Commercial Interiors | Spring 2015 by ShubinDonaldson

CO M M E R CIA L INTERIORS

SELECTED PROJECTS PORTFOLIO

C OMMER CI AL I N T E R I O R S S E L ECT ED PR O J ECTS PORT FO L I O

TE AM O N E U SA | 8 5 , 0 0 0 S F | P L AYA VI STA , CA

C ON TEN TS T E A M O N E U SA

1-16

MURA D S K I N CA R E

17- 32

CO N I LL A DVE RTI S I N G

33- 4 4

FR E E M A R K F I N A N C I A L

45- 52

LY N DA .C O M H E A D Q UA RTE R S

53- 62

LY N DA .C O M A N N E X

63- 66

LUN AR D ES I G N

67-70

SI E RR A PAC I F I C C O N STR U CTO RS

71-78

R I OT G A M ES

79- 84

B I SC U I T F I L M WO R K S

85- 90

INTERMEDIA

91- 98

INNOCEAN

99-106

B L I ND

107-110

SA ATC H I & SA ATC H I

111-116

O GI LV Y & M ATH E R

117-124

GR OU N D ZE R O

125-132

DAV I D &G O L I ATH

133-138

BRAND NEW SCHOOL

139-14 4

HY DR AU L X

145-148

T EAM ONE USA

TE AM O N E U SA | 8 5 , 0 0 0 S F | P L AYA VI STA , CA

SHUBIN + DONALDSON ARCHITECTS C O M M E R C I A L INTERIORS Dear Reader, This pamphlet presents a selection of commercial projects and creative interiors designed by Shubin + Donaldson (S+D). We are committed to designing spaces that communicate and prompt the relationship between a companyâ&#x20AC;&#x2122;s built space and its ability to create a culture, a sense of place, or an attitude. We are in constant pursuit of what constitutes a creative space, and how architecture can communicate what a company is about, and where it would like to see itself in the future. Thank you for taking the time to review this visual tour of a select group of S+D commercial projects.

Robin Donaldson, AIA

Russell Shubin, AIA, LEED AP

TE AM O N E U SA | 8 5 , 0 0 0 S F | P L AYA VI STA , CA

MU R AD SKI N CA R E

MUR AD HQ | 4 1, 5 0 0 S F | E L S EG U N D O, CA

C ONILL ADV E RT I SI N G

CO N ILL ADVE RT I S I NG | 2 5 , 0 0 0 S F | E L S EGU NDO, CA

CONILL ADVERTISING | 25,000 SF | EL SEGUNDO, CA

CO N ILL ADVE RT I S I NG | 2 5 , 0 0 0 S F | E L S EGU NDO, CA

FR E EMARK F I N A N CI A L

FR EEMAR K F I NA N C I A L | 7, 8 0 0 S F | B EVERLY H ILLS, CA

LYNDA .CO M HQ

LY N DA .C O M H Q | 1 5 0, 0 0 0 S F | CA R P I NT ERIA , CA

LYNDA .CO M A N N E X

LY N DA .C O M A N N E X | 2 0, 0 0 0 S F | CA L ABASAS, CA

LUNAR DESI GN

LUN AR DES I G N | 1 0, 0 0 0 S F | SA N F R ANCIS CO, CA

S IERR A PACI FI C CO N ST R U CTO R S

SI ER R A PAC I F I C C O NST RU CTO RS | 1 6 ,500 S F | WO O DLAND H ILLS, CA

SI ER R A PAC I F I C C O N ST RU CTO RS | 1 6 ,500 S F | WO O DLAND H ILLS, CA

SI ER R A PAC I F I C C O NST RU CTO RS | 1 6 ,500 S F | WO O DLAND H ILLS, CA

R I OT G AM ES

R IOT GAM ES | 1 5 , 0 0 0 S F | ST. LO U I S, M O

BISC UIT FI L M WO R K S

B I SCUIT FI L M WO RK S | 1 1, 0 0 0 S F | H O LLY WO O D, CA

IN TERMEDI A

I N T ER M EDIA | 1 4 , 6 4 0 S F | WO O D L A N D H ILLS, CA 91

I N T ER M EDIA | 1 4 , 6 4 0 S F | WO O D L A N D H ILLS, CA 93

95 I N T ER M EDI A | 1 4 , 6 4 0 S F | WO O D L A N D H ILLS, CA

I N T ER M EDIA | 1 4 , 6 4 0 S F | WO O D L A N D H ILLS, CA 97

IN NOCEAN WO R L DW I DE

I N N O CEAN | 3 2 , 0 0 0 S F | H U N TI N GTO N BEACH , CA 99

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I N N O CEAN | 3 2 , 0 0 0 S F | H U N TI N GTO N BEACH , CA 101

1 02

I N N O CEAN | 3 2 , 0 0 0 S F | H U N TI N GTO N BEACH , CA 103

1 04

I N N O CEAN | 3 2 , 0 0 0 S F | H U N TI N GTO N BEACH , CA 105

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BLIND

B LI N D | 12,7 0 0 S F | SA N TA M O N I CA , CA 107

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B LI N D | 12,7 0 0 S F | SA N TA M O N I CA , CA 109

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SA ATC H I & SA ATCHI

111

SAATCHI & SA ATC H I | 1 0 6 , 0 0 0 S F | TO RRANCE , CA

1 12

113

SAATCHI & SA ATC H I | 1 0 6 , 0 0 0 S F | TO RRANCE , CA

1 14

115

SAATCHI & SA ATC H I | 1 0 6 , 0 0 0 S F | TO RRANCE , CA

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OGILV Y & M AT HE R

117

O GILV Y & M AT H E R | 3 0, 0 0 0 S F | C U LVE R CIT Y, CA

1 18

119

O GILV Y & M AT H E R | 3 0, 0 0 0 S F | C U LVE R CIT Y, CA

1 20

121

O GILV Y & M AT H E R | 3 0, 0 0 0 S F | C U LVE R CIT Y, CA

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123

O GILV Y & M AT H E R | 3 0, 0 0 0 S F | C U LVE R CIT Y, CA

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GROU ND Z E R O

125

GR O UN D Z E RO | 2 0, 0 0 0 S F | M A R I N A DEL REY, CA

1 26

127

GR O UN D Z E RO | 2 0, 0 0 0 S F | M A R I N A DEL REY, CA

1 28

129

GR O UN D Z E RO | 2 0, 0 0 0 S F | M A R I N A DEL REY, CA

1 30

131

GR O UN D Z E RO | 2 0, 0 0 0 S F | M A R I N A DEL REY, CA

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DAVID & G O L I AT H

DAV I D& GO L I AT H | 3 0, 3 0 0 S F | E L S EG U NDO, CA 133

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DAV I D& GO L I AT H | 3 0, 3 0 0 S F | E L S EG U NDO, CA 135

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137 DAV ID& GO L I AT H | 3 0, 3 0 0 S F | E L S EG UNDO, CA

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BR AND NE W SCHOO L

139

B R AN D N E W S C H O O L | 1 0, 5 0 0 S F | SA NTA MO NICA , CA

1 40

141

B R AN D N E W S C H O O L | 1 0, 5 0 0 S F | SA NTA MO NICA , CA

1 42

143

B R AN D N E W S C H O O L | 1 0, 5 0 0 S F | SA NTA MO NICA , CA

14 4

HYDRAULX

HY DR AULX | 1 5 , 0 0 0 S F | SA N TA M O N I CA , CA 145

1 46

HY DR AULX | 1 5 , 0 0 0 S F | SA N TA M O N I CA , CA 147

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Russell Shubin PARTNER, AIA, LEED A.P.

Robin Donaldson PARTNER, AIA

LOS ANGELES

SANTA BARBARA

3834 Willat Avenue CULVER CITY, CA 90232 T: 310.204.0688 rshubin@sandarc.com

3890 La Cumbre Plaza Lane, St 200 SANTA BARBARA, CA 93105 T: 805.682.7000 rdonaldson@sandarc.com

NEWPORT BEACH 888 San Clemente Drive, Suite 200 NEWPORT BEACH, CA 92660 T: 949.375.4964

www.shubinanddonaldson.com

149

C O M PA N Y BAC KG R O U N D Robin Donaldson, AIA and Russell Shubin, AIA, LEED AP began collaborating on projects in 1990. Russell Shubin’s background in managing large institutional and multi-unit residential projects combined with Robin Donaldson’s high profile design background have aligned to form a partnership for realizing projects of diverse complexity and scope. They maintain offices in Culver City and Santa Barbara, CA. Both partners are personally involved in each project that they take on, from initial programming through the administration of the construction contract. Besides the partners, the offices are staffed by 50 architects and draftspersons plus support personnel. Both offices are fully computerized for 3-Dimensional design, presentation and working drawing production with graphic design and a complete digital architectural rendering and modeling studio. Shubin + Donaldson does not approach projects with an assumed architectural style. Instead we listen for each clients needs and distinguish with the client ways of achieving the clients goals particular to each project. Responding to our clients needs and concerns is as important to us as the built result of our collaboration with the client. RUSSELL SHUBIN, AIA, LEED AP, was born in Los Angeles, CA, in 1960, and studied architecture at California Polytechnic University at San Luis Obispo, where he received his Bachelor of Architecture degree in 1985. He also studied at L’Ecole d’Art et d’Architecture at Fontainebleau, France, during 1984. Russell began practicing in 1985 with the Blurock Partnership in Newport Beach, CA, a nationally recognized firm that has received numerous AIA awards. Shortly after becoming an associate with the Blurock Partnership in 1989, Russell opened his own practice. Russell is LEED accredited and guides the design studio on environmentally sensitive design technology and knowledge. ROBIN DONALDSON, AIA, founding partner of Shubin and Donaldson Architects, Inc. (S+D) graduated UCSB and received Masters of Architecture at Southern California Institute of Architecture (SCI-ARC) in 1985. Prior to founding S+D in 1990, Donaldson worked for many years with Morphosis and Pritzker Prize winning architect Thom Mayne. Donaldson’s own firm S+D has become internationally recognized, extensively published, and has earned many professional accolades including 20 AIA design awards. In 2010 a monograph was published dedicated exclusively to S+D’s Creative Office designs and custom homes called LIVE + WORK, The Southern California Architecture of Shubin and Donaldson. S+D has an office in Culver City and Santa Barbara, CA where Donaldson is based. S+D currently has projects of all types around the US, Mexico, Asia, and Middle East.

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T E A M O N E U SA

MU RAD S KIN CARE

Los Angeles, California; 2014 Photographer: Benny Chan Size: 85,000 square feet

El Segundo, California; 2014 Photographer: Benny Chan Size: 41,500 square feet

Team One USA is an international advertising agency located in Los Angeles. With the belief that any idea should be remarkable, Team One made the decision to bank on that philosophy when it tapped S+D to design their new environs. Team One was spread amongst four floors of a traditional office building with most staff working in private offices and some in cubicles. Relocating to a former US post office distribution center allowed the almost 400 employees to congregate in approximately 85,000sf of continuous, single-story space. Encouraging communication and collaboration, the design’s bold gesture removed everyone from private offices and into equally sized custom workstations. Meeting rooms, huddle rooms, war rooms and open work areas supplement the many ways in which the employees interact and function.

Award-winning skincare company Murad teamed up with Shubin + Donaldson Architects to create their new corporate headquarters in El Segundo, California. The clean, modernist design creates a beautiful backdrop to the color-coded branding of the skincare company. The layout of the 41,500 square foot space was based on a cellular concept by creating a central meeting and Spa element surrounded by a walking track and various fitness machines which double as meeting nodes. This in turn created opportunities for employees to practice Murad’s Inclusive Health lifestyle, which integrates topical care, internal care, and emotional care into every day. The beauty brand’s 3-faceted Inclusive Health philosophy was also represented in custom patterns designed throughout key elements of the project like ceramic tiles, laser cut screens, and an iconic ceiling element. It was important to visually reflect the beauty brand’s DNA not only through the materiality, but also the construction process. Murad’s belief in social responsibility was carried through the use of environmentally friendly and sustainable materials and products ranging from FSC certified veneers and recycled metals to zero VOC’s.

A massive folding “box” clad in reclaimed barn wood sets the tone for a reception space filled with large volumes and architectural forms. Playing against the scale of the building’s industrial shell, the material palette embraces a more residential tone with warm colors and textures. The existing structural elements are brightly painted enhancing their scale and presence in the vast space. The design celebrates the framework of the shell while promoting the minds of an advertising giant.

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DWDW

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DWDW

REF. REF.

151

CO N I LL A DVE RTI S I N G

LY NDA .CO M H Q

El Segundo, California; 2013 Photographer: Benny Chan Size: 25,000 square feet

Carpinteria, California; 2013 Photographer: Ciro Coelho Size: 150,000 square feet

As a tenant improvement project for Latin-based advertising agency Conill, the design is composed of folding geometries, vibrant colors, and a marketing concept for “places” throughout the office.

Lynda.com is the leader in online creative software training solutions. In 2010 Lynda.com started to settle their headquarters offices in a business park in Carpinteria.

The arrival into the space — as is typical with most offices of this size — begins at the centrallylocated elevator core filtering into the main reception area. This space serves as the nucleus of the office providing two arteries leading into either the executive offices/conference rooms or into the main workstations. Using faceted walls and undulating fins, the design creates dynamic circulation throughout which lead into different “places” each possessing unique identities and opportunities for collaboration. These “places” include “the club” — the primary break out space containing a fully equipped bar, kitchen, ping-pong table, and seating; “the park” — a playful break out space adjacent to the workstations integrating monkey bars, white boards, terrariums, and fun lounge seating resembling large rocks; and “the beach” — an outdoor terrace with synthetic grass and patio seating spaces for the employees to get some fresh air.

Shubin + Donaldson Architects designed over 150,000 square feet of interior spaces over the last 3 and a half years to facilitate their fast growth. Today their campus consists of the headquarter building, offices for their various departments from Sales to Human Resources, a centralized server room, a cafeteria with seating for 300 employees with an adjacent outdoor dining area and state of the art production studios. Spaces designed by the Shubin + Donaldson team for the Lynda.com Carpinteria campus include: Sales Department, Customer Service Center, Creative Department, Cafeteria, Server room, Shipping and Receiving, Facilities, HR, and Legal.

The design for Conill created a fun, energetic environment for the young advertising agency to get the creative juices flowing and provide the resources needed for collaboration and innovation to thrive.

WORKSTATIONS NORTH SIDE

WAR ROOM 132

133

COLAB 131

COLAB 128 BREAK AREA 124

COLAB 127

SERVER 154

COFFEE BAR

WORKSTATIONS WEST SIDE

OK 13 SH 5 EL

134

EAST PATIO

125

123

LIBRARY

153

ELEC ROOM 155

MEETING AREA 126

CREATIVE ROOM

LOUNGE

136

122

137

HALL 119

LACT RM 121

BATHROOM HALL 152

CREATIVE ROOM

OFFICE 151

SUPPLY RM 120

CREATIVE ROOM

Y BB LO 100

OFFICE 150

138 OPEN MEETING ZONE

WAITING AREA 102

141 CREATIVE HALL 149

CREATIVE ROOM 139

WAR RM 104

F EL SH OK 140

ENTRY CORRIDOR 103

118

113

OFFICE 148

K EA 6 BR 10

EXEC OFFICE (CARLOS)

WORKSTATIONS EXEC ROW

RECEPTION 101

EXEC OFFICE (ANA) 117

MEETING RM 109

OFFICE 147 PRINT STATION

EXEC OFFICE (BRETT)

EXEC CORRIDOR 111

MAIN CORRIDOR 105

142

116

COLAB 146 EXEC OFFICE (VERENA) 115

WORKSTATIONS SOUTH SIDE 143 EXEC OFFICE (ROSS) 114

MEETING RM 107 HR OFFICE 145

SOUTH PATIO 144

MEETING RM

EXEC MEETING RM

EXEC PRINTERS

108

110

112

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153

FR E E MA R K F I N A N C I A L

LU NAR DES IGN

Beverly Hills, California; 2013 Photographer: Benny Chan Size: 7,800 square feet

San Francisco, California; 2011 Photographer: Patricia Chang Size: 10,000 square feet

Through calculated planes of handsomely detailed materials studiously arranged within the exposed concrete shell and core of a Beverly Hills mid-rise, the design for the Freemark Financial offices showcases a balance of elegance and functionality elemental in S+D’s work. A panoramic view of the city instantly arrests one’s arrival into reception — further anchored by the cantilevering, statuesque reception desk and a dapper tuxedo sofa sitting in front of built-in shelving neatly proffering a population of designer miniature chairs and object. The coalescence of flowing walnut floors and dark perforated ceilings pronounce the subtle architectural elements unfolding in between the 15’ high ceilings. Reflective planes of glass gently mirror the cityscape – drawing the outside inside the space. Recessed linear lights within the perforated ceiling plane line the primary circulation corridors and pendant lights accentuate the height of the exposed concrete slab above. In the pursuit of articulated simplicity and subtle moments of whim, the design provides Freemark Financial – a preeminent business management firm for the television, film, music, production and publishing industries – sophistication and coolness effortlessly.

Lunar Design is a multi-disciplinary design firm in with offices in San Francisco, Chicago, Germany, and Hong Kong. For the design of their new San Francisco headquarters, Lunar wanted something different. They wanted their office embody the type of creative work that they do. What they ended up with is a space that is both functional and unique; a space that fully embodies their brand. The design began with the building itself, a former cornice works and sheet metal manufacturing factory. The original building was built in 1907, shortly after the devastating San Francisco Earthquake of 1906. Shubin + Donaldson wanted to retain this idea of a factory as a place of making, which is what is at the heart of what Lunar does. But this time instead of a factory that builds doors and windows, it is a factory for creativity. Shubin + Donaldson also approached the project by thinking not only of the space itself, but by thinking of how that space could give people the experience of what Lunar is all about. Lunar is a product design firm and S+D worked on the idea of making a finely detailed ‘object’ that would occupy a large portion of the first floor space. This object would not only be something to look at, but something to interact with. This object manifested itself as a tunnel that would transport people from the main entry to the heart of the space. This ‘tunnel of light’ was thought of as an experience that everyone who came to Lunar would need to interact with. As you enter the tunnel, the lights respond to you as they pulse over the tunnel’s length. This pulsing is a response to the person entering the space, as if the building is welcoming you to Lunar.

R I OT GA MES

BIS CU IT FILMWO RKS

St. Louis, Missouri; 2012 Photographer: Sam Fentress Size: 15,000 square feet

Hollywood, California; 2009 Photographer: Tom Bonner Size: 11,000 square feet

Riot Games is the gaming company that launched the popular online game, League of Legends, which now has 32 million registered users. With headquarters in Santa Monica and offices across the globe, Riot Games has grown tremendously in the past few years. Shubin+Donaldson Architects worked with Riot Games on the interior design of their St. Louis and Santa Monica offices.

Biscuit Filmworks is a project that stands in contrast to many of the tendencies in contemporary commercial spaces in Los Angeles. Both the client and the architects were looking to design a space that was more modest, forgiving, and broken in; a place for making comfortable creative work. The architect began with the adaptive reuse of two warehouse buildings; thinking of them as found objects and proceeded to gut them, tie them together, and create a new structure inside this grafted condition. The relationship between the new construction and existing buildings achieves a complex and nuanced order that attempts to blend the new and old in a way that is not easily distinguishable. This sense of blending also comes from the materiality of the project; using reclaimed wood, handmade tile, ribbed glass, and boardformed concrete, the architect was able to achieve not only a range of textures and sources but an industrious spirit that speaks to the company’s philosophical learnings as a factory for doing.

Shubin + Donaldson approached the Riot Games’ office space as a reflection of the company’s mission and values. By juxtaposing the rough nature of concrete beams with high polished finishes and bright white walls, the office creates an atmosphere fit for a gamer. The ceiling is exposed in the corridor and public spaces, but lower ceilings are placed in areas that needed to be acoustically controlled. The color red is used throughout the space to add identity, as well as bring a pop of color. 1. Reception 2. Multi-Purpose Room 3. Small Meeting Room 4. Medium Meeting Room 5. Large Meeting Room 6. Server Room 7. Mechanical Room 8. Work Area 9. Kitchen 10. Eating/Lounge 11. Restroom

The architect also saw this design trajectory as an emerging philosophy about how we design for creative companies in an evolving digital world, and how these environments begin to blur the distinction between the comforts of home and the stress of work. 1. Entry 2. Reception 3. Lounge 4. Conference 5. Library 6. Storage 7. Kitchen

8. Office 9. Server 10. Vault 11. Production Bay 12. Restroom 13. Ramp

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12 5

4 6

13 11

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SI E R R A PAC I F I C C O N STR U CTO R S

INT ERMEDIA

Woodland Hills, California; 2011 Photographer: Benny Chan Size: 16,500 square feet

Woodland Hills, California; 2012 Photographer: Benny Chan Size: 14,640 square feet

The vision of creating a highly contemporary design which offered a sustainable, efficient, healthy, and beautiful work environment was the foundation for the development of the design of the headquarters office of this Southern California General Contractor. The LEED Platinum Certification targeted project occupies two levels of an existing 24 year old building and prides itself on offering a stimulating environment for both clients and employees which reduces energy and other resource use/consumption as well as waste. The site selection for the project was driven by the clientâ&#x20AC;&#x2122;s desires to be within walkable distance to many basic services, public transportation, and offered maximal opportunities for natural daylighting.

Innovation and the ability to offer all in-house capabilities were primary client characteristics necessary to express in the design. A comfortable balance of forms, spatial layout, and material relationships was sought in response to this, studying of the history and future of Media and how architectural intervention could convey the interconnectedness of that subject matter as well as the interests of the client. The clientâ&#x20AC;&#x2122;s scope of operations had grown to encompass a multifaceted collection of media based pursuits which through the study of digital and analog concepts/ imagery, a series of fluid architectural features were conceived which physically fuse many of the different disciplines, directions, and work areas of the office while establishing a bold and identifiable visual presence.

The design was conceived as a merging of interior and exterior environments, utilizing as many opportunities to introduce natural lighting into the depths of the workspace as possible and concurrently offering a soft counterpoint to the modern lines drawn throughout the project. The lower level uses large roll up doors to allow direct connection to the adjacent wooded exterior spaces and expands that material warmth to the interior through the use of wood veneered panels, sliding doors, and exposed timber ceiling structure. The upper level expands on the visual connection to the outdoors via the extensive use of perimeter glazing creating the feeling of living within the trees. A play of layers and transparencies is explored through the use of different types of clear and fritted glazing as well as indirect high efficiency lighting which support the large rectangular roof skylights and solar tubes.

9. Executive Lounge 10. Executive Bar 11. Janitor 12. Storage 13. Restrooms 14. Balcony 15. Board Room

1. Waiting 2. Reception 3. Break Room 4. Conference 5. Meeting 6. Copy/Fax 7. Office 8. Open Office

1. Suites 2. Meeting 3. Server/IT 4. IT/Marketing 5. Restrooms 6. Storage 7. Janitor 7

4 7

7 7

8 8

2 1

7 8

7 1

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I N N O CE A N

BLIND

Huntington Beach, California; 2010 Photographer: Benny Chan Size: 32,000 square feet

Santa Monica, California; 2009 Photographer: Chris Do Size: 12,700 square feet

Located across the street from the Huntington Beach Pier, it was important to INNOCEAN that their space reflects the vibe of the beach, but without it being a kitschy “beach town”. A balance of aesthetics had to be achieved between the executive team who preferred a clean, minimalist design and the creative team that was looking for a more rustic, earthy feel to their space. The result is a highly textured mosaic of materiality and massing. Details are crisp and clean while geometries are varied and involved. A double height reception area was carved out of the 2 floors of the building to create a sense of arrival, but also to allow for a visual connection within the entire agency. The best views from the space to the ocean were given to the communal gathering area, which consists of flexible meeting rooms, media lounge, and kitchen complete with in-house barista.

A playful yet sophisticated composition of materials, textures, and styles describes a dynamic architectural proxy for the inspired energy of this motion graphics firm. The conversion of a nondescript two level storage warehouse into a modern creative office space nurtures a dialogue between compliment and contrast, mixing historical ornament with simple/strong material expression and irreducible detail. The entry sequence is initiated by the insertion of a warm Ipe wood-lined portico leading to a darkly rendered upper level lobby where lace patterned panels and molding coincide in juxtaposition to polished concrete and blackened steel plate. These formal and material relationships characterize, stimulate, and foster the willful and innovative thought occurring within.

INNOCEAN is a place to foster thinking, to create, to work. It is a place to meet, to eat, to live. A sophisticated and elegant design that makes sure it doesn’t take itself too seriously. 1. Lobby 2. Reception 3. Conference 4. Waiting 5. Office 6. Storage 7. Meeting 8. Open Office

1. Entry 2. Reception 3. Conference Room 4. Kitchen 5. Creative Offices 6. Production Workspace 7. Library 8. Producers 9. Avid/Flame Bays 10. I.T. 11. Server Room 12. Openwork Area 13. Restroom 14. Sublease Office 15. Loading Dock

9. Kitchenette 10. Server 11. Exterior Bridge 12. Exterior Walk/Deck 13. Lounge 14. Kitchen 15. Mechanical 16. Restroom 17. Media Lounge

8 11 13

7 12

14 6 5

14 5

2 4 3 1

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SA ATCHI & SA ATC H I

O GILV Y & MAT H ER

Torrance, California; 2008 Photographer: Tom Bonner Size: 106,000 square feet

Culver City, California; 2000 Photographer: Tom Bonner Size: 30,000 square feet

“Homing at work” is the context created for the office renovation of Saatchi + Saatchi LA to boost creative collaboration among the more than 500 employees.  Re-thinking the manner of how one works and lives, the architects explore the influence each has on the another by incorporating concepts of a home into the design of the office space. These ideas are fulfilled through large gestures, such as a grand staircase/meeting space, living and dining areas, and a “backyard” for casual gathering. Focusing great attention on the main floor— centrally located on the third level—the architects designed a communal hub to bring staff together on one floor in a variety of configurations.  The advertising agency’s branded orange color is used throughout in furnishings and materials.

Ogilvy & Mather was looking to reinvent itself with leading-edge design of new offices for the venerable ad agency’s Los Angeles headquarters. The new office communicates a commitment to cutting-edge work. Behind a front-facing, angled plate-glass wall, a perforated-metal tunnel—“The Tube”—serves as a gallery entry path to the rest of the building. The steel-framed, perforatedaluminum structure modulates between the exterior and the office work spaces. At the end of the Tube, a 16-foot-high dividing wall sports super-graphics of quotes by the company’s founder, David Ogilvy. Custom-designed workstations employ the same materials seen throughout the space—perforated metal and steel—to construct a strong integration between the building and its function. A large existing stage pit is transformed into an impressive conference room and gathering site. Eight war rooms surround this space, and provide privacy for working teams. Each room is dedicated to top clients: their settings are designed particularly for them, and presentation materials are easily accessible.

1. Rec Room 2. Sisomo Room 3. Grand Stair Meeting Area 4. Focus Area 5. Dining Room 6. Break Room/Kitchen 7. Game Room 8. Library 9. Conference Room 10. Bar 11. Elevator/Lobby 12. Restrooms 13. War Room 14. Office 15. Work Area

1. Entry 2. Reception 3. Tube 4. Open Work Area 5. Office 6. Conference 7. Kitchen 8. The Pit 9. Restrooms 10. Media Library 11. Production Studios

1 4 4

8 2

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1. “Rec Room” 2. Sisomo Room 3. Grand Stair Meeting Area 4. Focus Area 5. “Dining” Room 6. Break Room / Kitchen 7. “Game Room” 8. Library 9. Conference Room 10. Bar 11. Elevator / Lobby 12. Restrooms 13. War Room 14. Office 15. Work Area

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GR OUN D Z E R O

DAVID AND GO LIAT H

Marina del Rey, California; 1999 Photographer: Tom Bonner, Jimmy Cohrssen Size: 20,000 square feet

El Segundo, California; 2006 Photographer: Tom Bonner Size: 30,300 square feet

By stripping away the customary elements of ad agencies, the architects create a large-scale unbroken loft-like environment. The interior shell of the building is left raw and exposed with sandblasted concrete walls and a bow-truss ceiling. The existing concrete floors are sealed and interior “war rooms” at the perimeter are added with architectural elements to express this sense of an interior village within. War room walls are lined with marker- and pin-up boards for flexible use. A 20-foot-high exterior ramp brings entrants into the building from a private parking lot via a glassencased vestibule that leads to the corresponding interior ramp. The 9.5-foot-high ramp traverses the large space above expressive, custom-designed workstations. Each employee, regardless of title, works at the same type of workstation, occupying the same square footage.

The goal of this space is to combine the ideas of memory and play into a unified architectural environment that promotes the advertising imagination. To level hierarchy and accommodate play spaces, the offices are planned as a series of open and closed areas. The closed spaces use hard walls to contain individual offices and war rooms. Colorful light panels, fabric scrims, and carpets distinguish the open, intimate spaces of spontaneous encounter. Rough, unfinished materials—patinaed metal panels, wheatboard, steel tubing, sanded homosote, lumicite, glass— are used throughout in furnishings and surface treatments. Mundane fluorescent fixtures are transformed into innovative light sculpture. Sliding office doors are integrated into the architectural concept, with humorous, large-scale graphics whose meanings change slightly when doors are open or closed.

1. Entry 2. Ramp 3. Reception 4. Open Work Area 5. Storage 6. Conference 7. Restrooms 8. Kitchen 9. War Room 10. Mezzanine

1. Elevator Library 2. Reception 3. Lobby 4. Conference 5. War Room 6. Office 7. Gathering Area 8. Work Stations 9. Hall/Storage 10. Reference/Library 11. Copy 12. Coffee Bar 13. Restrooms 14. Bar 15. Lounge 16. Machine Room 10

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BRAND NEW SCHOOL

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Santa Monica, California; 2005 Photographer: Tom Bonner Size: 10,500 square feet

Santa Monica, California; 2007 Photographer: Tom Bonner Size: 15,000 square feet This four-level space is designed with flexibility to keep up with constant changes in the postproduction industry. Exacting space planning provides the right environment for clients and artists—private spaces, as well as collaborative group areas. The mezzanine is home to the brain of operations—a vast Machine Room that powers sophisticated computers. The architecture expresses the operation of the machine. The material truth of exposed structure and raw industrial materials defines the palette employed to create the workspace. Glass, steel, aluminum, perforated metal, acrylic plastic, and clear-coated MDF are joined with exposed, precise details. Custom-designed workstations are powered by intense overhead cabling that became a design opportunity, threading throughout the space. The client lounge overlooks the light-filled lower-level library, which has full-height windows and 18-foot shelves.

This office embodies the precision and organization, as well as the informal style and personality, of the graphic production company. A highly collaborative design process resulted in space that fosters and reflects the company’s focus on communication and creativity. Like a building within a building, the space has two volumes: the soaring aluminum ceilings, skylights, and concrete flooring of the original shell; and the asymmetrical, but balanced, tightly-planned interior construction that houses both enclosed and open work spaces. Roll-up garage door opens to large reception/guest lounge/photo shoot area. Beyond that, three bodies of work spaces are separated by two elongated hallways leading back to the kitchen. Mezzanine level—an expansive L-shaped space overlooking the geometry of the first floor—features a fishbowl conference room with interior operable windows. A reductive material palette comprises bamboo, stainless steel, aluminum, and drywall. 1. Entry 2. Reception 3. Lobby/Lounge 4. Photo Staging Area 5. Producers Offices 6. Collaborative Offices 7. Creative Offices 8. Kitchen/Break Area 9. Copy/ Mail 10. Finance 11. Book Keeping

12. Server Room 13. Reel Storage 14. Electrical 15. I.T. 16. Human Resources 17. Flame Bay 18. Avid 19. Conference Room 20. Freelance Designers 21. Research Library

1. Reception 2. Office 3. Lounge 4. Kitchen 5. War Room 6. Open Work Area 7. Restrooms 8. Reference Library 9. Server Room

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