WHERE WE WORK
design lessons from the modern office
WHERE WE WORK design lessons from the modern office
CONTENTS Introduction 4 DESIGNING FOR COMMUNITY 6 AmorePacific F21 Kinzo 8 Eidos-Montreal La Shed architecture 14 Fuerza y Luz Sketch 18 Merck Innovation Center Henn 24 mixi Nikken Sekkei + Nikken Space Design 30 Oregon Conservation Center Lever Architecture 38 Samyan Co-op Onion 44 Shui On Inno Social Aim Architecture 48 Simple Space Design Office Simple Space Design 52 Slack Studio O+A 56 SOHO 3Q WuJiaoChang Ippolito Fleitz Group 60 Urban Spaces Studio Komo 66 Warp Studio I IN 70 Wörwag Headquarters Ippolito Fleitz Group 78 Design Lessons 86 DESIGNING FOR FLEXIBILITY 88 Amerika Plads PLH Arkitekter 90 Amsteldok BDG architecture + design 98 AOK Project House blocher partners 102 Decathlon German HQ kplus konzept 110 Deloitte Digital DZAP 116 La Parisienne Headquarters Studio Razavi Architecture 124 Neue Arbeitswelt 205 Studio Alexander Fehre 128 Perimeter X Baranowitz & Goldberg and Pitsou Kedem 136 Sberbank Headquarters Evolution Design and T+T Architects 142 Space10 Spacon & X 148 Star Hub Visual Display 152 Targetti Hub 01 Deferrari+Modesti 160
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Contents
Workspace Onion 166 Zalando Headquarters Henn and Kinzo 170 Design Lessons 174 DESIGNING FOR IDENTITY 176 Broeinest UTR Baars & Bloemhoff 178 Canada Goose RooMoo 182 Equity Estate Hollandse Nieuwe 190 Geumgok-dong Office BCHO Architects 196 Ideal Gas Lab Waterfrom Design 202 Mastermind I IN 208 McDonald’s Headquarters Studio O+A 216 On Air Office 3 A00 222 Raw Marketing Archway 230 Sivantos PLH Arkitekter 234 Suhrkamp Verlag Kinzo 242 Telegraf 7 JP Immobilien BEHF Architects 246 The Arcade Atelier Zerebecky 250 Design Lessons 256 DESIGNING FOR WELLBEING 258 Axle Woods Bagot 260 Cobild Mim Design 264 Earthbox Equipo de Arquitectura 268 Headspace Montalba Architects 272 Nationale-Nederlanden Zenber Architecten 276 Navigant Zenber Architecten 282 Roman Klis Design Ippolito Fleitz Group 288 TRI-AD Nikken Sekkei + Nikken Space Design 296 Volaris Bartlett & Associates 300 Youse Headquarters Estudio Guto Requena 304 Design Lessons 312 Designer Index 314 Credits 320
Where We Work
Contents
3
INTRODUCTION
‘The office is dead! Long live the office’ has become a common trope since the widespread use of personal computers and new communication tools popularised the possibility of telecommuting in the 1990s. But never has the role, relevance and future of this typology been more widely scrutinised than in 2020, as the COVID-19 pandemic fast-forwarded the remote working revolution. In mid-March 2020, hoping to curb the spread of the virus, countries all over the world imposed strict lockdowns and the office workforce at large started working from home. It soon became clear that this temporary solution would remain the ‘new normal’ for some time. By May, predictions and forecasts regarding the future of the office abounded. But as the year drew to a close, one idea seemed to have taken hold: the office isn’t dead, it’s changing. What factors are and will be driving these changes? And what will the future office space look like? As the industry considers these questions, discussions hinge on a set of ideas which have in fact been driving workspace design even before everyone became familiar with the word coronavirus. Namely, the importance of community in establishing collaborative work environments; the role of flexible space design in sustaining creativity; the need for building and promoting company culture and identity; and the ever-growing concern over employees’ wellbeing.
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Introduction
This book explores 51 ground-breaking workspaces by studios worldwide which, despite having been designed before the pandemic started, represent noteworthy examples of how the four aforementioned drivers can be successfully implemented. Accordingly, the book is organised into four chapters – Designing for Community, Flexibility, Identity, and Wellbeing – each of which is closed with a series of design lessons highlighted as key takeaways. It’s worth noting here, however, – and we consider this to be a testament to their quality – that many of the projects could easily be included in multiple (if not all) chapters. Where we work has changed significantly since we first started to work on this book, and will inevitably continue to evolve as humanity faces new challenges, habits change and new technology is developed. We hope readers will find in Where We Work a useful and inspiring reference tool as we continue to tackle workspace design in all its future iterations.
Where We Work
Introduction
5
Designing for
COMMUNITY
KINZO’s design for the top floor of AMOREPACIFIC’s headquarters functions as a beacon of community and innovative thinking
Schnepp Renou
OPPOSITE PAGE AND LEFT Common areas include an orange counter, which integrates the cafeteria, sitting, bistro tables, as well as surface for material display.
AmorePacific F21
Kinzo
9
The design takes visual and organisational cues from the multiple layers of Seoul
10
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Designing for Community
OPPOSITE PAGE According to the designers, ‘the contrast between the dark grid ceiling and the floor of large plywood panels is a playful concept − one of the many contrasts that promote an open and creative working atmosphere.’ BELOW Outside the ‘University’ podium, reading niches aid focus while inside, staff can hold informal meetings and workshops.
SEOUL — ‘A hub for employees,’ was the requirement of South Korea’s largest beauty and cosmetics conglomerate AmorePacific when tasking Berlin-based studio Kinzo with the interior design of the top floor of its headquarters, completed in 2017 by David Chipperfield Architects. The goal, the designers explain, ‘was to create an attractive space for the company’s internal start-ups, and at the same time encourage other employees to convene in the communal areas of the 21st floor, generating a process of mutual influence.’ Kinzo’s design for the 3100-m2 space, dubbed F21, relies on a mixture of raw elements and bold colours, and takes visual and organisational cues from Seoul’s ‘multiple layers’. As partner and head of design Edoardo Albano puts it, ‘The design brings together the traditional housing of Gahoe-Dong, the rampant industries of Guro-Gu as well as a sophisticated taste for luxury.’ Communal areas and workspaces dedicated to start-up teams make up the c-shaped floor plan. The latter are organised along the outer edge of the plan into sections of 60-m2 per team, and are equipped with flexible furnishings and tools for idea and product development. Each of these areas is 100 per cent customisable and includes a ‘team house’ for meetings, movable tables, and a multifunctional scaffolding – the ‘team rail’ – which can be used as partition, acoustic element, whiteboard, or host myriad other functions, depending on the needs of each team. At the centre of the plan, looking onto the building’s inner courtyard, are F21’s common areas. A market square with a café and lounge for spontaneous meetings and collaborative work give way to an amphitheatre – the ‘University’ – which functions at once as a library with space for up to 8000 books, and a tribune for informal meetings and workshops.
AmorePacific F21
Kinzo
11
BELOW The 36th floor lobby is the reception area for customers and acts as the first touchpoint for sharing corporate messages.
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NIKKEN SEKKEI + NIKKEN SPACE DESIGN create opportunities for interaction by mapping out a city inside MIXI
Kenji Masunaga
mixi
Nikken Sekkei + Nikken Space Design
31
Satoshi Nagare
OPPOSITE PAGE AND ABOVE The designers strived to create a minimalist, tranquil space where both the company’s content and the users themselves become the focus point NEXT SPREAD Connected to the lobby via an interior staircase, the ‘bazaar’ on the 35th floor is designed to look haphazard and unplanned, mimicking the eclecticism of the Shibuya district.
mixi
TOKYO — Communication is the crux of mixi’s entertainment and lifestyle business. Its office needed to promote unity, diversity, and an open atmosphere, both within and between departments. The complexity of the urban fabric of the Shibuya district, one of Tokyo’s largest commercial hubs, served as inspiration for the design of this 24,610-m2 workspace, by Nikken Sekkei + Nikken Space Design. The reception lobby on the 36th floor was considered analogous to a ‘museum’, symbolised by a giant wooden frame that wraps much of the minimalist space. The 35th floor, where staff collaborate with customers – amidst the controlled ‘chaos’ of a cafeteria, convenience store, studios and lounges – was viewed as a ‘bazaar’. Although the space is open plan, design is variegated and diversified with planted greenery enlivening key points. The standard layout of the staff-only lower floors was conceived as a ‘town’, with desks at its centre representing ‘home’ for employees. With the rise of working at home and nomadic third-place working, offices must offer a strong attraction for employees: the opportunity to interact with others. Here, the perimeter of each floor serves as a hub for communication. Continuing the urban metaphor, smaller collaborative areas are ‘back alleys’, where big windows connect the office ‘towns’ to the city outside. Low partitions separate the desks from the surrounding ‘neighbourhoods’, with a gate connecting the two to encourage a shift in thinking when passing from one to the other.
Nikken Sekkei + Nikken Space Design
33
I IN hints at the mid-century modern home in the design of future-facing WARP STUDIO
BELOW The edge lighting of plasterslathered furnishings in the reception area give the entrance depth and a burnished glow. OPPOSITE PAGE Luxurious residential finishes make smaller break-out areas like a coffee corner feel social instead of corporate.
Tomooki Kengaku
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Designing for Community
DESIGN LESSONS Focusing on the inner ‘architecture’ of a company’s staff is the most effective – perhaps the only successful – way to create the physical architecture of its offices. By domesticating the office and setting employees and their collaborators at ease, allowing them to work in the ways that are most pleasant and productive for them, the office can become a place of both comfort and inspiration. Incorporating functions of the city like entertainment and culture 86
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into the workplace, and that way making it a site of added-value human interaction, can both improve the quality of communication, and generate a healthier, more comfortable workspace. As office culture shifts in both gradual and precipitous ways, it’s important to incorporate spaces that put staff’s needs first and help co-workers build a sense of belonging.
Where We Work
Design Lessons
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Designing for
FLEXIBILITY
SPACON & X revamps SPACE10’s workspace with a flexible, customisable layout optimised for focus and sharing
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Designing for Flexibility
Hampus Berndtson OPPOSITE PAGE The variety of workspaces range from semi-open acoustic ‘cubes’ for teams to private spaces with sound-proofed wall panels. ABOVE The adaptable partitions allow copious amounts of natural light to enter through the existing storefront.
COPENHAGEN — In a renovated fish factory and grocer in the Danish capital’s historic meatpacking district, this 500-m2 space for 24+ desks divided equally over two floors, is designed to grow with the brand. Before its redesign, Space10 featured an open plan, which caused employees to feel distracted and exposed. Today, it supports a variety of flexible work zones and the wellbeing of its employees. ‘Health in a workspace,’ the designers say, ‘means treating people fairly rather than the same’: Everyone, to some degree, works a little differently. With this in mind, the team created multiple types of work areas, from semi-open acoustic ‘cubes’ that encourage interaction between teams to private insulated chambers sound-proofed with Echojazz wall panels made from recycled PET bottles. Outfitted with adjustable desks, a V/T slot system can be rearranged around a layout that privileges natural light and mental health in a space designed, like people, to change and grow. With the addition of as few new materials as possible, the redesign emphasises Space10’s identity as an adaptive, sustainable creative community. It not only prioritises beauty, adaptability and sustainability, but re-establishes people at the centre of office design.
Space10
Spacon & X
149
LEFT AND DIAGRAM The reconfigurable partitioning flesh out a plan that privileges natural light and mental wellbeing, allowing the space to grow as needed. OPPOSITE PAGE The redesign preserved much of the former fish factory, and added as few new materials as possible.
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Space10
Spacon & X
151
ONION stacks WORKSPACE to facilitate material choices, visual connections and creativity
Ketsiree Wongwan
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Designing for Flexibility
OPPOSITE PAGE Workspace occupies an area of 1100-m2 over three floors of the Boonthavorn’s Design Village building. ABOVE The designers stacked the library and workspaces, giving each floor a mezzanine. Strategic voids on each floor increase visual connections inside and between the interior and exterior.
BANGKOK — Boonthavorn has grown into one of Thailand’s largest retailers of building materials: sanitary wares and ceramic tiles to stone slabs, furniture and appliances. Local studio Onion designed the brand’s three-storey, 1100-m2, 216-seat co-working space, which showcases the largest collection of practical, affordable materials available in Thailand. Dubbed Workspace, it serves as a tool to expedite the research of designers who lack access to a materials library, enabling them to work and set up meetings with suppliers and clients with actual materials in sight and close at hand. The design team created four display systems categorised by zone, stacking the library and workspaces upward. Workstations occupy the main area of the lower floor, and are flanked by a café and a green outdoor terrace. A modular shelving system starts from here – where it holds architectural samples and a display system for glass samples – and rises to the fourth storey ceiling. The more private third floor work zone sits amidst hanging samples for carpet, curtains and wallpapers. It has two six-seat meeting rooms and one 12-seater which users can book for design presentations. Behind the fourth floor shelves, a display room is large enough to showcase laminate samples at A5 size and in a variety of colours across the walls, making all of them visible at a glance.
Workspace
Onion
167
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OPPOSITE PAGE The designers provided a variety of work atmospheres, from informal to formal and public to private. RIGHT Along with Onion’s architectural display system, the materials also help animate the interiors.
Workspace
Onion
169
Designing for
IDENTITY
BCHO ARCHITECTS explores the juxtaposition of old and new for GEUMGOK-DONG OFFICE
LEFT The metal mesh was envisioned both as a translucent filter through which elements of the surrounding can flood the interior, and a mechanism for reframing the pre-existing structure, inviting a dialogue between old and new. OPPOSITE PAGE The team partially broke through the existing structures, exposing the building’s past via preserved details like reinforcement bars that protrude from the concrete.
Sergio Pirrone
196
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Designing for Identity
WATERFROM DESIGN translates a company’s product into its office, dubbed IDEAL GAS LAB
BELOW Waterfrom managed to turn an ordinarily invisible substance – gas – into a highly visible corporate identity and work environment in order to counter the clichéd image of the office.
Kuomin Lee
ABOVE Ombres and shadows shifting from orange to black, light to dark, represent the gas in its varying states, even its most elusive, invisible, gaseous form. OPPOSITE PAGE The single floor 270-m2 workspace features an open workspace for the company’s various departments at its centre, with a meeting room, leading team offices, a kitchen island, and other programmes flanking the perimeter.
204
TAIPEI — Depending on environment pressure and temperature, gaseous compounds can become solid or liquid, as well. Local studio Waterfrom Design visually abstracted this idea to create the imagery and colour scheme that dominate the 270-m2 workspace of tech company Jing He Science. The designers used materials common to the industrial gas production chain and the laboratory � from galvanised steel tubes to test tubes and the unique steel cylinders that carry gas � refining them, as gas is refined, and transforming them into the structure of the office, as well as sculptural objects. The design team visualised gas through colour: painting salvaged and repurposed steel cylinders orange, enzyme-dyeing the wooden floor the colour of water and playing with a range of orange to black gradients to visualise the presence of gas at different temperatures. Orange surfaces meander the office as chairs, table legs, columns, plant pots, or a 25-person conference table. Waterform also deconstructed this industrial imagery, diminishing and amplifying the scale of the cylinders and re-aligning them to create semicircles of various diameters which flank key areas and passageways, like the entrance or the supervisor’s office. Completing the fit out, delicate branches and leaves of plants which seem to grow through the surfaces of iron plate and glass desktops at once contrast with and highlight the industrial elements.
Where We Work
Designing for Identity
Ideal Gas Lab
Waterfrom Design
205
Books take centre-stage in KINZO’s design for publishing house SUHRKAMP VERLAG RIGHT Space-saving niches amidst the shelves allow for social or communication areas without cutting far into the room. OPPOSITE PAGE Blond oak and raw concrete make up a narrative staircase which connects the building’s six floors.
Schnepp Renou
242
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BERLIN — Looking for a spatial design concept that would reflect the identity of German publisher Suhrkamp, local studio Kinzo envisioned the office as a house supported by an architecture of books. Thanks to ceiling-high custommade shelves and bespoke lighting which line the walls of the 3172-m2 space, the designers were able to create the impression that books – not walls, beams or columns – form the supporting structure. Kinzo allowed the book-walls to meander across the building’s six floors, acting like an interior façade and generating more wall space than would otherwise have been possible. By integrating the bookshelves into the architecture (by local studio Bundschuh Architekten), the team was not only able to create sufficient storage space, but also to carve out small niches for use by employees as retreat rooms, communication islands, think tanks, or telephone booths. Responding to the specific needs of the 135 employees, the designers balanced compact offices for editors with a large communal area, creating a heterogeneous space. In order to accommodate all the necessary editors’ rooms, each occupies only 9-m2 on average and features big windows that usher in daylight, so staff feel snug and focused instead of confined. Thanks to cost-effective solutions, the designers were able to employ custom furnishings and high-quality materials to optimise the interiors, tailoring the workspace to a variety of users’ needs, and making them easily reconfigurable, all while keeping within budget.
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OPPOSITE PAGE Floor-to-ceiling shelves custom-fabricated by Raumeffekt line the walls of the office, providing ample storage space for books. RIGHT Indigo drapes and upholstery soften the concrete interior in the sixth floor event space.
Sebastian Dörken
BELOW Like the shelves, windows are floor-height, framing panoramic views of the city.
Suhrkamp Verlag
Kinzo
245
EQUIPO DE ARQUITECTURA’s EARTHBOX imagines the office as a natural source of inspiration and wellbeing
BELOW Rammed earth walls, glazed openings and microcement floors make up Earthbox’s shell. OPPOSITE PAGE Furniture and doors were crafted by local artisans from the recycled wood forms used to mold the concrete slab roof.
Federico Cairoli
268
Where We Work
Designing for Wellbeing
Leonardo Mendez
ASUNCIÓN — In a leafy residential neighbourhood, Equipo de Arquitectura designed its own studio, calling it, aptly, Earthbox. It is a workspace that represents the apotheosis of the practice's preoccupations with mood, matter, light, space and nature – a 45-m2, 12-person office walled with rammed earth and glazing that looks out onto trees and sky. Earthbox's 30-cm-wide earthen walls support the roof, which rests across only 20 cm of their width, making the most of the material's structural virtue. A coiled square in plan, the building is designed in relation to two existing trees: a flame tree outside framed by a large window, and a guavirá tree inside that grows through the roof in a glass lightwell. The interior contains a tidy profusion of Asian carpets and kilims that make the space feel both ornate and economical, metaphysical and down-toearth. As the team puts it, ‘If light builds time and gravity builds space, Earthbox is built with the sound of jazz, the smell of incense and the flavour of fresh coffee.’ Large, irregular windows run from the walls over the ceiling, where they turn, seamlessly, into skylights. These well-considered openings draw surrounding vegetation indoors and open sightlines to the outdoors. At night, the office becomes a lantern viewed from outside and an observatory from within. Through the right combination of materials, natural light and vegetation, the studio created ‘the perfect atmosphere for an all-day – and all-night – workspace’.
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Designer INDEX
A00 Shanghai, China azerozero.com mail@azerozero.com
AIM ARCHITECTURE Shanghai, China aim-architecture.com pr@aim-architecture.com
ARCHWAY COMMERCIAL INTERIORS Brisbane, Australia archwaycommercialinteriors.com hello@archway.net.au
A00 is directed by Sacha Silva, Chen Ying Ying and Raefer Wallis. Since the studio’s launch in 2004, it has remained focused on creating spaces that are playful and memorable, and rooted in carefully defined functionality and purpose. A00’s 20 employees are spread across two offices, one headquartered in Shanghai, the other a satellite in Sri Lanka. P.222
Founded by Wendy Saunders and Vincent de Graaf in 2005, Aim embraces an international team of creatives, who design and manage a substantial number of projects in diverse scales throughout China and Southeast Asia. Its 40-person staff hails from more than ten countries, which enables the practice to understand projects in a variety of contexts and in the light of diverse cultural values. P.048
Archway was founded in Brisbane, Australia in 1990 and, for 30 years, has continued to evolve, adapt and innovate. Collaborating with its clients, the office designs culture-inspired workplaces that are tailored to the specific needs of each business, resulting in more effective, productive and high-performing staff. Guided by its values, the studio’s solutions always keep client needs at the heart of everything it does. P.230 Rita Master
Raw Color
Yuan
ATELIER ZEREBECKY Shanghai, China zerebecky.com info@zerebecky.com
BAARS & BLOEMHOFF Utrecht, the Netherlands baars-bloemhoff.nl info@baars-bloemhoff.nl
BARANOWITZ & GOLDBERG ARCHITECTS Tel Aviv, Israel baranowitz-goldberg.com office@sb-ig.com
Atelier Zerebecky is an architecture, interior and product design studio under the creative leadership of Andrei Zerebecky. Formerly known as Four O Nine, the award-winning, internationally recognised firm officially changed its name in 2017 to reflect its approach to each project as a piece of art. Zerebecky is also the creator of rug brand Urban Fabric. P.250
Baars & Bloemhoff is a Dutch company that specialises in decorative materials for use in interiors. With more than 2500 products and 35 brands, Baars & Bloemhoff is an expert partner for interior architects, designers and furniture makers. The company’s new Broeinest location now incorporates a training facility for knowledge exchange. P.178
Baranowitz & Goldberg Architects was founded in 2017 by Sigal Baranowitz and Irene Goldberg. The duo’s comprehensive experience spans all scales of design, from residential projects both in architecture and interiors, to public and commercial spaces including restaurants, offices and spas. In addition to architecture, the studio’s practice also includes product design under the brand Object founded by Irene Goldberg. P.136
BARTLETT & ASSOCIATES Toronto, Canada bartlettdesign.com info@bartlettdesign.com
BCHO ARCHITECTS Seoul, South Korea bchoarchitects.com bchoarch@gmail.com
BDG ARCHITECTURE + DESIGN London, UK bdg-a-d.com info@bdg-a-d.com
Bartlett & Associates (B|A) was founded in Toronto by Inger Bartlett in 1983. The boutique interior design studio is known for simultaneously contemporary and timeless spaces defined by creative details tailored to each client and for inserting connections to nature in overwhelmingly urban environments. Specialising in workspace, B|A has applied its holistic design approach for clients like Saatchi & Saatchi, MAC Cosmetics, and Estée Lauder. P.300
ByoungSoo Cho established BCHO Architects in 1994 as a design-build office with a focus on simple structures and a strong regard for nature. The design team works closely with specialists in various disciplines, including stone masonry, product design, woodwork, pottery and engineering. Each project explores the phenomena of light and space, fabrication and construction methods, as well as social, cultural and physical sustainability. P.196
BDG architecture + design is, foremost, about human beings. BDG sees its role as designing and delivering creative, stimulating, user-friendly environments in which people may thrive. The studio’s analytic process, along with its understanding of space and the end-user’s wants and needs, demand that its work synthesise architecture, interior design and workplace expertise in order to provide the most successful strategic solutions. P.098
Where We Work
A�B
315
Klaus Mellenthin
Markus-Kaiser BLOCHER PARTNERS Stuttgart, Germany blocherpartners.com info@blocherpartners.com
DEFERRARI+MODESTI Florence, Italy deferrari-modesti.com info@deferrari-modesti.com
Established in 1995, BEHF Architects is an internationally acclaimed architectural office based in Vienna. Headed by Armin Ebner, Susi Hasenauer and Stephan Ferenczy, an experienced team of architects, planners, interior designers and strategists seeks to improve the built environment by bringing together innovative design strategies and energy-saving, cost-effective solutions tailored to both site and user. P.246
Founded by Jutta and Dieter Blocher in 1989, blocher partners taps the talents and expertise of creatives from various disciplines. From four offices located in Stuttgart, Berlin, Mannheim and Ahmedabad, more than 230 architects, interior, product and graphic designers, communication specialists and sociologists work hand in hand on public sector projects, as well as residential, hospitality, retail, workspace and mixed-use commissions. P.102
Founded in 2010 by Javier Deferrari and Lavinia Modesti, architecture and interior design practice Deferrari+ Modesti works across different scales and typologies. A diverse pool of projects allow the firm to explore both poetic ideas and pragmatic solutions, with particular attention to details and materials. Each project begins with tailored research, and study of a site’s context and history in order to create a distinct environment. P.160
DZAP Naarden, the Netherlands dzap.nl info@dzap.nl
EQUIPO DE ARQUITECTURA Asunción, Paraguay equipodearquitectura.com.py info@equipodearquitectura.com.py
ESTUDIO GUTO REQUENA São Paulo, Brazil gutorequena.com media@ gutorequena.com.br
DZAP is an interior design and architecture office founded in 1995. The firm consists of consultants, architects and project managers, who specialise in the design and implementation of office interiors for a wide range of clients. Working from the conviction that an office is a reflection of how an organisation wants to present itself to the world, DZAP advises and translates a company’s DNA into its workplace. P.116
Equipo de Arquitectura is an Asunción-based office founded in 2017 by Horacio Cherniavsky and Viviana Pozzoli. Its workspace, Earthbox, earned the 2019 Frame Award for Small Office of the Year and was selected as a finalist at the 2018 Bienal de Arquitectura de Quito. Both Cherniavsky and Pozzoli teach and lecture at universities in Brussels, Barcelona, Pamplona, and Buenos Aires, among others. P.268
Since 2008, Guto Requena has meditated on memory, culture and poetic narratives at various scales, ranging from objects, interactive public furniture and urban art to spaces and cities. Born in 1979, Requena earned his Master’s degree in architecture and urban planning from the University of São Paulo. Since 2011, he conceives, writes and hosts programs for TV, web and cinema. P.304
André Klotz
Leonardo-Mendez
BEHF ARCHITECTS Vienna, Austria behf.at behf@behf.at
Heinz von Heydenaber
Peter Wuermli
EVOLUTION DESIGN Zurich, Switzerland evolution-design.info zurich@evolution-design.info
HENN Berlin, Germany henn.com press@henn.com
HOLLANDSE NIEUWE Amsterdam, the Netherlands hollandse-nieuwe.com info@hollandse-nieuwe.com
Swiss architecture and design studio Evolution Design is considered a pioneer in workplace design, having created offices for the likes of Google and Unilever, among others. Established by founder and executive director Stefan Camenzind and his partners Tanya Ruegg and Marco Noch, the practice’s human-centred and culturally diverse approach stimulates and inspires users to the highest levels of performance and innovation. P.142
Henn is an international architecture firm with offices in Munich, Berlin and Beijing and more than 70 years of expertise in the fields of workspace, culture, health, education design and research, as well as production and master planning. The practice draws on the talent of 350 architects, designers, planners and engineers from 38 countries and an international network of partners. P.024, P.170
Since 1992, Hollandse Nieuwe (HN) has been a multidisciplinary team of architects, designers and technicians working at a wide range of scales. Each HN project begins with listening and observing, and then transforming insights gained into authentic, specific and attractive environments. Over 20 years, the practice has gained expertise in the design of working environments that reach beyond the expected and the standard. P.190
316
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Designer Index
Sebastian Dörken
IPPOLITO FLEITZ GROUP Stuttgart, Germany ifgroup.org info@ifgroup.org
KINZO Berlin, Germany kinzo-berlin.de press@kinzo-berlin.de
Founded by Yohei Terui and Hiromu Yuyama in 2018, I IN is a Tokyo-based design firm that pursues new possibilities in the design of retail, office, hospitality, and installation space. With both the client and end-user in mind, I IN creates memorable environments that make a strong impression. The team finds original solutions by thinking outside of the architectural box, always working towards one main goal: sublime beauty. P.070, 208
The identity architects at Ippolito Fleitz Group are all about pushing boundaries: through interior, architecture, product and communication design. From its studios in Stuttgart, Berlin and Shanghai, the team works with passion on solutions that combine strategic expertise with emotional intelligence, and create lasting value. Made up of 100 heads and hearts from a spectrum of disciplines, Ippolito Fleitz Group makes each project unique. P.060, 078, 288
Kinzo is Karim El-Ishmawi, Martin Jacobs and Chris Middleton along with their multidisciplinary team of more than 50 architects and interior designers. Founded in Berlin in 2005, Kinzo works on the cutting-edge of interior architecture and design across a broad spectrum of living and working environments. At the core of the practice’s holistic pursuit of individual and sustainable solutions, is a precise analysis of every project. P.008, 170, 242
KPLUS KONZEPT Düsseldorf, Germany kplus-konzept.de kontakt@kplus-konzept.de
LA SHED ARCHITECTURE Montreal, Canada lashedarchitecture.com info@lashedarchitecture.com
LEVER ARCHITECTURE Portland, USA leverarchitecture.com info@leverarchitecture.com
Founded in 2005 by interior designer Bettina Kratz and communication designer Markus Kratz, kplus konzept is a one-stop-shop for brand communication. Together with a team of 25 interior, communication, 3D, game, web and product designers, photographers, and copywriters, the duo works with commercial clients to shape retail and hospitality spaces from initial concept to implementation in all media. P.110
Sébastien Parent, Yannick Laurin, Renée Mailhot teamed up to form La SHED. Openness, lighting and alignment remain at the core of all the studio’s projects, known for functional and contemporary layouts, as well as the use of durable, affordable and classical materials. The meticulous attention given to finishes and details make quality one of the practice’s most deeply held values. P.014
Founded in 2009, Lever has become renowned for its material innovation and pioneering work with Cross-Laminated Timber (CLT). Its mass timber projects include headquarters designs for Adidas and The Nature Conservancy, as well as testing and research to permit a wooden high-rise. Lever’s portfolio also includes workplace designs for leading creative companies such as NBCUniversal and Walt Disney. P.038
Maxime Brouillet
Jeremy Bittermann
I IN Tokyo, Japan i-in.jp info@i-in.jp
Vincent Hecht
Alex Hoerner
Brett Goldsmith
MIM DESIGN Melbourne, Australia mimdesign.com.au info@mimdesign.com.au
MONTALBA ARCHITECTS Santa Monica, USA montalbaarchitects.com info@montalbaarchitects.com
NIKKEN SEKKEI / NIKKEN SPACE DESIGN Tokyo, Japan nikken.co.jp / nspacedesign.co.jp global@nikken.jp
Mim Design is a Melbourne-based practice known for its creativity, high-end finishes and immersion in detail. Founded by Miriam Fanning (Mim) in 2000, Mim Design is a mid-sized studio with a team of 26 that offers clients a highly tailored creative strategy from concept to delivery. The practice has built a diverse portfolio spanning high-end residential and multi-residential projects to hospitality, hotel, corporate and retail commissions. P.264
Founded in 2004 by David Montalba, FAIA, SIA, Montalba Architects is a diverse architecture and design studio of more than 60 designers. Based in California and Lausanne, Switzerland, the award-winning practice is engaged in residential and commercial projects in the US, Europe, Asia, and the Middle East. The studio’s humanistic approach often leads to solutions that are discrete, contextual, yet conceptual. P.272
Since its foundation in 1900, Nikken Sekkei’s planners, architects and engineers have been responding to cultural and societal changes with the aim of contributing to the creation of rich experiences and environments. Along with Nikken Sekkei, Nikken Space Design is also a part of the Nikken Group. Since 1994, Nikken Space Design has grown into an office of 80 experienced designers working on a variety of global commissions. P.030, 296
Where We Work
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CREDITS WHERE WE WORK Design Lessons from the Modern Office Publisher Frame Editor Ana Martins Author Shonquis Moreno With Introduction by Ana Martins Graphic Design Zoe Bar-Pereg Barbara Iwanicka Prepress Edward De Nijs Cover Photography Sergio Pirrone Printing IPP Printers Trade Distribution Usa and Canada Consortium Book Sales & Distribution, LLC. 34 Thirteenth Avenue NE, Suite 101 Minneapolis, MN 55413-1007 T +1 612 746 2600 T +1 800 283 3572 (Orders) F +1 612 746 2606 Trade Distribution Benelux Frame Publishers Domselaerstraat 27H 1093 JM Amsterdam the Netherlands distribution@frameweb.com frameweb.com
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Trade Distribution Rest of World Thames & Hudson Ltd 181A High Holborn London WC1V 7QX United Kingdom T +44 20 7845 5000 F +44 20 7845 5050 ISBN: 978-94-92311-50-4 © 2021 Frame Publishers, Amsterdam, 2021 All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, or any storage and retrieval system, without permission in writing from the publisher. Whilst every effort has been made to ensure accuracy, Frame Publishers does not under any circumstances accept responsibility for errors or omissions. Any mistakes or inaccuracies will be corrected in case of subsequent editions upon notification to the publisher. The Koninklijke Bibliotheek lists this publication in the Nederlandse Bibliografie: detailed bibliographic information is available on the internet at http://picarta.pica.nl Printed on acid-free paper produced from chlorine-free pulp. TCF ∞ Printed in Poland 987654321
Credits
The office isn’t dead. But just in what form will it live? Departing from Frame’s successful The Other Office series, Where We Work explores today’s ground-breaking workspaces, providing an indispensable reference tool for interior designers, architects and companies alike. As we think about the future of the office in a post-pandemic world, this book presents important design lessons from the modern office through a curated showcase of 51 projects by designers worldwide. These lessons are highlighted as key takeaways at the end of each of the book’s four chapters: Designing for Community, Flexibility, Identity, and Wellbeing. An introductory essay explores how these four ideas – or ideals – will continue to drive the workspaces of the future.
DESIGNING FOR IDENTITY Ideal Gas Lab by Waterfrom Design
DESIGNING FOR COMMUNITY AmorePacific F21 by Kinzo
DESIGNING FOR FLEXIBILITY Space10 by Spacon & X
DESIGNING FOR WELLBEING Roman Klis Design by Ippolito Fleitz Group