many interior designers, life at home and life at work are one and the same. Some spend long hours at an office, while others blur the lines between their job and life by working from home. Dedication as an entrepreneur is essential, but at a certain point, everyone needs to find a way to feel like more than just his or her professional title. Here are five tips to help you develop a balance between work and life in the realm of interior design.

1. Understand Your Limits. From designing to client relationship management and keeping up with small-business trends, interior designers may easily find themselves working long hours each day and into the night. Small-business owners and freelancers often throw themselves into their work, thinking that the success of an enterprise depends entirely upon them.

Working long hours when a deadline is approaching is logical, but consistently pulling 12-hour shifts for months on end will likely result in burnout. As any interior designer knows, it’s difficult to be creative and produce high-quality work when feeling like you’re at the end of your rope. Rather than overdoing it, Forbes recommends protecting your private time, such as when taking walks, driving to meet clients, or even grabbing a quick bite to eat in between searching for design materials.

Even with designated time to take a mental break, long days can still be exhausting. If you find yourself getting toward your maximum work abilities, remember that it’s okay to say no. There’s no rule that says you need to take on every design opportunity that comes your way, at least not right away. Tell a client you’d be happy to take on a project—starting next week.

2. Create a Schedule. Many people envy interior designers who work from home; they can set their own hours, dress how they please, and are free of the burden of a morning commute. However, there are some downfalls to operating from home. As opposed to onsite staffers, who leave an office and can immediately mentally detach themselves from work, self-employed or home-based interior designers live where they work.

That’s why it’s particularly important to set a work schedule while at home. Whether a designer prefers to wake up early and begin working or meeting clients at their homes for consultations by 8 a.m. or would prefer to sleep in later and take more evening appointments, the important thing is to establish a steady schedule, and adhere to it.

Use time-management techniques and schedule time specifically for searching for fabrics and other materials, schedule another allotment for returning client emails, and set an end time to your workday. Then stick to it. That might mean calling it quits while in the middle of a search for the perfect light fixture for a home, or emailing a client that you’ll get back to them with a full update the next morning.

It may be difficult to step away at the end of the day, but soon this will become a habit that will keep you healthier, happier, and more balanced.

3. Designate Space. Creating a home office that is conducive to productivity can make a huge difference in attempting to strike a home and life balance. A small spare room is perfect for an office where an interior designer can spend their time and even meet with clients; then once they’ve completed their work, they can shut the door to their office, marking the end of a workday. A home office is another great place to show off your eye for style, and clients who meet you at your office will be able to see how effective design can be when you’re in charge. Check out Janelle McCulloch’s Library of Design blog for design insights and home-office tips.

Some find it too difficult to fully separate home and work life when designing in their living room or even a spare office. For those designers, shared workspaces are a great option. Shared workspaces are designed for freelance and independent workers; interior designers can rent out a desk in a communal space where others will also be working. You can reserve a desk for a day, week, or even months, and you will be able to keep your physical home separate from work.

4. Get Organized. You’re a creative, dynamic interior designer managing a small business, and… your workspace is a mess. You have fabric samples in stacks on your desk, binders full of design ideas on top of a spare chair, and notes stuck to your computer monitor reminding yourself to call to vendors. One of the easiest ways to free up time for a healthy home life is to keep work documents, files, and contacts neat and orderly. Use binders to store contracts, keep the surface of your desk tidy, and clean up your hard drive.

Take an afternoon to look through your desktop and sort everything out. Designate folders for projects by client name, and label important emails so you never have to spend precious time searching through disorganized files again. If you don’t use this method already, try setting reminders for yourself using an online calendar that you can access from your office or on your phone. It’s amazing how many hours a bit of organization will free up, leaving time for family and friends.

5. Develop New Passions. Working as a freelance interior designer or running a small firm requires passion and dedication, which is why it’s no surprise that it’s hard for many designers to think of anything else. However, to find a balance between life and work, it’s important to consider life outside the world of design.

Think about something you’ve always wanted to try, or a hobby you used to have when you were a kid. Now get out of the house and do it. Take a painting class, go for a run, or become a member at a museum and keep up with new exhibits. Not only will these activities help you feel balanced and relaxed, they’ll also clear your head. When you return to your desk the next day, you’ll feel refreshed and ready to take on a new day of design.

How do you balance work and home life? What do you do to make sure you step away from your desk at the end of the day? Let us know in the comments below.

Author Anne Bouleanu, Line//Shape//Space