Hasta La Ideas

Engineers for web giant Google can lounge on sofas or draw on the walls at their new London headquarters by designers Penson.

As well as computer workstations, the offices include game rooms, music studios, lounge areas and an auditorium.

The lounge areas, named “flight pods”, are filled with two-tiered sofas, while the walls are lined with white-boards.

Corridors are also used as informal meeting spots and are furnished with faceted stools.

Monochrome table and chairs furnish a dedicated coffee area and overlook a lawn of artificial grass.

The offices also house studios for mobile web developers Android, containing electrically adjustable tables and magnetic walls.

We previously featured another office for Google in London, with a giant logo in the lobby – see it here.

Here’s the full press release:

PENSON “Strike 1” for Google Engineering HQ London

One of the world’s most up & coming architecture & interior design brands PENSON, has released their first project for Google engineers, in Buckingham Palace Road, London. This first release forms part of PENSON’s overall programme for Google, covering super cool office spaces for Googlers this year at Central Saint Giles & Belgrave House London.

This first release is a starship enterprise-come-space module-come space-city affair, which is shrewdly functional whilst laying down some really clever & fresh thinking workplace strategies. In summary it’s yet another brilliant to the point release by PENSON.

Henrique Penha of Google commented: “Working with the team at PENSON was a pleasure, they truly understood the functional and aesthetic attributes we were after when redesigning Google’s new engineering offices in London. Together, we pushed the ambition of the project into every phase, giving the Engineering teams in London a place to incubate and execute on numerous Google projects and products.”

The floor provides a mixture of spaces, gaming rooms, music studios, a park, coffee lab, flight pods, lounges, micro-kitchens, an amazing auditorium labelled Tech Talk & an abundance of very clever collaboration & working spaces.

Most walls across the space are magnetic white board laminates, which allow scribbles across the entire floor. In small or large nooks & crannies, Googlers collaborate in alone, in pairs or in spaces that can present casually to 100 people. It’s very clever, loose & natural in that the space works around Googlers & not the other way around. The laminates give a spacious glossy jointless feel. It’s simply fab.

Flight pods are a PENSON invention exclusively for Google. These pods solve a number of programme, landlord & technical matters in the interests of supersonic fit-out speeds. They also look amazing, solve acoustic issues & provide semi private slouching-come-formal seating opportunities that simply look & feel amazing. These are true kick off your shoes & meet spaces. The days of meeting rooms are perhaps numbered!

Knowing PENSON well, it’s of course no surprise to us that the Coffee Lab is in fact made from compressed sheets of spent fresh coffee shavings. Clever! The space overlooks the internal park, with music & gaming rooms creating a space with amazing acoustics for collaborative speeches or as per opening night an electronic violinist.

The space also covers the Android studio, which is responsible for development of all Android matters. The space has electrically adjustable studio tables for working whilst standing or collaborating at low-level. The space has magnetic walls throughout for pin-up presentations of software or new patents currently under development.

Corridors no longer exist through other clever ideas, which mean that footprint usage of the floor plate is maximised. Through shrewd space, planning using techniques that only PENSON seem to dream up, the floor has been totally max packed, however, the spaces feel incredibly loose & spacious. Large isles of walkways with inter-connecting orange lines create a joined-up approach, which breaks up floors. Floors alone are different here, again through PENSON’s young creative commercials.

Desking looks different & fully integrated into the space, thanks to that orange banding. 100% of the desks are fully height adjustable. Screens that divide, whilst allowing group wide social connection, are framed with self-illuminating perspex, which add zest.

Other aspects to the scheme which are also very well considered are acoustics, day-lighting, zoning & socialising. All of these things happen naturally in that the space works, its comfortable & relaxing.

Lee Penson founder of PENSON Groups says: “This project for Google underlines our position within the media & office sectors, not only exposing our supersonic design flair, but also our delivery capabilities. Handing over 300,000sq.ft for Google in less than a year from start to finish to this level of detail is no mean feat & as the remainder of the Google programme is released, the underline will simply get thicker! This is a good looking, functional, commercially & forward thinking project!

It’s a special place that presses all of the right buttons at all levels. Statistics, workplace strategies, styling, atmosphere & forward thinking for Google’s Googlers. Magic!

Une excellente utilisation des photos et des captations de la plateforme Google Street View, par l’artiste Aaron Hobson. Sa série “Cinemascapes” s’axe autour des retouches photographiques de ces visuels de paysages isolés et éloignées. A découvrir dans la suite de l’article.

Previously on Fubiz

• Google Streetview
• Google Street View
• Google Science Fair

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Just in time for Halloween, from the depths of the Android 4.0 laboratory emerges a frightening cross-breed creature called Roboto.

It was built from scratch and made specifically for high density displays. Google describes it has having a “dual nature. It has a mechanical skeleton and the forms are largely geometric. At the same time the font’s sweeping semi-circular curves give it a cheerful demeanor.” — GottaBeMobile

This is pure PR BS. I know it when I see it because I’ve had to write a few glowing descriptions about typefaces that don’t really glow.

Click to embiggen image.

I’m all for the strategy of developing a unique identity typeface, and I commend Google for employing type designers in house, but this is an unwieldy mishmash. Roboto indeed has a mixed heritage, but that mix doesn’t have anything to do with the gibberish from the press release. Its parents are a Grotesk sans (like a slightly condensed Helvetica) and a Humanist sans (like Frutiger or Myriad). There’s nothing wrong with combining elements of these two styles to create something new. The crime is in the way they were combined: grabbing ideas from the Grotesk model, along with a Univers-inspired ‘a’ and ‘G’, welding them to letters from the Humanist model, and then bolting on three straight-sided caps à la DIN.

When an alphabet has such unrelated glyphs it can taste completely different depending on the word. “Fudge” is casual and contemporary. “Marshmallow” is rigid and classical. This is not a typeface. It’s a tossed salad. Or a four-headed Frankenstein. You never know which personality you’ll get.

For now, I can only speculate on how this beast came to be. The font files credit the design to Christian Robertson, whom I know to be a very bright professional with some decent work under his belt, including the convincing handwriter Dear Sarah and the adorable Ubuntu Titling font. Either Google tied him down and made unreasonable demands or there’s something nasty in the water down in Mountain View. To be fair, I haven’t seen the fonts on a phone, in person, and Google promises that they are built specifically for that medium. But I can’t imagine that would erase the inherent problem with the design. There are some good shapes in Roboto, they just belong in multiple typefaces.

In any event, Roboto probably won’t terrorize mobile screens for very long. Helvetica and Frutiger are immortal. Hodgepodge brutes like these usually have a short lifespan.

Download the Roboto fonts
See Roboto in action
For a multi-class combo done right, see Fakt or Breuer Text.

Update: Robertson has replied with his rationale for the design:

Here’s the thinking with the open terminals on the ‘e’ and ‘g’. It has been the hard and fast rule for sans serif types that the a, c, e, g and s must agree as to their angle of exit. Interestingly, this is not the case for serif types, and certainly isn’t true for any kind of handwriting. It is common for the lower case ‘e’ to be more open than the ‘a’ for example. If there is a single story ‘g’ it will often remain open, or even curve back the other way (up until it forms a two story g).

As I experimented with this thinking I realized a couple of things:

1 / I have always hated the way Helvetica and all of her acolytes close the terminal on the ‘g’. It is just so awkward. You can’t do it with a pen; the terminal always wants to end somewhere other than straight up (note that this is not true of s or a). It’s like a ‘t’ or ‘f’ that hooks all the way around. It’s just gross. It’s even worse with the geometric bowl on top. You get such an awkward double curve. I equally hate any calligraphic ‘g’ that closes with a ball terminal.

2 / I discovered that the type with a closed ‘a’ and ‘s’ and an open ‘e’ and ‘g’ has a really beautiful texture across longer blocks of text. The rhythm has this kind of a swirl that is actually really nice to read. You are correct that Fudge and Marshmallow may initially disrupt some expectations, but over the course of actually using the font, you forget that ‘e’ is decreed to be closed like ‘a’ (it doesn’t want to be anyway and ‘g’ needs a friend). Despite the PR speak, the variation in exit vectors does make for a more cheerful type.

As for the other two monster heads, I’m ignoring the part about the straight sided caps, since I don’t find it a problem that the lower case aren’t equally straight sided. Also, I find your disagreement with the K hardly worthy of justifying another head; possibly a finger or toe.

Note that there are still some bugs in the font that has been extracted from the SDK. Many of these have been corrected already, and you can expect to see some fixes to minor kerning issues and some diacritical misalignments. Also, since Android doesn’t use much of the nastiness that is TrueType hinting, Roboto is not hinted to support older Windows browsers, for example.

Update: Jan. 12, 2012 — Google offers the full 16-font Roboto family and specimen book on their new Android Design site. (Thanks, Reed Reibstein.)

How some of the most tech-savvy are using the latest social network

With any new networking platform, the tech crowd always takes the lead while the rest of us are still complaining about our parents joining Facebook. When Google+ launched last month it seemed like a particularly novel way to stay socially organized, but we still weren’t quite sure what to do with it. Turning to the digital community and beyond, we asked around to see how some of the earliest-adopters are engaging. From Refinery29’s VP of Engineering Jorge Lopez, Gina Bianchi (who herself enabled anyone to make their own social network by co-founding Ning) and Selectism editor Jeff Carvalho to Jean Aw, Notcot founder, the overwhelming response from the total of 10 people that we surveyed was that, while there’s tremendous potential, there’s still a lot of learning that has to happen on both the consumer and Google’s side.

Brett Renfer (Interaction Designer at Rockwell Group Lab) told us that the more he uses it, the more he’s discovered a need to share in the selective way that the site allows. Many from our list were on Google+ (or Plus, as some call it) since its launch, like technologist Joel Niedfeldt who described it as a “veritable ghostland at first.” Matt Spangler (a friend of CH and digital entrepreneur) relays his more common experience, “I’ve read about it in articles more than I’ve used it.”

Despite initial hesitations, most are checking Google+ two or three times a day. Ben Lerer, a Thrillist co-founder, and Taj Reid, who’s the brains behind WeJetSet, point out they visit more thanks to the mobile app. And, as illustrator Keren Richter predicts, while it doesn’t have the same activity as Twitter or Facebook, it “has a chance of catching on.”

Which feature do you use most often?

Jeff: Circles, based on common interests. I have circles for people I know interested in technology and music, for example.

Jorge: The Stream is pretty much as far as I go with it. Going to Google+ has pretty much been a chore.

Taj: Definitely the Stream and Circles. I’m also interested in making more use of the photo section.

Gina: My team and I kicked Skype to the curb and now use Hangouts for our daily stand-ups because of the higher quality and reliability. I think they just nailed it.

Keren: I use the Stream, I post photos and update my status.

What’s different about Google+ that you really like?

Ben: It feels like a blend between LinkedIn, Facebook and Twitter to me, but it has some advantages of all of them.

Brett: The Circles more closely mimic real-world social structure. I can see Google+ growing into more of a hub for me, especially in a work context.

Joel: They’ve built a very mature social networking platform that does away with the early-stage stuff that just annoys me now on Facebook. It’s more of a tool.

Jorge: If they had events, I like that I could create a public event and exclude some people. (Sorry parents, I love you, but I don’t want you to hang out with my drunk friends.)

Taj: I like how the posting works—it encourages stickier conversations.

Matt: I like the simplicity and clarity of its design and user interface. Its biggest advantage is integrating the magic of push notification alerts into my everyday media activity.

Gina: It’s seamlessly connected to Gmail as well as my Google docs and apps, so it fits in beautifully with the fabric of my workday.

Is Google+ better for business or social aspects?

Brett: My job is very tech-centric, so my circles lean more towards people I’m interested in because of work rather than people I know in a social context.

Jeff: Socially. We’ll see how their business model turns out for the service. I have a feeling it will not be free.

Jean: So far it’s the same mess I have on Facebook and Twitter.

Matt: I’ve started creating some client-specific circles that I’m monitoring, but its just the beginning of that. Once they open up the API and allow for third-party developing, I think I’ll both use the system more and it will drive a lot more adoption. I can imagine ways my small groups of trusted individuals can connect in more exciting ways, but it will depend on how well done the API is.

Keren: I’m not the most business-minded. Right now, it’s mostly for friends and memes, but it’s not SO much better than Facebook that there will be a mass exodus.

Contributions from Karen Day, Graham Hiemstra, Ami Kealoha, Evan Orensten, Josh Rubin and Greg Stefano

Architecture firm Scott Brownrigg have completed the London office of internet search engine Google, with a giant logo in the lobby forming doorways through the two Os.

Designed with a Brighton beach theme, the interior is filled with dodgem cars used as work spaces, red telephone booths, beach huts and giant dice.

Wallpaper in the meeting rooms and video conference booths is printed with seaside imagery.

The space also includes a gym, spa centre and restaurant offering free meals for the 300 strong staff.

More office interiors on Dezeen »

Here’s some more information from Google:

SCOTT BROWNRIGG INTERIOR DESIGN COMPLETES PHASE ONE OF GOOGLE’S NEW LONDON OFFICE

Scott Brownrigg Interior Design has created a new 40,000 sq ft office for Google at 123 Buckingham Palace Road, London to accommodate over 300 staff.

The new office is designed to create a dynamic and collaborative work environment that supports the growing number of Google staff in London. As with many other Google offices worldwide, the office has a strong local theme. Joe Borrett and Jane Preston from Google, working with the Scott Brownrigg Interior Design team chose a theme of London-Brighton and as a result many iconic elements of both are incorporated into the office design.

For example, brightly coloured timber beach huts are meeting rooms and giant colourful dice accommodate individual video conference booths, original dodgem cars and traditional red telephone booths are all work spaces available to staff and visitors. Open plan workstations for all staff are mixed with a few offices, meeting rooms and open break out seating areas and support spaces for printing and IT technical support. Google look after the health and welfare of their staff in an exceptional way and Scott Brownrigg Interior Design has designed a fully fitted out gym/shower facility, massage and spa treatment centre, and an Asian Fusion/Sushi restaurant that is free for all staff.

Ken Giannini, Interior Design Director of Scott Brownrigg stated: “It is little wonder that Google is one of the most desirable places to work in the UK. We have enjoyed every minute of this exciting project. All the Google staff are up for innovation, brilliant ideas and they like to be challenged. We also recognise that Google is a serious business and demands efficiency, value and solutions that can support their business practices. This project has it all – a fun working environment that also incorporates lots of practical solutions.”

Joe Borrett, Head of Real Estate and Construction for Google commented that: “The office was designed and delivered in a very fast timescale (4 months) and the team of consultants and the contractor pulled out all the stops to get it done. It was an impressive effort.”

Jane Preston, UK Facilities Manager at Google said: “The first impressions by visitors and our staff has been very positive. The project fits well with our real estate and HR strategy and will definitely help support our growth plans. We see the work environment as a major recruitment factor for us to compete for the best talent and this new office certainly does that.”

Client: Google
Interior Designers/Planning: Scott Brownrigg Interior Design
Programme Managers: CBRE
Project Managers and Cost Consultants: MottMacDonald
M&E Consultants: TBA
Main Contractor: Cameron Black
Size/floor space: 40,000 sq ft
Timetable: 16 weeks
Furniture: Desking System: Bene, Task chairs: Herman Miller, Knoll, Vitra, Hitch Mylius, Wiesner Hager, Arper, James Burleigh
Flooring: Interface Floor, Object Carpet, Dalsouple

Completion of phase one was November 2010 and phase two (10,000 ft2) completes March 2011.

See also:

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KK Outlet by Fashion Architecture Taste	Cheap Monday Office by Uglycute	A Red Object by 3Gatti Architecture Studio