The way we experience the world is largely through the design of the places, products, communications, services and systems we encounter every day. Design determines how difficult or easy it is to achieve certain things - whether taking a bath, cooking a meal, crossing the street or making a call, we all want a world that works for us all the time. However, some people are excluded from the simplest and most basic everyday experiences. Why? This is because the act of designing has given insufficient consideration to their level of physical ability or cognitive difference or cultural background or economic circumstance. Over the past 30 years, however, there has been a shift in designing to become more empathic and inclusive of different human needs. The Helen Hamlyn Centre for Design at the Royal College of Art first pioneered the concept of inclusive design in the early 1990s and it has gone on to build an extensive portfolio of collaborative projects over a long period, developing new methods, coaching designers at all levels in the approach and bringing a more inclusive way of thinking about design to international attention. This book shows the parameters of inclusive design through the lens of the centre's own projects in the field. It therefore maps a movement and, at the same time, marks a milestone: the 30th anniversary of the Helen Hamlyn Centre for Design in 2021. 30 everyday artefacts and environments are explored. These vary in scale: some are simple, hand-held objects, while others form part of large and complex environments or systems. Some have reached the market, others we can file under 'ideas for the future'. All reflect an approach which could be described as designing with people as opposed to designing for people.

MoreySmith is one of Britain's foremost interior design practices. The first book to showcase its work, Renew looks back on two decades of ground-breaking, award-winning projects. Since founding the business in 1993, Linda Morey Smith has built a reputation for achieving the unachievable, transforming the dark, derelict and uninspiring into light-flooded, sophisticated and uplifting spaces. From London's Capital Radio, MoreySmith's first commission, to current clients such as Moet Hennessy, Renew follows the practice's visions as they take shape, always staying true to the original vision.
Among MoreySmith's trademarks is the ability to work with difficult period buildings, opening them up and injecting them with warmth while remaining sensitive to the original structure and allowing it to shine through. With a Foreword by Professor Jeremy Myerson, Director of the Helen Hamlyn Centre for Design at the Royal College of Art,
and an essay by Henrietta Thompson, Editor-at-Large for Wallpaper*, Renew explores the process through which this is achieved, also exploring the practice's frequent collaborations with artists and the working methods that have ensured a dedicated loyalty when it comes to both clients and workforce over the years.
Whether designing a home or a corporate headquarters, people are central to every MoreySmith project, and this ability to infuse a building with a sense of humanity is behind truly successful interior architecture. Renew reveals the vision, attention to detail, technical expertise and commitment necessary to make it a reality.

Offices shape the lives of millions of people. How we plan, design and equip them says a great deal about the culture of organisations, the mentality of managers and the motivations of staff. But getting the right balance between management efficiency and individual wellbeing is as elusive as ever. New Demographics New Workspace looks for answers in some new places. The authors address ways in which the office environment can be redesigned to offer greater levels of comfort, flexibility and fitness for purpose in the new age of the older knowledge worker. Based on the findings of the authors 'Welcoming Workplace' research project at the Royal College of Art Helen Hamlyn Centre, New Demographics New Workspace examines the impact of two of the most significant shifts in the workplace: the ageing of the workforce and the changing nature of work itself in the knowledge economy. By examining the movements and motivations of older knowledge workers in the UK, Japan and Australia, the authors have generated new conceptual approaches to office design that offer an alternative to the current outdated model derived from the factory floor. In particular they question the value of open-plan offices that favour collaboration over concentration and contemplation. Given the growing pensions crisis and anticipated knowledge gap in the workforce in many developed countries, this book has real political, economic and social resonance. If we are all going to have extended working lives in the 21st century, the places in which we work will need to flex and adapt to make us want to keep on working.

Over the past hundred years, the office has been integral to the development of modern society. It has shaped the architecture of our cities, the behaviour of our organizations and the everyday movements of millions of people. In 2020, however, the global pandemic brought our attendance in the office to an abrupt halt and triggered a complete re-evaluation of the purpose of the workplace. This book offers a panoramic view of the office and explores what happens next. The authors advance a manifesto for ‘unworking’ – unlearning old habits and rituals established for an outdated office and creating new ones fit for an age of digital technology, design innovation and diverse workforces.