This streamlined and crisp office environment in Kiev, the capital of Ukraine, is the work of Sergey Makhno’s design and architecture firm. The play between soft and hard, round and angular, plain and colorful creates a sense of whimsy and energy, but does not overpower the space.
The Kiev-based Makhno and his partner Vasily Butenko have used their own distinctive furniture throughout the interior.
The wine-colored, square-form Origami chairs in the small meeting room contrast beautifully with the azure walls and simple, white table. Black, padded Blobby office chairs give a soft touch to the sparse individual office areas, while the shiny blue rounded sofas add a playful touch to a flexible, multi-use area.
Corian walls “buckle” on top of wood paneling, exposing the wood and creating nooks for storage and soft, undulating features for the eye to follow. Makhno’s work has been featured in local and regional publications, but we expect to see more of it around the world. - Tuija Seipell
We are cautiously nursing a glimmer of hope that even the most corporate of the corporate world could start taking design seriously. And that they could really start understanding and taking advantage of the effects that great head-office design has on staff creativity, productivity and comfort; which, in turn, leads to either staff loyalty or revolving doors. And, most important, that all of this inevitably filters down to how the customers experience the company.
Some banks in Australia are giving us reason for this hope. We observed Macquarie investment bank’s new harbourside office building in Sydney some time ago.
We are now looking at the ANZ Centre in Melbourne’s Docklands and our hopes rise up further. Designed by Melbourne-based HASSELL, the massive “urban campus” occupies 130,000 square metres and is the location of the daily grind for 6,500 people.
The design centers around a common hub that on the ground level includes cafes, a visitor centre and public art. Throughout the campus, 44 individual hub spaces connect to quiet working zones.
The floor plan maximizes flexibility and daylight penetration, and fosters collaboration and varying work styles. About 55 percent of the work area is collaborative space and the remaining area is dedicated desk space.
HASSELL won the 2010 World Architecture Festival’s Interiors and Fitout of the Year award for ANZ Centre. The World Architecture Festival is an annual three-day event held in Barcelona where the Awards this year attracted a record 500 entries from 61 countries. - Tuija Seipell
Large companies with thousands of employees often give just a cursory nod to creating an appealing, exciting and comfortable workplace. Enter the thousands of pool tables and vending machines that are supposedly making work more fun. Lucky for its 3,200 employees, one of Thailand’s leading telecommunications firms, Total Access Communication PCL under the dtac brand, did much more.
In June 2009, dtac gathered its massive team from six separate buildings and relocated them to the newly designed dtac House in Bangkok’s Chamchuri Square office tower. Now under the same roof for the first time ever, the dtac team occupies 62,000 square metres (about 662,000 square feet) on 20 floors, a move that marks the largest-ever office lease in Thailand’s history.
Opened to the media and VIPs on the auspicious day of 09/09/09, dtac House reflects the company’s desire to become the employer of choice, to enhance cooperation and communication, strengthen common goals, increase creativity and make it easier for the brand to react quickly to changing conditions. For staff and customers, the new environment aims to communicate dtac’s brand approach “play and learn.”
Australian Hassell won the competition to design the space and align it with dtac’s vision. Hassell created an open and flexible environment with natural wood, natural light and purpose-built spaces. Some of the highlights include a massive circular library amphitheatre, and an entire Funfloor with indoor soccer, table tennis, running track, and concert and performance spaces.
Other custom-designed spaces include the Conversation Pit, the Freeform Meeting, the Picnic Table and the Dining Room, all created to encourage informal, face-to-face meetings. An open terrace atop the building overlooks Bangkok’s skyline. It is easy to imagine that employees used to this environment would find it difficult to adjust to a boring row of cubicles ever again, in spite of the pool tables and vending machines. - Tuija Seipell
Upperkut, a young communications agency, takes up residence in the basement of a fully operational church, Saint-Jean-Baptiste Church, in the Plateau Mont-Royal neighborhood of Montreal, Canada. How do you design the space without compromising the dynamic and fun character of the agency, and without altering the ceilings and other acoustic components of the building?
Montreal-based designer, Jean de Lessard, solved the problem by relying heavily on color and large-scale graphics that echo Uppercut’s website. The 380-square-meter space was divided into four areas: president’s office, project managers’ area, studio and multi-function room. The result is a colorful, functional space with a slightly scruffy feel that reiterate the vibes of both Upperkut and church-basement life. - Tuija Seipell
Macquarie investment bank’s new harborside office building, One Shelley Street, at King Street Warf in Sydney has been collecting accolades and awards for not only architecture and design but also for environmental sustainability and workplace functionality.
The main players in the team behind the building are Sydney-based Fitzpatrick & Partners, responsible for the design of the actual building, and West Hollywood’s Clive Wilkinson Architects that led the design team in the interior design and outfitting with Woods Bagot as the local executive architect.
Apart from the obvious visual appeal of the 10-storey office space, particularly impressive is Clive Wilkinson’s execution of the idea of using design as a key component in causing change — in encouraging and facilitating a new way of working. Macquarie wanted to adopt a new collaborative working style — Activity-Based Working (ABW), a flexible work platform developed by Dutch consultant Veldhoen & Co. — and the new office facility would play an important part in making this happen.
Macquarie’s 3,000 employees now work in an open and highly flexible space where, for example, in the 10-storey atrium, 26 various kinds of ‘meeting pods’ create a feel of ‘celebration of collaboration’ and contribute to openness and transparency.
The interior staircases have already reduced the use of elevators by 50%, and more than half of the employees say that they change their workspaces each day, and 77% love the freedom to do so.
We like Wilkinson’s own description of the result: “. . . a radical, large-scale workplace design that leverages mobility, transparency, multiple tailor-made work settings, destination work plazas, follow-me technology, and carbon neutral systems. The result is part space station, part cathedral, and part vertical Greek village.”
Clive Wilkinson Architects is known for creative workplaces. Their clients include ad agencies such as Mother, JWT and TBWA\Chiat\Day, and technology firms in the Silicon Valley and Nokia in Finland. - Tuija Seipell.
In 1984, Vodafone was a tiny UK startup. Today, it is one of the world’s leading mobile telecommunications companies with activities around the globe. Vodafone’s well publicized Portuguese headquarters is located on Avenida da Boavista in Porto (Oporto), the namesake of Port wine and Portugal’s second global city after Lisbon.
The super modern building was designed by architects José António Barbosa and Pedro Guimarães of Barbosa Guimarães Arquitectos.
The architects’ wish to reflect Vodafone’s credo “Vodafone Life, Life in Motion” lead to the creation of a building that challenges the static and appears to be out of balance. Three of the angular building’s eight floors are underground. The cross-section reveals an uneven footprint almost as if the entire structure had fallen from sky at a great speed and crashed itself into the earth where it now sits, only partly exposed and slightly disheveled.
Indeed, the outer skin reminds us of a slightly unfinished origami project that will eventually become a scale model of a museum, the inside views bring to mind the many variations of angular, uneven and pleasantly unresolved spaces we’d seen at Hotel Silken Puerta América in Madrid, especially the rooms designed by Ron Arad, Zaha Hadid and Plasma Studio. - Tuija Seipell
Photography by ultimasreportagens.com
Maurice Mentjens Design, based in Holtum, the Netherlands, continues to delight and draw attention with its imaginative work. We have featured a couple of their store projects here and here, but this time, we are fascinated by the studio/office/production facility they designed for PostPanic.
PostPanic is a creative design and animation studio, but it is also a production company that animates, produces and directs its creations in-house. PostPanic produces mainly commercial projects for the international advertising, retail, broadcast and music industries. Clients include Nike, MTV and Coca-Cola.
When PostPanic decided to move to a new large facility located in Westerdoksdijk, a new high-density district in Amsterdam, it commissioned Mentjens to come up with interiors that would accommodate the various production and design teams, and also be flexible enough to suit a staff whose numbers can fluctuate from 14 to 40 depending on the workload.
Mentjens used the distance between the massive concrete columns as the defining theme of the space’s other dimensions. The production room, meeting room and staff room are all as wide as the distance between two columns, and the studio on the mezzanine level is two spans wide.
The overall feel of the space conjures up thoughts of a retro space-age station, or perhaps a secret-agent facility for a very important mission. There is a sense of industrious, “we mean business” attitude in the entire facility with delightful touches of color and fun treatments — sky-blue ceiling, red-and-gold paisley wall — to lighten up the gravity. We especially love the pod-like boardroom that resembles an interrogation chamber on a space ship headed to somewhere far, far away. - Tuija Seipell
Photography - Arjen Schmitz
This sleek and shiny new building is the Technology Center Medical Science (Das Science Center Medizintechnik), located in central Berlin between Potsdamer Platz and the Brandenburg Gate.
If you feel that the building, designed by Gnädinger Architects, looks somewhat sterile and synthetic, the architects and owners would not feel offended. The building has two main functions — it is a corporate facility and a science center — but both have to do with human mobility, specifically walking and grasping, and bionics (technology modeled on nature).
The clinical feel and sweeping forms are what makes this such a cool complex. The façade is designed to resemble the structure of muscle fibers. If you visit the Science Centre within, you will learn all about it and will never look at this building the same way again.
The building owner is Otto Bock Healthcare GmbH, one of the world’s oldest and largest companies designing, manufacturing and selling prostheses and orthopedic products. It was founded in 1919 by Otto Bock to meet the needs of war veterans. The top three floors of the new building are taken up by the company and its training and demonstration facilities.
The three lower floors house the Science Center and its three exhibitions: The Fascination of Walking and Grasping, Nature as our Guide, and Technology for People. To design the exhibitions, Otto Bock commissioned Berlin-based ART+COM, that has designed events for the BMW Museum and many retail clients. - Tuija Seipell
The work coming out of the talented team at OFIS Arhitekti of Ljubljana is consistently elegant and graceful, with a refreshing honesty and clarity. Many of their buildings exude a peaceful balance of curves that are never frivolous, sharp angles that are never harsh, and materials that are earnest and timeless.
Another recent example is their entry in the international competition to design the Ljubljana City Administration Center. OFIS’s suggestion came third in the competition that posed a considerable challenge of having to juggle the new buildings among existing, protected buildings and existing underground facilities as well. The total area of new buildings for the project is 42.288m2.
OFIS’s proposal is a series of rounded, low-rise glass-facade buildings that are modern yet toned-down and beautiful yet soberly sensible. All of the buildings in the entry convey a graceful sense of openness and appear welcoming and unstuffy — in stark contrast to the clunky, traditional “government office” style buildings so prevalent in Eastern European cities.
The proposal also meets lofty goals in terms of minimizing operational costs and maximizing sustainable practices — from optimizing indoor air, light and acoustic qualities, and using healthy and local materials, to minimizing the consumption of energy and water.
Project leaders for the entry were Rok Oman and Spela Videčnik, the two 39-year-old architects who established OFIS in 1998. They are both graduates of the Ljubljana School of Architecture and the Architectural Association School of Architecture in London. - Tuija Seipell
Patrick Tighe, principal of Santa Monica’s Tighe Architecture, may hate space-age references. But, here we go: Tighe’s work for Moving Picture Company’s (MPC) Los Angeles office IS space-agey. With its pod-like central spaces, curving ledges and white drywall expanses, it evokes memories of retro space movies.
But it all fits. The U.K-based MPC is in the business of computer animation, color-grading and digital effects, so you wouldn’t want color, hard edges or natural light to mess with that. MPC is known for its work on the past six James Bond films, Slumdog Millionaire and commercials.
In turn, Tighe’s residential and commercial work is characterized by roofs shooting out at angles, curves sweeping, horizontal planes slanting. Your eye follows these lines easily and accepts the direction. A goal that MPC is most likely familiar as well. - Tuija Seipell