Tom Dixon launches first range of office furniture
British designer Tom Dixon has launched his first collection of office furniture, which includes a minimalist lamp and a workstation based on archetypical Victorian school desks.
Dixon designed the range to accommodate the ever-blurring boundaries between the workplace and the home.
Pieces are intended to provide function and flexibility while being attractive enough to be on show in living spaces.
"Distinctions have now become blurred and even vanish altogether as people now work in hybrid ways – partly on the bus, sometimes in communal areas, sometimes even in bed," said Dixon.
"But what unifies these products is a refusal to make a distinction between the quality of life that people aspire to at home and what they seek from a workspace."
New pieces in the collection are the Boom desk light and the Slab School Desk. Cube, Dixon's existing range of desk accessories, has also been updated in an alloy material.
The Boom desk light, described by the designer as a "minimalist sculptural composition", is based on lamps used by draughtsmen.
The lamp features a round head and two slim stems that each pivot and move through three circle-shaped joints.
Victorian school tables informed the simple design of the Slab School desk, which is made from solid oak that has been softly rounded at the edges.
An inkwell is repurposed as a cable management hole, while grooves are designed to hold pens and other accessories.
A series of marble top and metal bases will also be included in the range, which will be on show at this year's Orgatec workplace design fair in Cologne, Germany from 25 to 29 October 2016.
The collection is completed by the Cube stationery collection, made up of a tape dispenser, a stapler, a desk tidy and pens – all available in zinc alloy.
Pieces from the office collection were prototyped at Dixon's Interchange co-working space in north London, which opened earlier this year.
Since then, the British designer has created his second co-working space inside a church in London's Clerkenwell, using his geometric Curve lights and Y chairs to furnish the main congregation area.