Popping-in?

We designed our studio; it's filled with light and music. There are multiple meeting rooms, a well stocked kitchen, and an indoor garden (with fishpond). Pop-in for tea and stay to use a spare desk for as long as you need.

11 Greenwich Centre Business Park,
53 Norman Road, Greenwich
London SE10 9QF

Cog is a Certified B Corporation

Public transport

We’re next to Greenwich train and DLR station. We have a door right on the concourse but it’s different to our postal address.

From Greenwich rail platform

This video shows the route to take from the train that will arrive at Greenwich rail station from London Bridge.

From Greenwich DLR station

This video shows the route to take from the DLR that will arrive at Greenwich DLR station from Bank.

By car

If you have to come by car, we have a couple of parking spaces in front of our studio. Call ahead to make sure they’re free, and use our postcode (SE10 9QF) to guide you in.

Get in touch

We’d love to hear from you. Use whichever medium works best for you.

11 Greenwich Centre Business Park,
53 Norman Road, Greenwich
London SE10 9QF

Cog is a Certified B Corporation

New project enquiry

It's exciting to chat about potential new projects. We don't have a ‘sales’ team or a form to fill in. Call us or give us a little detail via email and we'll get straight back to you.

enquiry@cogdesign.com

Website support

If you're a client then you'll be best served by calling us or contacting us via Basecamp, otherwise you can use this dedicated email that reaches all of the digital team.

digital@cogdesign.com

Finance questions

This email hits the inboxes of the people who deal with our bookkeeping and finances.

accounts@cogdesign.com

Just want a chat?

Sometimes enquiries don't fall neatly under a heading, do they?

hello@cogdesign.com

Cultural Calendar

A round-up of recommendations and reviews, sent on the first Friday of each month, topped-off with a commissioned image from a talented new illustrator. Sign-up and tell your friends.

Sign me up Cultural Calendar

Cog News

An irregular update of activity from our studio. Showing off about great new projects, announcements, job opportunities, that sort of thing. Sign-up and tell your friends.

Sign me up Cog News

This House at National Theatre

This House at National Theatre

Michael’s been to the National Theatre to see the much-lauded new play about the whips’ office in mid 1970s Parliament.

People kept telling me to go and see this play but the subject matter sounded really dry so I kept putting it off. It was sold-out by the time I got round to booking. I had to wait for returns. I’m so glad I did.

The thought of a two and a half hour play about the whips’ offices in mid 1970s Parliament might not set everyone’s pulses racing. But I can’t remember a play I’ve enjoyed more in recent months.

What surprised me most was how many actors I recognised. Everyone I’d spoken to had been so enamored with the play that they’d not mentioned the cast. Phil Daniels, Reece Dinsdale and one of my favourite comic actors, Vincent Franklin, played in a brilliant ensemble.

This was a pivot point in British history, perhaps the last time when there would be a clear ideological distinction between the two parties. The parties split across the divide of class, wealth and education; nowhere was this more evident than in the hidden back-rooms of influence.

This was a time before television entered the chamber. A time when we sat, agog as the News at Ten reported a fight in the House, where Michael Heseltine had threatened the government benches with the bejeweled Parliamentary mace.

It is a bit weird to see moments of my youth being played out as history (I suppose I need to get used to that).
michael@cogdesign.com

Although the political landscape has shifted beyond recognition, the parallels with modern party-politics couldn’t have been sharper. The battle for EU membership, large-scale spending cuts in a biting global recession, and (as the play’s central theme) consecutive hung-parliaments where the ‘odds-n-sods’ held power and every bill was voted in (or not) in single digit majorities.

What could have been a po-faced lecture was handled impeccably. Fast-paced dialogue, humour, tragedy and drama mixed with the conceits of musical theatre (Phil Daniels singing Bowie’s Five-Years was a moment of genius).

Throughout, the politicians were referred to by their constituency’s names, which was a great device and stopped characters becoming caricatures. Although it did lead to a lot of (mostly wrong) conjecture about who was whom, from the people behind me.

It is a bit weird to see moments of my youth being played out as history (I suppose I need to get used to that). But it was enlightening to be reminded of the detail: suicide attempts, charges of murder, fraud, corruption, compassion, joy and heartbreak; centuries of trust and tradition swept away, and dying members brought to the grounds so their votes would count.

The only people I felt truly sorry for were the public in the two front benches. The chamber had been recreated on stage with members of the audience sitting, unevenly spaced in rows. The cast would take their seats amongst them, bobbing for attention, waving their papers and heckling the speaker. I can’t imagine anywhere I’d less like to be than on the front-benches (in This House or the House).