Corporate Visual Identity in Offices through Interior Elements : Thesis by Tanvi Mandovara

Corporate Visual Identity in Office through Interior Elements

By Tanvi Mandovara Guided by Dexter Pereira Faculty of Design | CEPT University

Bachelor of Interior Design Undergraduate Thesis | 2021

Declaration This work contains no material which has been accepted for the award of any other Degree or Diploma in any University or other institutions and to the best of my knowledge does not contain any material previously published or written by another person except where due reference has been made in the text. I consent to this copy of thesis, when in the library of CEPT Library, being available on loan and photocopying.

Student Name & Code No:

Signature of student:

Tanvi Mandovara & UI8916

Date: 30/04/2021

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Acknowledgement

I would like to express my gratitude to everyone who has supported me along the journey. I am grateful to them for sharing their honest and enlightening perspectives on all aspects of the research project. Over the last four months, I have received invaluable constructive criticism as well as pleasant guidance. I would like to express my heartfelt gratitude to my guide Dexter Periere for his guidance throughout the research. His contributions enriched and guided the research in the appropriate direction. Further I would like to thank the faculties of FD - Cept University to give opportunities to explore enlightening to the professional world. A special thanks to Vaibhav Devpura to help me connect We Work spaces, Harsh Panchal for LinkedIn case study data. I am extremely thankful for my constant support and motivation throughout the research process from Isha Shah, Tanya Mangwani, Tushar Mandovara, Jasmine Jaichandani and Garvit Soni. Finally, I express my wholehearted gratitude and dedicating this thesis to my parents Mr. Satyanarayan Mandovara and Mrs. Deepika Mandovara who has supported me unconditionally and encouraged me throughout the studies of 5 years. I am greatful to my brother Divyanshu Mandovara who has supported me in my process.

Content

Proposal Abstract Aim ,Research Questions, Objectives Scope and Limitations Methodology Introduction

Corporate & Visual Identity

Corporate Identity : the concept Elements of Corporate Identity Visual identity : Corporate Design

Corporate Offices

Office As a Corporate Property Corporate Office : Change in trend Designing Office Spaces

Aspects of Visual Corporate Identity

Spacke Making Elements Characteristics

Case Studies

Methodology and Criteria

Case Studies : 1) LinkedIn 2) Narsi & Associates 3) We Work Analysis Inferences

Conclusion List of Figures Bibliography Future scope

Proposal Abstract Introduction Aim, Research Questions, Objectives Scope & Limitations Research Methodology

Abstract

In today’s capitalist world, a well-established corporate identity is considered an important factor for corporate success. The business leaders and corporate companies have begun to recognize the importance of making links between corporate identity and their workplace to impress on working employees, clients and visitors. To reflect their corporate identities in a desired manner, organizations use different methods and one of the key methods is interior design of work spaces to communicate this to the external and internal world. This research is aimed to study the corporate visual identity and how it is incorporated into interior spaces of office through three dimensional embodiment. This create a better office environment which helps employees, clients, visitors and business associates to identify with the company’s culture, philosophy, and values. This research looks into through space making elements and characteristics of office spaces which reflects the corporate identity visually. Case study method is used to investigate and through comparison; different ways of corporate visual identity is understood. These attributes help in improving employee productivity in their work performance and efficiency at work.

Key Words: Corporate,Identity,Visuals, elements, characteristics, interior, office

Introduction

In recent years, there has been a significant increase of understanding the importance of corporate visual identity of an organization to compete in the business. Today business leaders and the corporate companies have begun to recognize the importance of strong identity to stay along with the marketplace, to the working employees, visitors and clients; and can differentiate themselves through their products and service identity. Apart from corporate identity, a term called Corporate Visual Identity is developed which is vital for a company’s identity. As a result, a well-structured brand identity is critical to corporate success. A corporation’s work place is also a major reflection of their identity. Thus, the business leaders and corporate companies have begun to recognize the importance of making links between corporate identity and their workplace to impress on working employees, clients and visitors, the corporate identity. To reflect their corporate identities in a desired manner, organizations use different methods and one of the key methods is interior design of work spaces to communicate this to the external and internal world. Thus, this research will investigate how integrating the corporate identity into the interior design through three-dimensional embodiment will create a better office environment which helps employees, clients, visitors and business associates to identify with the company’s culture, philosophy, and values. These attributes help in improving employee productivity in their work performance and efficiency at work.

Aim This research aims to understand the integration of corporate identity in office spaces through space making elements and characteristics.

Research Question •Why corporate identity is important in a contemperory office environment? •What are the major spaces of office in which corporate identity should be reflected? •How corporate identity is incorporated in office spaces? •How corporate visual identity is achieved through interior design in an office space? •What are the visual impact of corporate visual identity in office environment?

Objectives •To identify the values, cultures and mission of the company and understanding the attributes. •To identify the spaces in office interiors which reflect the corporate visual identity. •To identitfy the aspects of corporate visual identity in office spaces.

Scope & Limitation This study will focus on undertstanding the corporate visual identity in interior office spaces. This will be helpful to students and designers in implementing a strategy to emphasis in corporating visual identity in office spaces. This research focuses on individual spaces within large scale corporate offices. This study does not focus on visual identity with respect to logo, advertisement, graphics or digital marketing. This study also does not focus on workstations areas or cabins within offices. This study is limited to offices within India only.

Research Methodology This research is studied in three sections, first to understand the corporate visual identity, second the elements in office space used to represent identity. Third is the documentation of three case s tudies, one is researched through primary studies on site and two cases through secondary resources. Analysis is extracted in a tabular form for all the case studies; space making elements and its characteristics. After comparison analysis it is concluded with the help of inferences of all three case studies and the reflection of corporate visual identity.

Research Methodology

- Core Values - Culture - Mission & Vision - Philosophy

A medium

Corporate Identity

Intangible

Visual Identity/ Visual communication

Oﬃce

Tangible

Aspects of corporate visual identity

Material Finishes Color

Criteria - Corporate oﬃces - Strong identity - Area : 25000 - 50000 sqft

Characteristics

Analysis Interior spaces a tool

Conclusion Future Scope

Case Study

Inferences Space making elements

Wall/partition Column Floor Ceiling Doors

LinkedIn Corporation Narsi & Associates We Work

Windows Furniture

Chapter 1

Corporate identity and Corporate Visual Identity

The concept - Corporate Identity Study from the last few decades shows that both academics and practitioners have begun to value corporate identity as a factor in the company. Several concepts of corporate identity are checked for the purpose of the report, based on studies by numerous scholars. Balmer and Soenen (1999), Ind (1992), Melewar and Jenkins (2002), and Olins (1990a, b) Corporations, like people, have their own personalities that emerge and grow with them. Few scholars have viewed Corporate Identity as a corporate communication method. According to Napoles (1988), corporate identity is a desired picture acquired and conveyed to the public by the corporation through clear visual communication. Similarly, Gray’s (1986) notes that Corporate Identity is a critical component of a company’s overall communication strategy. Nick Townsend of Landor Associates defines corporate identity as follows: Corporate identity is a powerful tool in the corporate toolbox that allows you to convey transition, direction, and your point of differentiation. And why is that valuable? Because, of all the things you do in company, communication is probably the most difficult (Ind, 1992,). Furthermore, “Corporate identity, when properly planned and systematised, is the visual representation of the organisation as it sees itself and wants to be perceived by others” (Selame, 1988). Corporate Identity is primarily classified as visual and graphical status by graphic designers or communication designers. To put it another way, corporate identity is the way a company or organisation presents itself to users or clients. It is a holistic term that includes both visual and nonvisual elements such as the corporation’s name, architecture, logo, and the quality of service, as well as employee attitudes.

Mehmet Ak, the author of Firma ve Markalarda Kurumsal Kimlik ve Maj in 1998, described Corporate Identity as power and system integrity. This system is made up of the following parts: •Name of the corporation-product-service •Clothing of staff •Attitudes of staff •Management quality •Letter headed stationery •Service quality •Advertisement-Public Relations •Envelope-Business card •Vehicles of the corporation •General view of the corporation •Logo of the corporation •Interior architecture of the corporation •Reception-information Balmer’s (1998) research is helpful in bringing out some of the most well-known aspects of corporate identity principles. To begin with, corporate identity is a broad area. Second, it is a term that is used to describe the nature of what a company is and therefore combines various firm characteristics such as tradition, culture, society, communication, and how a company operates. Third, it is inextricably linked to the organisation’s corporate identity. Despite the fact that there is no agreement about what components make up the corporate identity mix, according to Balmer and Soenen (1999), it is generally accepted that a mixed methodology approach to corporate identity analysis is needed. Melewar and Jenkins (2002) endorse the preceding perspective, describing “corporate identity” as a result of marketing campaigns and also visual identity of corporates schemes that are represented as the organization’s mission and value to the world. However, as the concept of CI emerged, It became synonymous with a variety of functions, includes business approach, key executive philosophy, behaviour, corporate culture, and corporate design, all of which are inter - related and unique to every company (Van Riel, 1997).

There are various meanings and components of corporate identity that can be found in the literature. It is not possible to describe the definition in a single sentence; however, the concept of corporate identity necessitates a thorough analysis, which is given below. Since different brands tend to view themselves differently, they have different corporate identities. Nike, for example, is portrayed as aggressive; Body Shop is portrayed as socially conscious because it values animal rights. As a result, brand identity is a measurable phenomenon. To summarise, it is clear that there are numerous and related points of view on this topic. Corporate identity is a broad subject, so it should be noted that it is limited to office interiors in this thesis. In this analysis, the relationships between interior spaces and Corporate visual Identity elements will be examined in the sense of corporate offices.

Corporate Identity

Values Corporate Culture

Mission Philosophy Principles

Corporate Structure

Corporate Communication

Corporate Design

Brand Structure Sub Culture Controlled Communication Uncontrolled Communication Corporate Visual Identity CVI application

Corporate Behavior Behavior

Employee Management

Corporate Strategy

Differentiation strategy Positioning strategy

Industry Identity Fig 1.1.1 Categorisation of Corporate Identity

Elements of corporate identity Corporate Culture There are some approaches to comprehending organisational culture. Some claim that it is strongly linked to custom as an example, one interviewee claimed unequivocally such culture: “... this is the basic function of management around here.” Others, however, like Peter and Waterman (1982), proclaim that workers are fundamental to the society and their “core values.” There are various points of view on the relationship between corporate culture and corporate identity. According to Downey (1986), The result of corporate identity is corporate culture and culture is “what” an organisation, while identity is “why.” Significance of corporate culture The interviewees are clear in their belief that their company’s corporate culture was critical to its financial success. The majority of interviewees explained the characteristics of their corporate culture; for eg, one interogater from a trading (corporation) firm revealed that the culture is: Teamwork, integrity and Probity

Many interviewees, however, indicated that corporate culture and corporate identity are inextricably linked. One respondent from an oil company, for example, stated: ... Corporate culture and identity are strongly intertwined, and it is hard to separate both. Corporate culture not only affects, but also establishes, an organization’s identity.

Even though there it is not widely belivable concept of corporate culture, the following important elements of culture can be found in secondary resources: ideology, goal, values, principles, instructions, history, national culture, the founder of the business, and subculture (Ambler and Barrow, 1996; Czarniawska and Wolff, 1998; Schmidt, 1995).

The basic principles and assumptions of an organisation formed by senior management are synonymous with corporate philosophy. stated by Balmer and Van Riel (1997), philosophies, rituals, and languages that guide a corporate’s culture and shape its identity are examples of organisational principles. Many consider the corporate purpose to be the most important aspect of corporate philosophy because it relates to the reason for the company’s existence (Abratt, 1989). one of the interviewee from a trading (corporation) firm insisted on the importance of a statement: ... You’re finished if you don’t have a goal or goals at the end of the day.

Corporate standards have a significant impact on critical corporate decisions such as goals, ideals, and an organization’s mission. Many interviewees claimed that the company’s mission statement includes corporate philosophy, beliefs, ideals, and guidelines.

Corporate Structure Many researchers consider corporate structure, which includes organisational and branding structures, to be a critical aspect of organizational identity (Chajet, 1989; Ind, 1992; Olins, 1986; Strong, 1990). Three forms of marketing strategy schemes are proposed by Olins (1986). To begin, a monolithic framework is one in which the organisation needs a common name and visual design, and as a result, the corporation’s corporate identity serves as the user’s brand. Shell, British Airways, and IBM have all taken such approach. Second is is the endorsed structure, which is the corporate identity of the parent crporation is synonymous with the names of the branch. And at last, a branded structure is one in which different brand names differentiate goods. Procter & Gamble and Unilever are two companies that come to mind.

Organisation’s Structure The structure of an organisation is linked to the organisational hierarchy, and monitoring and communication channels. The degree of centralisation and decentralisation, both geographically and through goods, is crucial (Van Riel, 1995; Varey and Lewis, 2000 Cornelissen and Harris, 2001; ).

The responses show that different organisations approach the concept of corporate identity and its relationship to corporate structure in different ways (1999a ,Stuart). All though the responses do not specify whether the CI management is a part of organisatiional structure or likewise, its reasonable to assume that corporate structure plays a role in corporate identity management (Stuart, 1999a).

Corporate Communication Various scholastics have focused on the connections between corporate identity and corporate communication (Varey and Lewis, 2000 ;Cornelissen and Harris, 2001; Van Riel, 1995). Corporate communication in an organisation interacts with their stakeholders. As a result, an organization’s communications, everything it makes, and all of the actions it engages in will influence stakeholders’ expectations. Corporate communication are explained in two; uncontrolled and controlled. intentionally communication relationships is classified as controlled corporate communication. On the other hand, uncontrolled communication happens when perceptions are unintentionally influenced in organisation by stakeholders. There was a solid agreement among the interviewees about corporate communication as a significant part in general corporate personality idea. Melewar and Elif (2005). An applicant from an oil organization expressed that between connections of a corporate identity and communication implied that these ideas are indistinguishable:

Corporate communication encompasses not just what the organisation does, but also how it is perceived in the outside world, and it is, to a large degree, the foundation of the identity. From our environmental position to our shareholder statements, all... (company name) does communicates everything, and our an identity is focused around how all of these means of a communication are interpreted throigh our employees, investors and clients.

Analysing the interviewee’s statements communication can be interpreted as a medium to reach companies people and the outside world verbally as well as visually. Visual communication also reflects about the corporate identity and how they are reached to the employees and external world.

Communicating the Identity: Visual communication Today, immeasurably new brands/organisations are coming up, and already existing ones, it is an extremely essential job of the designer to become involved in ‘communication’ of the brand/ or organization, rather than simply finding solutions to the physical problems. Similarly, its important for a designer to involve in a product/service or a space to communicate the principles, ethos, or philosophy of the brand or an organization, for its successful, establishment and life in the market. Communication is the process of conveying ideas and emotions from one being to the other. An act of communication is a partnership. One person must convey a message; another must receive it. Too often visual expression is considered by both designers and readers. But, in view of the emancipation of the visual in relation to the verbal in our culture, where the audience is visually more sophisticated, this imperious attitude to the visual expression nullifies the very real and valuable potentials of visual language.

Corporate Design : Visual Identity The term “corporate design” refers to the overwhelming array of visual signals associated with a particular organisation. The corporate visual identity system (CVIS) is made up of five key components: the organization’s name, slogan, logotype/symbol, colour, and typography (Dowling, 1994; Melewar and Saunders, 1998; Topalian, 1984). Visual identification can also be communicated by the company’s goods and equipment, as well as its positioning and building design. Interior of office design, eg, can reflect few facets of corporate culture. (1994) Dowling mentions other CVIS uses such as advertisement, clothes, packaging, promotion, and giveaways. In addition, Olins (1990a, b) emphasises the significance of the organisational climate in conveying corporate identity. According to Balmer and Baker (1997), visual identification serves two primary functions.

It serves two purposes: first, it reflects the organization’s principles and ideology, and second, it aids in corporate communication. Many stakeholders, including staff, investors, and customers, may be influenced by an organization’s visual identity. It is the most widely debated component of corporate identity, and as a result, one of the most commonly used ways by organisations to signal a shift of identity is through change in name, often in connection with corporate logo changes. Significance of corporate design Secondary research of these interviews endorsed and claim that many organisations use design to express the firm’s strengths and qualities (Melewar and Saunders, 1999). An interviewee from an insurance firm shared the general opinion that design was an important component of corporate identity:

It [corporate design] communicates to our staff what is required of them and communicates to our clients, who are mostly other companies, what as organisation is all about, professionalism, and high quality of their service..

While there are widespread consensus that the corporate design is an essential component of the overall identity of corporate philosophy, certain design sub-components were deemed important more. Many applicants believed that the motto is an important part of design coneying that phrases can have a major impact on stakeholders’ views of the corporate and can be helpful in reminding staff’s of the company’s mission. The applicant , who works for an IT company, explained: When beginning a new business, it’s important to spell out the new concepts and slogans, as these can have a significant effect on the company’s overall image.

The connection linking culture and design is clear, as corporate slogans and missions are frequently mentioned as important components of both culture and design. There are also broad agreement, especially among interviewees from large multinational corporations, the location and architecture are critical components of corporate visual identity.

An interrogator from an oil company said that a specific shift in location and office design had a significant impact on the firm’s internal culture: When... [firm] relocated everyone to the new Waterloo (London) centre, it had an effect to culture, and it was followed by a new office layout, which likely marked a paradigm shift in the way tasks had to be done to some degree.

To sum up, corporate design was a critical component of corporate identity. However, some design sub-elements, such as corporate visual identity and its implementation, were more significant. Despite some reservations about the benefits of changing the company name, the logo, design, and office layout were all important. Interpretation of identity in space The interpretation or communicating the corporate identity has extended to the field of interior design. This would be more in terms of multi-sensorial experience. The process of interpreting and deciphering the physical environment is a complex one that involves the interaction of human physiology, growth, experience, and cultural sets and values with outside upgrades. In order to determine the actual qualities that identify objects and their relations in three-dimensional spaces, we interpret selected characteristics of the perceived environment in terms of associations and values that convey identity and status while also creating a meaning and describing the circumstances. The following are the primary elements that relate to the essential sensory domains: •sight (visual) •sound (auditory) •smell (olfactory) •touch (tactile)

Visual - sight

Fig 1.3.1 Visual - Eye Sight

The visual aspect is the most prevalent of the four elements. In this case, the saying “it all begins with the eye” is quite appropriate. Significant aspects within this domain will be the form and colour of the space making elements in-build environment, as well as the shapes and sizes of elements within the room in relation to the space itself. A large space with irrelevant elements appears sterile, whereas a small space with large objects/elements appears claustrophobic. The elements may be crafted to express the qualities of the brand’s sharp angular shapes, which may signify dynamism, dominance; roundness conveys harmony, softness of the company. Straight lines are sharp, while curved shapes are soft and smooth. Colors are often known to have a psychological effect on one’s mind, and while a simple combination of black and white can represent sophistication, a mixture of colours from the spectrum can make the space vibrant and full of excitement. A grand volume in the reception by increase in ceiling height through the movement of column can reflect excellence identity. Sound

Fig 1.3.2 Sound

Sound and music are more important than one would think; as a backdrop, they improve identity in retail and other areas of the business. Many services rely heavily on sound to help them connect with customers. Background music, according to philosopher David Burrows, “gives the world a texture of micro movement.” It has the ability to relax, rush, and make people happy or sad. Using sound as a guide, spatial designers may build textures of micro movement. The effects of sound, like the effects of visuals, are highly reliant on the feeling that customers have. A noisy doctor’s office, for example, does not attract many patients, while a noisy restaurant may cater to a large number of young people and become a suitable and appropriate place for them.

Smell Smell is the most potent of the five senses. There are shops that use a specific fragrance to create their identity, such as herbal herbs shop and health and glow, but they do not attract attention to themselves, unlike visuals and sound. They merely contribute to the formation and enhancement of one’s identity. Scents can also help to create moods in a room. We sometimes recall smells based on their appearance rather than their properties; we interpret scents as floral, musky, fruity, spicy, and intoxicating, among other things. Given the strong memories that scents elicit, marketers may easily rely on scents to generate the desired impression or feeling while developing or enhancing an identity.

Fig 1.3.3 Smell

Touch Materials can give a product a distinct “feel.” ‘Hold it (the handset) and you are hooked--it feels like a part of yourself,’ claims a mobile phone business. Warmth, resilience, and naturalness are all strongly associated with materials. Different types of materials, as well as variations within each material, elicit a wide range of associations. Organic materials, such as wood or leather, are perceived as warm and delicate, whereas inorganic materials, such as glass or metals, are perceived as cold and stiff. Rough materials, which are typically used outdoors, invoke a sense of confidence and independence when used internally, free of order and symmetry. Natural materials, such as flowers, woods, and the like, can be used both inside and outside to make people feel comfortable and at one with nature. In this study Visual and Touch sensories elements are well researched ahead with respect to interior elements in offices.

Fig 1.3.4 Touch

Chapter 2

Corporate Offices

Office - An identity as a property Most organisations often manage the identity of their companies and brands/corporate, which is handled by a set of elements that serve as the organization’s public face. The visual identity of the corporate logo or emblem is at the first level. This is the first aspect that a business, organisation, or brand is known and associated with. Many aspects of identity exist in addition to logos. The four P’s have been interpreted : •Properties: An internal and external assets which are offices, warehouse, factories and retail outlets, showroom, showrooms. • Product/service: its quality and efficiency. • Presentations: It includes displays, packaging, labelings and tags. • Promotions: It Includes business cards, advertising, sales promotions, films.

Fig 2.1.1 Four physical aspects of a corporate company

This chapter will cover only the internal properties : Office as aspect of identity: Properties A company’s properties include all of its real estate assets. These can be broadly classified into two types: internal and external. Internal assets include all of the organization’s offices, warehouses, and other manufacturing centers. Retail stores, auction houses, showrooms, and dealers are examples of external properties. Internal properties primarily serve clients and staff, while external properties serve tourists and other guests. The architectural standard of internal properties has almost never been prioritised. Only since the early 1990s have businesses recognised the importance of well-designed offices in establishing their brand. They have also understood that workers must be treated in the same way that consumers are. If a ‘customer is king,’ an employee should be given equal value for the benefit of the community, both in terms of production and community, and therefore, brand equity. While retail spaces have always been thought of as a part of presentation, and have always been viewed as a place that provides the product, very few organisations have focused on the retail image of their outlets. In recent years, this perception has shifted. The retail design model has been reimagined. It is now an environment where consumption and leisure coexist. Shops and malls are no longer merely “buying spaces”; rather, they are “buying experiences.” Customers seek additional values to the commodity that are not inherently physical or monetary in nature. As a result, the primary goal of designers today is to create environments that, in addition to inviting buyers, maintain their presence for a longer period of time, in order to induce impulsive purchases in addition to the daily purchase.

Well-planned and built properties have always been vital for services, especially where important decisions and work are made as a team and their real product is a measure of their performance. These industries are organised, designed, and operated to profitably sell pleasure and provide a multi-sensory experience. The service sector called offices where organisation works is researched in this research domain.

Office design TThe foundation of any corporate identity initiative is a separate, persuasive corporate disposition that demonstrates what the organisation does, the values and culture it represents, and what distinguishes it from competitors. With positioning as the cornerstone, the company’s interactions across all platforms will develop and strengthen a distinct character and brand. The physical environment reveals knowledge about the individuals and communities in which they are associated. It sends a message that one is culturally programmed to seek and interpret. However, most messages are read almost subconsciously, which is why they have such a strong impact. Millions of employees work in offices around the world. For others, the office is a study attached to a private home, and for others, it is part of a large corporation. Despite all of the hours spent behind a desk, the office building, especially the interior, has only recently come under scrutiny. During the 1970s, offices started to reassess their workplaces in terms of economic advantages. Comfort leads to happiness, which leads to improved efficiency. The most advanced ventures of the time, such as Frank Lloyd Wright’s Larkin building in Buffalo (1940) and Johnson Wax’s corporate office (1936-39), are direct analogues of the industrial model. Many of the buildings by the new movement’s and international style’s heroes are founded on the primacy of what Karl Mannheim refers to as “functional rationalisation.” The open plan office, which replaced the

Fig 2.1.2 Johnson Wax’s Corporate office

monotonous rows of small cells and long halls, was designed to enhance space utilisation. One approach focuses on the bombardment of repetitive elements or monolithic images that assail the consumer’s subconscious without respite, while the other is much more constructive and subtle and consists of staging settings that transform the room into the ideal mirror of the company. Simultaneously, superior corporate designs were needed in order to provide prestige values, and commercial buildings became icons of economic strength for the corporation and its goods. Following World War II, office automation pioneers such as IBM and Olivetti used architecture as a marketing tool, making it an important part of establishing corporate cultures.

Corporate offices: a change in the trend A company’s corporate identity is essential to two groups of people: those who work in the workplace and visitors/clients. Employees who are sensitive to their working environment receive employer-conveyed messages through the design of their offices. They understand the point as they step through their company’s elaborate reception area and into the distantly lit, noisy back rooms where they work eight hours a day. Knowing that one flight up, the executives’ offices provide a stark contrast to their own territory exacerbates the situation. Although workers may not always be able to express their exact reasons for feeling mistreated in such a situation, they can easily perceive the cues provided by the environment and react to them. Messages from the workplace environment are often received by tourists. A good design will educate visitors about a company’s point of view in its industry. Today, the appearance and design of an office building are meant to animate workers, foster contact and enterprise, and proclaim the firm’s quality to clients and employees. The preference for architectural status symbols by insurance companies and banks is a very human response to

a company that is increasingly conducted through the privacy of the electronic network and modern electronic data. Corporate identity is what one sees, what one impresses, and it is the tangible symbol of the client’s size. This has put an end to the old contrast between the old flamboyant public face of the buildings and the unpleasant truth of the offices behind it. Instead, the whole structure, both inside and out, is seen as an act of corporate self-assurance. In the words of French philosopher Jean Francois Lyotard, “we are passing from an age that knew how to control materials and materiality to an age that needs to know how to control languages and signs.” Conscious efforts have been made to make workplace environments more complex, and individual design elements are being tested with infinite variable settings to include a diverse range of human experiences. The aim is to give office workers a sense of freedom from routine and mechanically organised tasks, allowing them to be more effective, productive, and creative. Today’s best workplaces are built to be efficiency boosters. The need for individuality has resulted in the emergence of numerous methods of projecting identity, the most popular of which has been inspiring workers and instilling organisational values. To satisfy the increasing need for new experiences in the workplace, offices are introducing entertainment architecture for clients and employees. This includes gyms, restaurants, nightclubs, and crèches for youngsters, as well as swimming pools, mini-movie theatres, and everything else that caters to the comfort of the workers. This is to convey the messages that the office takes particular care of the employee’s needs and that his personal well-being is critical to the office’s operation. Essentially, physical representations are still needed for corporate identity, and image works best when it is an external representation of an inner corporate reality.

Designing Office Space In office designing, the spaces are designed according to the user and the corporate image they wish to project. The user scope includes anyone from the employee to the client. There are areas that can only be used by employees, some that would be used during a client conference, and even others that would be used by users. Some businesses feel that they should look ‘truly inspirational’ Others believe they should project a ‘prosperous, traditional’ image. These messages can be rendered in concrete visual terms. The following prime spaces have been identified as potentially communicating of/for the company: Reception/Waiting area: A very famous quote we heard in our times, “You never get a second chance to make a first impression”. Similarly reception is just like the first impression of any organization space. Every organisation wants to send a different message to their visitors/client. A reception can be interpreted, be it size or use should empower the user to feel connected to the organization. The impact of an organization’s physical space is right up there with compensation in attracting and retaining great staff. The journey/perception starts with reception. The reception area confirms the message conveyed by the front door: you have arrived, and this is who we are. At a glance, the reception establishes the company’s image. The inclusion of the company’s logo will help to emphasise the identity. Waiting Area: Waiting area/lounge is a part of reception yet it has its own individual reflection of that company’s identity. Any visitor or client is given the best hospitality when they have to wait for their meeting. They experience the space while seating in waiting lounge and there is when corporate identity has to be visually seen to them. It let them grasp about the company and the image.

The identity is important to emphasize at waiting area/lounge. Conference/Board room: The conference/board room, more than any other room, is the embodiment of the company’s inner workings, the tangible manifestations of a corporate identity. It holds a significant position as a team where all critical decisions are made. It, like other office interiors, may announce a company’s status. More significantly, design in this context expresses a corporate operation as well as conveys status. The layout of a boardroom, with its unifying table surrounded by a family of chairs, is an expression of how an organisation is operated in design. Meeting Rooms: Meeting rooms are not just formal anymore. They are in informal discussions as well. A space where they can have their own way of relaxing and work at the same time. Its vital to reflect the culture and ideas of company in rooms to remind the epmloyees while taking important decisions. Meeting room does not end for employees but clients as well who are willing to work with the company on the basis of their values and trust. Cafeteria: Another area where the company’s behaviours should be highlighted. The appearance of this wide room will reveal a lot about how a company sees its workers. A well-designed and appealing cafeteria provides an opportunity for the company to demonstrate to its employees how much they are valued. Workstation area: This area provides an opportunity to depict the company’s relationship with its workers. The most critical area of a business where a team collaborates to help the company expand.

Aside from having sample space and lighting, this may speak volumes about the company’s approach to employee well-being. Corridors : The corridors of corporate offices are the most frequently used by users in a time frame of minutes or seconds. Its an important connecting path of individual office areas. It leads to different zones of offices and while passing through it major corporate identity has to be reflected visually. The office lobby speaks volumes about an organisation, sending out a powerful message about the company’s identity, and can be affected by subtle design choices that speak about the corporate identity, according to experts.

Examples

Reception

Fig 2.1.3 Reception area reflecting transformation as visual identity

ADP Architects was tasked with the design and build of the British American Tobacco offices, located in Ho Chi Minh City, Vietnam. By understanding the core values of the client, ADP has carried out the idea of “Shape of transformation” in the design of BAT office. The new office uses materials delicately with wooden, bright and young colors materials. Furthermore, the interior design combined with the lighting element reminds the message about innovation and the look forward to the future. The reception desk continues to be a part of the wall behind it as a backdrop created as a tangible form of transformation which the company believes in.

Board room

Fig 2.1.4 Conference room of CDK global California has a furniture chassis of a car reflecting the industry they work in.

The boardroom, which is adjacent to the lobby and linked to the waiting area, represents the simple approach to each room as well as the overall company mentality. Instead of trendy graphics or over-the-top messaging, each room features an embossed licence plate with the state’s slogan – a clue to the company’s office locations. This room features a custom-designed conference table inspired by a car’s chassis, which serves as both an operating surface and a unique conversation piece. Light lenses made from recycled motorcycle headlamps complete the room with a ‘gear-head’ influenced finishing touch.

Informal meeting area

Fig 2.1.5 Informal meeting space with options of inclusive furniture

Furniture as element is a medium to reflect their brand values manifesting that office spaces are for individuals and the collective through flexible options powerfully supports brand values. So ergonomics is also a way to put an expression as corporate identity.

Meeting Room

Fig 2.1.6 Meeting room reflecting partly transparency and privacy as well

Full glass vertical partition. the connectivity through sight inside and outside. Openess reflected. Partition till eye level where privacy but transparency as well. Circulation are highlighted with the graphics which reflects the connectivity and leading to great possibilities.

Characteristics

Characteristics Characteristics

Material

Material Material

Reception Reception

48 Waiting Lounge Waiting Lounge Conference Conference

Finishes Reception Finishes

Waiting Lounge

Conference Room

Color Color

Finishes

An Analy

Only furniture as spatial element Only furniture as spatial element is u table highlights form of fu table toptop highlights thethe form of furnit

atrium is one of the important TheThe atrium is one of the important spa events held stairca thethe events areare held andand staircase, many colors used for depic many colors areare used for depictin

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Chapter 3

Understanding of Space Making Elements and Characteristics •Space Making Elements •Characteristics

Space

Making

elements

Every interior space has its own language. It is composed of basic elements of space construction. When entering a building spaces, these elements of space creation are evident where the floor, supports columns, and infilled walls have openings such as doors and windows to guide movement and further develop a shell through a ceiling or a roof on top. In architecture, there are fundamental boundaries between the floor, the wall, and the ceiling, which become spatial positions defining space. Humans organize themselves in space, either horizontally or vertically, in relation to objects or simply in relation to momentum. Elements are the factors that shape the shell of the interior architecture, and their size, proportion, complexity, and purpose differ depending on the role. Different elements that include the vital identifiable portion of the man-made built environment offer a tangible manifestation of space notions. The floor, lateral floor stairwell, column, wall, openings - window and door, and ceiling or roof are all space-creating elements. These components are combined or juxtaposed to create various forms of experiential spaces. The book “Elements of Spatial Design” by Prof. Ytin Pandya discusses this fundamental understanding of spatial components, including their artic-ulation, characteristics, vocabulary, and potential. The identity of any individual person or company profile is visually designed through space making elements in any given space, Its constructed in a desired direction, define it, combine activities into it, add emotional accent, demarcate the boundary, and so on, enveloping the parts of a space into a whole and giving it life. Thus following are the elements discussed in detail:

Floor The floor is a horizontal plane, providing a firm Datum, a resting plane for all the objects in that space. Floor is a single entity which has a reference only to the gravity in the downwards direction. Floor acts as a physical support to the compositions of elements above and below it. Defines the space

A horizontal support

Floor

Directs the movement

A medium to Communicates

Horizontal support By providing gravitational power, the floor serves to unify various parts of a room. This stabilising feature enables perception of a built form’s unified context. Defines the space It also establishes a threshold to create a transition from uncertain surrounding to enclosed volume. This establishes a distinction between what is inside and what is outside. Medium to communicate The floor has a greater surface area and, as a result, is constantly visible when walking underfoot. This provides the most visible surface for superimposing patterns, motifs, signs, icons, and messages. Hence, floor can easily communicate by decorative artwork either temporary or permanent like rangoli, oil painted, inlay work , construction material course pattern or by acting imprints of nature flora/fauna on concrete.

Movement Guide The floor allows the movement to often stop or steer in a specific direction. This can be achieved by the use of different designs on flooring or levels. The spatial and physical characteristics of floor give the overall characteristics and life to a space by the pattems, textures, colors and scale applied to it.

Column A column is an important architectural element that acts as a compression member subject to axial compressive forces—they enable space to be generated by bearing the building’s load. It is one of the basic elements used to build a shelter for a primitive hut, and architecture has evolved from it since then.

Defines the space

A column as a focus of the space

Column

Directs the movement Verticality

A medium to Communicates Creates Image

A medium of communication and Image Maker Previously, when the purpose was to carve spaces, the column used motifs, embellishment, and emblem to record the language and as a source of decoration. A column was then a communicator - a visual feature that served more than just support. It is often associated with the cultural context of a specific culture through visual embellishment, motifs, and inscription, and thus generates a visual effect through its detailed intricacy.

Directs the movement and vertically A long regular interval of repetitive movement pattern gives rise to a sense of continuity leading in a specific direction. This interval pattern results in shifting enclosure dimensions, emphasising the in shifting enclosure dimensions, emphasising the move-ment to pause and move. As points combine to form a line column, which is then placed linearly, directionality is created. It generates an intangible plane in the direction of a repeated column, which spatially and perceptually directs movement along the axis. The column, which is essentially a point extruded upwards, assumes verticality and directs vision upwards from the horizontal plane, giving it an upward thrust and giving the space dynamism. Define the spaces When several columns are set together, they form a border or enclosure. To describe its location, it creates an invisible plane on all sides. The column scale describes volume that is exposed to the sky or forms an enclosed volume with a roof. Column as focus of the space A free-standing column, as a point in space, commands centrality and as a graphical element adds vitality to the composition.

Staircase The dynamics of the floor suggest two key themes: it either seeks to restrict itself or it leads us forward in a specific direction. Certain floor elements are specifically built to guide us forward in order to treat this directional feature of the floor. These components are known as pathways, bridges, or stairs. Path : It is mainly regarded as a route leading to a destination. On flat terrain, a route emphasizes the primary purpose of getting to a destination. As a result, path and destination are one target, and the path stands out from its surroundings as a homogeneous space. Bridge : It takes us over a stumbling block, such as avoiding struggles across a valley or a river. The bridge is what keeps us from collapsing into the depths. As a result, the bridge collects and gathers all separate paths, uniting them in its own independent and active form. Stairs : Stairs is a type of form that connects below and above. In this case, the target is directional, either upward or downward.

Space Modulator

Physical link

Staircase

A medium to Communicates Creates Image

Ornamentation

Space Modulator Stairs have the ability to link two floors and orient in the direction of the final destination. The landing, as a spatial and visual pause point, provides an opportunity to deviate from the path. Stairs running diagonally across the volume become an enhancing feature, splitting spaces into two parts. A small set of stairs built as a vent shaft will command the surrounding space radially. A float-ing tread stair may be used to divide two areas. allowing physical visual communication As a result, the orientation of the staircase allows for the arrangement of spaces into hierarchies based on spatial organisation. Directs the movement Stairs, as a physical connection between two floors and a separation between two spaces of inside and outside, result in longitudinal and transverse movement. As a result, the location of the stairs serves as a visual and spatial guide to stimulate pause points and movement. Physical link Steps are the physical and visual link between two levels that embrace the in-between room. When steps were constructed between parallel walls, they were liberated from the floor. This staircase also served as a light, ventilation shaft, and other functional purposes such as a loft or storage space. Ornamentation The staircase evolved into a sculptural entity, adorning itself with ornamentation and adornment. As a result, it became a prominent feature denoting the owner’s social status.

Wall A wall is a vertical plane that serves as an enclosure. This vertical surface often serves as a visual plane surface that can be punctured if necessary to allow light, air, view, and entry into the room. Walls appear as a mix of solid and void spaces in a plane, with the void being the main form of space generated by the wall operating as a surface to separate spaces.

Modulator in verticality

Demarcating and defines the space

Wall

A medium to Communicate Creates Image Demarcating and defines the space A wall is a variety of vertical surfaces that are used to delimit a room by separating and organising movement inside the resulting enclosure. Vertical modulator A wall is a manifestation of lateral extrusion that produces a vertical plane. A wall of this quality emerges as a barrier, generating a degree of privacy and volume. Directs the movement Being a physical barrier wall often enables pen-etration to travel from one room to another. A medium to communicate The most visible surface is defined by its mass and distribution in the x-y-z dimensions. Thus, it is the most visible surface for communicating a

Directs the movement

message. Text, pictures, icons, motifs, and decoration may all be used to convey visual messages. A wall may also be used to either invite or limit movement.

Door A door is a moving mechanism that allows or prevents movement inside an enclosed room. A door is used to monitor the physical atmosphere inside an area by enclosing ventilation air vents to keep the inner environment cooler. They offer privacy, protection, elegance, noise reduction, ventilation, and natural lighting.

Threshold

Access point to enter

Door

Directs the movement

A medium to Communicate Creates Image

Access point to enter The basic function of a door is to provide a passage and various scales of penetrability. The door represents both entry and exi. Threshold The door becomes an excess point of movement from one region to another, creating a sense of change between two realms. With the thickness of the wall, the threshold is more of a ‘in-between’ sub-space.

Movement guide An opening in the barrier plane becomes the only node that allows wall penetration. This allows the door to direct movement and further guide circulation inside the room. Image Maker The door is embodied as the most visible feature in the facade, offering to establish first impressions and projecting the picture of the inhabitant’s aspirations. As a result, the door becomes a phenomenological approach to inviting, conveying the identification of place and individual, and portraying the status of wealth.

Windows Windows, like the eye, convey the interior view over the exterior space. They are the ultimate visual link between the inside and the outside. Windows, as an opening into the interior, serve as a means for regulating light, ventilation, and the view.

An aperture for light & ventilation

Window

A medium to Communicate

Communication link to the outside The window, as an opening in the wall, provides access to the outside world. It also serves as a tool for enhancing or limiting the visual connection between the inside and outside.

Creates Image

An aperture for light and ventilation Along with its soiled and opaque surface, the wall provides protection and defence. As a result, it creates a dark and claustrophobic unhealthy atmosphere. Window modulates to allow optimum light and ventilation depending on the structural device dimension. The type of face used for lighting or stopping the light during the day may also be used to change the aperture. Image Maker The window, as a tool for framing outside, is often framed inside the facade surface. Buildings are often recognised and defined by the images represented by these characteris-tics windows. This image is conveyed by their visual characteristics, such as the proportion implied by number and the translucency implied by protection, privacy, and consumer.

Ceiling It denotes the space and creates a volume. This element’s location is such that it appears as the first attempt to form a finite datum in the form of an enclosure.

Spatial enclosure

Ceiling

Modulator of volume

A medium to Communicate Creates image

Spatial Enclosure Ceilings are built above the floor and under the roof. The ceiling serves as an enclosing surface, determines and restricts interior space in particular, and distinguishes between the concepts of ‘inside’ and ‘outside.’ Modulator of Volume The horizontal dimension of the ceiling helps to illustrate and define the vertical dimension of the room. It determines the third dimension and gives

Modulator of Volume The horizontal dimension of the ceiling helps to illustrate and define the vertical dimension of the room. It determines the third dimension and gives the space a volumetric aspect. A medium to communicate As an example of paintings and myths designed on the ceilings of church reflects the values and story behind their community. A ceiling is a medium through which a number of layers of other elements attached to the ceiling can communicate.

Furniture

A space is encased by its floors, walls, and openings. The products within the enclosure are the furniture components. “The one group of design elements that almost entirely falls within the field of interior design is furniture.” The object and a dead shell are defined by the walls, floor, and ceilings, while the human pattern is defined by the furniture components, which bring life to space by activities performed. As a result, furniture serves as a bridge between architecture and people. Furniture are designed with different purpose to serve human according to their needs. Furniture itself can define the space by application of its functioning. It consist of visual character to the space through its form, finishes, material and color. Furniture is an important factor for human in offices. The office needs to provide various types of furniture in different areas. Furniture is also a medium to communicate with respect to the given space. The feel of its texture and color reflects human psychology. The scale and proportion is also vital in the context of office.

Characteristics Materials Every interior space has its own distinct qualities. If you visit a natural outdoor space such as a forest, you will find thousands of different “textures” such as wooden barks, leaves, stones, water, and so on. All of these natural elements combine to produce a unique visual effect that has an impact on the human mind. By carefully selecting textures and materials, innovations in interior design can be made. The interior designer’s work revolves around materials. Materials have their own characteristics which are applied with respect to its application. The selection of materials is done while designing the space elements. Every material reflects different identity for example concrete is a rough material which expresses strong and easy go; exposure of brick material reflects raw and uncovered; while glass material expresses transparency.

Finishes and Texture Texture is a surface characteristic that appears in any interior design feature. Texture refers to the appearance of smoothness or roughness on a surface that is different to the eye than it is to the touch. Smooth textures are typically associated with high-end interiors, while rough textures are more natural. To maintain proper order in this setting, a balance or variance of texture is needed. For example, if every texture is smooth, the interior would appear cold and uninviting. And in a unique way. The interior can become harsh if the texture is rough. As a result, different surfaces can use texture to make unique perceptions. In interior design texture is a technique that adds another element and interest to a space, whether it’s a ceiling texture, wall or brick texture, the texture of fine fabrics, stone, wood, etc.

Color Color plays a key role in carrying out the image of interior spaces through the integration of color used in basic interior design, furniture, and accessories to create the overall character. Color properties and company space identification are also very important in creating the outstanding experience of a built commercial space. It is a fundamental aspect of design and the most descriptive, through the message it conveys, and the psychological impact on the human occupancy.

Chapter 4

Case Study

•Methodology & Criteria LinkedIn Narsi & Associates We Work

Case Study Methodology

Case Studies

About Company

Background

Corporate Identity- values and culture

Identifying individual spaces Visual aspects

space making elements

Reception Board Rooms Meeting Rooms Cafeteria

Wall/partition Column Floor Ceiling Doors Windows Furniture

Characteristics

- materials - colors - ﬁnishes

Analysis in tabular form

Inferences

Criteria for case study •Multinational & National Corporate offices are selected for research. •Area - 25000 sqft to 50,000 sqft •Context - India

Location - Global Tech Park Bangalore Client - LinkedIn Design Firm - Space Matrix Area - 22,769 sqft 6th floor 22,769 sqft 7th floor

Case Study - 1

LinkedIn Corporation Phase 1- Bangalore

Organization LinkedIn Corporation, subsidiary of Microsoft, operates a international social networking web site which allows members to share their business profile including their professional expertise and accomplishments. In this manner LinkedIn allows people to connect to others within the business world & create an online professional network designed to help members to network with other professionals, find jobs, and locate business opportunities. The site has grown to reach more than 700 million users in more than 200 countries since its launch in 2003. LinkedIn is free to join & offers a paid premium membership with additional tools and also sells advertising. It additionally earns revenue through its job listing service, which allows companies to post job opportunities and identify candidates on LinkedIn.

The 5 pillars of Linkedin : “Every one of us is here to transform ourselves, our company, and our world for the better.”

Transformation

“We don’t believe the ends justify the means. Do the right thing.”

Integrity

“We’re capable of so much more when we work together.”

Collaboration

“Changing the world is hard work. It’s important to have a few laughs along the way.”

Humor

“We set clear goals. We measure our success. We fix what doesn’t work. We deliver.”

Results

LinkedIn’s Identity - Intangible Aspects

“Without our members, there’s no LinkedIn. Everything we do, we do for them.”

“Here’s one of the secrets to the success of LinkedIn: not every risk works out – but some do.”

Members first Take intelligent risks

“We’re committed to realizing equitable outcomes for every member of the global workforce starting with our employees.“

Embody Diversity, Inclusion & Belonging

“No challenge is too big. We keep learning, iterating, and improving.”

Inspire excellence

“We strive to communicate clearly and share helpful feedback.”

“We’re in the business of building relationships. That includes our workplace.”

“We make every decision, big or small, with care.”

Be open, Honest & Constructive Relationships matter

Act like an owner of #OneLinkedIn 69

Design Concept The concept of layout was to differentiate the zones through linkedin’s value representing identities with different colors. Allocation of different colors to different zones enables visual connect through LinkedIn’s Identity and wayfinding - Prominence. Service block is provided at the center of each individual floor and surrounded with four different zones. Every zone is differentiated through different theme based on values of LinkedIn. Grey

Act Like an Owner

Yellow

Intellegent Risk

Pink

Transformation

Teal

Collaboration

Fig 4.1.1 7th floor plan of LinkedIn demarcating zones based on value based idenitty

Fig 4.1.2 8th floor plan of LinkedIn demarcating zones based on value based idenitty

Blue

Members First

Green

Be Open, Honest & constructive

Orange

Relationship Matters

Purple

Demand Excellence

Reception

Fig 4.1.3 The reception on 7th floor located in the member’s first blue zone of LinkedIn building

Fig 4.1.4 Diagram of design elements used in reception

Fig 4.1.5 Part Plan of reception & waiting lounge

The main reception is situated on the sixth floor of Tower-A, and it has a wide open area with an inquiry desk and a waiting lounge visually connected to it. A blank white rough wall with a LinkedIn logo in regional plants is put next to it. It demonstrates the ‘Glocal’ - global with local. The office interiors are an amalgamation of Indian and global themes. The reception area and its quadrant was designated as part of Member’s first area. These have key features of the corporate, that have been rendered and built to bring out a more regional feel, yet keeping it modern. The backdrop Note: Key plan

of reception is used for universal logo and wood material is applied which continues to create enclosure which corners the reception just beside the entrance of member’s first zone. Through ceiling area is defined into two. Through repetition of white lines and dark panel on ceiling is defining the space of reception activity and the other is for circulation from main door to blue zone.

Waiting Lounge

Fig 4.1.6 Waiting Lounge near reception showing visual connection, seating furniture and design elements and characteristics

Fig 4.1.7 Diagram of design elements used in waiting lounge to show visual connection

Fig 4.1.8 Part Plan of reception & waiting lounge

After entering the reception across the passageway, a reception lounge is a space planned in the zone of the member’s first value. A visual connection is linked between them through glass door. Near the glass door an economic graph of linkedIn is presented on the white wall. Pantry wall and opposite wall is painted blue color. Three different types of seating furniture are provided to the user’s given choices according to their preferences. A community high table is in front of graphic wall which reflects to whomsoever is sitting there. One of the seating area is demarcated through black and white line texture carpet on floor.

Fig 4.1.9 One of the seating area is demarcated through carpet

Fig 4.1.10 Circulation passage between reception & waiting lounge

Conference Room

Fig 4.1.11 Conference room in neutral theme based zone

Fig 4.1.12 Diagram of design elements used in conference room

Fig 4.1.14 Part plan showing furniture layout of conference room

Fig 4.1.13 Visual connection of conference room with the main circulation passage

Conference room is not the part of any value based zone but nuteral based theme. Four conference room are located each at the ends of bay. Here all the values together are concerned and white color is dominant. The long elongated table with white finish is focused through down elevated LED ceiling light. The visibility is kept through glass doors and partitions but at eye level privacy is maintained.

Meeting Rooms

Fig 4.1.15 Meeting rooms in green zone - open, honest & constructive across main circulation passage

Fig 4.1.16 Mirror material used on wall & ceiling to design the feel of glass house in breakout space and green paint colors in meeting rooms

All the meeting rooms in each zones are designed on the basis of their core value. The above image is in the Open, Honest & constructive identity zone. This area is designed like a glasshouse. Here meeting rooms are visually connected and have a clear vision from inside to outside through glass partition and door. Different green color is used on the walls in formal meeting rooms. Material used on flooring are carpets, patterned in green color. Across the passage is an informal meeting area where mirror as a finished material is used on the ceiling and cladded on the walls. A pair of cacoon chairs and tables are provided for focused discussion. The upholstery of chairs are in green color as well.

Fig 4.1.17 Orange shades used on wall and orange texture on carpet in meeting rooms of orange zone in office

The above image is in the Relationship Matters identity zone. This area was designed like a university/school from India according the designers. Orange color was selected to demarcate the zone and thus the walls of meeting rooms are painted of two different orange shades. Two sides of the room has glass partition and door opening. The flooring is orange patterned carpet. The furniture layout is simple consisting of four red chairs and white circular table.

Fig 4.1.18 Meeting rooms in orange zone and connection with passage ways and breakout space

Fig 4.1.19 Relationship matter zone following red color as its identity

Purple color is used to denote demand excellence core value to one of the zones of Linkedin office. Two different shades of purple color are painted on the walls of meeting room and flooring is finished with purple lined and grey color carpet. The furniture layout is simple consisting of three white chair and one circular table. Fig 4.1.20 Isometric view of meeting rooms & breakout space in purple zone

Fig 4.1.21 Purple color used on wall in meeting rooms of purple zone in office

Fig 4.1.22 Purple paint used on wall in meeting rooms of purple zone in office

Blue color is used to denote member’s first core value to one of the zones of Linkedin office. Two different shades of blue color are painted on the walls of meeting room and flooring is finished with blue patterned.

Cafeteria

Fig 4.1.23 Industrial look yet local vibes of Cafeteria - veranda and view of wooden raft false ceiling

The cafeteria - veranda, located in the heart of the 7th floor, offers employees everything from a fast snack to a complete meal, provided by a 5 star catering service. The overall impression is industrial though remaining local. It is based on neutral theme where multiple colors are used. Cafeteria is as important as workstations and meeting rooms, employees take a break and energise themselves at cafeteria with a meal where company make sure for their comfort.

Fig 4.1.24 A view of one of the counters with ceilng in cafeteria

Fig 4.1.25 A view of furniture and graphic wall in cafeteria

Fig 4.1.26 Part plan of LinkedIn office showing cafeteria furniture layout

Fig 4.1.27 A view of furniture demarcating through ceiling and flooring defined space with main circulation passage and media wall for entertainment

The cafeteria provides the employees a variety of seating options upholstered and un-upholstered, ranging from chairs, and arm chairs, to benches, and bar stools. This gives them different choices to have their meal. The cafeteria’s two graphic walls represent Bangalore City in contrasting representations of the past and present - old and modern through which designers are incorporating industrial look as well as local. Three separate counters have been provided for convenience and ease of use. Furthermore, a media wall meets the needs of entertainment. The ceiling is finished with rough sprayed on concrete, with false ceilings of wooden rafter hanging from the ceiling lending an industrial feel to the room. The ceiling and floor are similar to each other consisting of same color and edges each other through same boundary above and below. The primary passage runs through the room and is delineated by the polished concrete flooring that is characteristic of the office design’s passages.

Corridors

Fig 4.1.28 A view of main circulation passage in blue zone and tech lounge

Fig 4.1.29 A view of blue wall along the passage

Passageway are used in every half an hour by employees or clients, the most traffic place where employee/visitor passes from one zone to another through it. Linkedin office is designed on the basis of principle of axis and that axis creates a circulation path for users in the office. The above image is a part of members first passage where tech lounge is located and connect is written on the wall in passage. The below image is a passage way towards open, honest & constructive zone with green color on the walls showing graphics through different signs used in LinkedIn app.

Fig 4.1.30 A view of main circulation passage leading to green zone

Fig 4.1.31 Along circulation passage informal meeting spaces are deigned and above view is of yellow zone

Across the passage ways breakout spaces are located and formal spaces are also located through secondary & primary circulation path. The above image is in the intelligent risk zone which is denoted by yellow color. Three sides of this enclosure space is covered with alphabet graphics for brainstorming and discussing the new ideas. The seating area is defined by the wooden flooring and a small passage inside to stand and think/discuss.

Fig 4.1.32 Passage way in orange zone

This passage is a part of orange zone where idea behind this design was to connect to school/university where relationships are maintanied and thus “Gurukul” name is given to the class room.

Fig 4.1.33 Cozy corridor in purple zone

Fig 4.1.34 Cozy corridor in purple zone with seatings and exhibition space in passage

The corridors in purple zone is designed as an idea of art gallery/museum which results into interactive space for the employees to showcase their artworks or photography. This also allows LinkedIn to possibly even have a small art show to visitors. Flooring is finished with concrete material and walls are painted white. Track lights are used in the ceiling to spot the frames on wall. Informal seatings are arranged in the side ways of passage. Exposed ceiling above the concrete passage and wooden strips hanging with LED lights gives an industrial look.

Location - Navi Mumbai, India Client - Narsi & Associates Area - 20,000 sqft Design Firm - Narsi & Sanjay Puri

Case Study - 2

Narsi Associates Mumbai

Organization Narsi & Associates are a design oriented, one-stop interior turnkey solutions provider. A strong team of innovators and passionate individuals, who are tech driven. They use state of the art manufacturing technology, which makes them ready for Industry design & Build, Manufacturing and Projects are their pillars. The Narsi Group- rated SME 1 by CRISIL has established its presence firmly as one of the top corporate interior turnkey fit-out service providers, Pan India. Since its inception, it has successfully executed a variety of projects for a highly discerning clientele - such as Amazon, Tata, Infosys, Google and many more.

Narsi & Associates Identity Narsi Group emphasises aesthetic appeal and reliability, producing intelligent and memorable solutions in response to varied client needs. Their innovative ideas and execution make the interiors they do truly inspirational. Vision : One - Stop service and rigorous innovation Mission : Adding value through excellence, passion and seamless communication Strategy : Innovative methods and cutting edge technology They believe in 3Ds - Design | Develop | Deliver

Asethetic appeal Truly Inspirational One - Stop service Innovation Passion Seamless Excellence Cutting edge Technology

Design concept A series of architectural volumes have been created in an office for a corporation who manufactures and factory is within connected. Each functional part of the office has its own identity due to volumes inside volumes. The three levels of the office are connected by a cantilevered circular stairway that spirals asymmetrically through the volume. Each of the office’s spaces is defined by elliptical volumes, which create organic circulation spaces between them. Each workstation area, as well as the discussion rooms and cabins, Based on the client’s brief, each meeting room, multi-functional space, and video conferencing room has its own identity and is organised organically over three levels, creating an architectural interior with a composition of varying volumes.

Fig 4.2.1 Conceptual volumetric diagram

Ground Floor Ground floor comprises of entrance, reception and waiting lounge. Crossing the reception near the spiral staircase is multipurpose area. Behind it workstation, meeting rooms and manager’s cabin are located. Behind the reception cafeteria and experience center is located. Near cafeteria toilets are provided for male and female.

Fig 4.2.2 Ground Floor plan

First Floor First floor comprises of conference room which is outlifted from the alignment of facade. In front of it workstations and meeting rooms are located. Near workstation MD’s private cabin and cafeteria is situated. After landing on first floor through staircase, a private gallery and director’s cabin is located. A deck is connected to the first floor through which whole manufacturing unit is visible.

Fig 4.2.3 First Floor plan

Second Floor Second floor is only for MD’s cabin and a deck to have a visibility of manufacturing unit.

Fig 4.2.4 Second Floor plan

Transverse Section

Fig 4.2.5 Transverse section showing the volume of individual space

Through the transverse section all the levels are understood well. The concept of volume inside volume is seen. The multifunctional area is full height, the emphasis of staircase in the center connection all the levels. To the right side reception and waiting lounge height difference and workstation on first floor is clear. The MD’s cabin on second floor.

Reception

Fig 4.2.6 A view of reception with inquiry desk and waiting lounge

Fig 4.2.7 Diagram of spatial elements in reception Fig 4.2.8 Part plan of office - Reception

Fig 4.2.9 Single element as inquiry desk and backdrop wall

Reception area is the first impression of the company after the entrance door. An arrival place and first interaction space for visitors, clients and employees. After crossing the threshold of door, a feel of warm welcome is designed aesthetically. Due to low height ceiling the volume enclosure is perceived and creates amiable essence. After the entrance every single visitor or employee is emphasized through the part ceiling in which lighting is integrated into pyramidal modules. The pyramidal are painted of metallic brown and similar shade of girgio italian marble is used for flooring with glossy finish. The reception desk is a customized furniture and designed in single piece having both function as working desk and a backdrop through curvilinear vertical element(partition wall) which continues from front to back.

Waiting Lounge

Fig 4.2.9 View of waiting lounge - elliptical pod

Fig 4.2.9 Part section informing about height and volume

Near the reception area, 36’ high waiting lounge and seating area is punctuated in the form of elliptical pods floating in a shallow reflecting pool at one end and a landscaped courtyard at the other end. Every individual space has one element designed with elliptical form. A large difference in volume by expansion of ceiling height. The space is used by visitors and clients mostly, to whom the essence of their quality and product is experienced through their own designed chair furniture in it. Alcoves or shelves are punctuated in 36’ high wall in which their manual tools are exhibited. Furnitures are emphasized by elevated floor in the water pod and change in material from base plane of reception to elevated floor of waiting lounge. Natural light is penetrated inside through 36’ high glass facade. A visual connection is linked from first floor of MD’s private cabin window to the seating lounge.

Conference Room

Fig 4.2.10 A view of Conference room showing ceiling designs and visual connection to outside and inside

Fig 4.2.11 Furniture plan of conference room

Fig 4.2.12 Form of furniture in conference room

A conference room has been given an important space for the employees, director’s and clients interaction. The table is designed in elliptical part form. Low height ceiling is designed of aluminium pipes in which light is infused as instalation. It emphasize and focused on the table. The room is enclosed by glass wall from all four sides.

Meeting rooms

Fig 4.2.13 Meeting room on first floor in elliptical form

Fig 4.2.14 Furniture layout meeting room on first floor in elliptical form

Fig 4.2.15 Furniture layout meeting room on ground floor in elliptical form

Each of the spaces within the office is formed by elliptical volumes that create organic circulation spaces between them. Meeting rooms in first floor are designed totally Transparent and an elliptical form from floor to ceiling. Transaprent glass is used as partition and an opaque partition with an opening is centered between two meeting rooms.

Fig 4.2.16 Meeting room on ground floor in elliptical form

Multiporpose area

Fig 4.2.17 Part plan of Narsi office - multifunctional space

Fig 4.2.18 Multifunctional space showing spatial elements, volume and functions

Left side of the reception area, 36’ high is a multifunctional space where portable modular blocks are designed which are used as a furniture to display, and seminar hall or a social interaction space. The volume of the space is read by the column element which spatially and perceptually directs movement along the axis. The length of the space is read by a huge wall with perforated design on it. The wall with alcoves has the most important function when a seminar or social interaction happens. A LED screen is installed in the bigger alcave. The manual tools are exhibited in the wall as a message to the visitors about their inspiration and excellence towards design. Northern light is provided through the facade of office due to its glass material. The finishes of this space is concrete material.

Fig 4.2.19 Staircase connecting three levels of office

Fig 4.2.20 Staircasean emphasis and an appealing element in office

Three level of office is connected in this volume through a cantilevered sweeping stairway in a spiral form asymmetrically. Staircase is connecting the hierarchies based on spatial organisation of office as workstations and managers cabin on ground floor to first and second floor of MD’s cabin and rooms.

Location - Banaglore, India Client - We Work Area - 28,800 sqft Design Firm - We work

Case Study - 3

We Work

Bangalore, India

Organization WeWork is an American commercial real estate company that provides flexible shared workspaces for technology startups and services for other enterprises. WeWork designs and builds physical and virtual shared spaces and office services for entrepreneurs and companies. The headquarter is in New York City founded in 2010. As of 2018, WeWork managed over 4 million square meters. WeWork’s parent company was named The We Company, now WeWork.

Building a global community

Integrity Trust Together Inclusive Bold Couragious Kindness Colloboration Authenticity

Corporate Identity

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“We know the ‘right thing’ is a deliberate action we must always take, and that it is based on integrity and builds trust with those who we care about, including our people, members and our community.”

Do The Right Thing

“We’ve always believed that we are better together. We must operate with a shared purpose to constantly improve and grow and to become better as individuals, as teams and as a company.”

Strive To Be Better, Together

“To reshape the way the world works, we must be bold, act with courage and demonstrate the resiliency to push ahead no matter the odds or the circumstances.”

Be Entrepreneurial

“We will not take anyone or anything for granted. We are grateful for our people, members and our greater community, as well as for the opportunities we have in front of us.”

Give Gratitude

“Collaboration, kindness and authenticity are essential to our humanity. We must cherish each other and build a community that celebrates each person’s unique talents, passions and backgrounds.”

Be Human, Be Kind

Design Concept The We Work head quarters has recently opened in the Prestige Central building where part regional HQ and part members is located. The reception and waiting lounge is common and represent We work community. The Headquarters is on 6th, 7th and 8th floor. Prestige Central’s majesty can be attributed to collaboration. Designers created a modern aesthetic to be used across regions, and there is a dedicated space for a library, a teahouse, and a game room, to name a few unique features. The atrium serves as the space’s focal point and a place to celebrate. “Prestige Central has a lot of winks to culture from various parts of the country,” says creative director Francois Gramoli, who led the local team.

Ground Floor Plan

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Reception The reception is designed in such a way that becomes a division/barrier from where the clients/visitors enters into the premises with the card. The reception desk is called the community table. There is no backdrop to emphasis but visual connectivity is clear from the entrance to entire floor. Reception is designed in a single form. Jaisalmer yellow sandstone top material is used on the community table. We work represent every employee and visitor as a whole community at the entrance of building.

Fig 4.3.1 A view of reception where we work community members welcome employees and visitors

The form of furniture is in an enclosed form and defines the reception area with its boundary and clear visibility from front to back of the atrium. Fig 4.3.2 Diagram of reception table to show the form

Reception

Entrance

Fig 4.3.3 The entrance facade of we work headquarters

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Fig 4.3.4 Part plan of we work building ground floor

Waiting and informal work zone - The Atrium The first thing after reception is atrium with natural light. It can be used for multipurpose, mainly waiting area. The walls are emphasized with bricks forming circular patterns, a nod to traditional Indian architecture. The designer Camille Faury-Donnet used bricks that extruded and filtered the light in a very interesting way. The eco-friendly cane and bamboo furniture are made by a local vendor, and the accessories are sourced throughout India: The blue pottery was made in Delhi, while wool for the furnishings were sourced from northeast India.

Fig 4.3.5 A view of atrium with staircase and waiting area and informal working areas

A grand metal staircase emphasize the atrium/void. this large atrium runs through all the floors in which natural light is drenched and elements in the space were placed together in such a way to fosters that bond, providing places for collaborating as well as places to escape and do some quiet work. the atrium staircase is designed to foster connections as members take the stairs, they will bump into a fellow member and interact.

Fig 4.3.6 A view from 7th floor of the building showing the natural light in atrium

Fig 4.3.7 Part plan showing atrium

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Conference Room

Fig 4.3.8 A view of conferece room on 6th floor

Fig 4.3.9 A view of internal passage near conference room on 6th floor

This conference room is on 6th floor and located in the ineternal circulation passage.There is clear visibility connection to other rooms and cabins through passage. Glass partitions are used and doors are made of glasses. Conference room is named as war room where different ideas exchanged and best one is taken ahead. The furniture is kept standard as in the other spaces. Hand painted murals from india is hanged on one of the wall. The lamp design are also kept standard as used in other spaces. Carpet is used to define the space of conference furniture. Acoustics materials are used to have a proper conversation without any noise disturbance.

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Pantry

Fig 4.3.11 A view of pantry from opposite side of atrium

Fig 4.3.10 A view of break out spaces near pantry

Fig 4.3.12 A view of seatings for multipurpose

The seating area for lunch is not defined. Multiple options with different types of furniture according to employees flexibility is given. These spaces are used for informal work places as well and to hangout and chill as well. There is an island pantry provided near the atrium as in Fig 4.3.11.

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106

A tabular analysis of space making elements and characteristics used as visual elements to reflect corporate identity

107

LinkedIn Office

Spa

Floor

Reception

Waiting Lounge Conference Room Meeting Room

Cafeteria

Corridors

108

Column

Door

Wind

ace Making Elements

dow

Wall/Partition

Ceiling

Staircase

Furniture

109

LinkedIn Office

Characteristics

Material

Reception

Waiting Lounge

Conference Room

Meeting Room

Cafeteria

Corridors

110

Finishes

Color

Analysis

The location of reception is in remembers first zone. Glass partition as a connectivity and wall to display logo with color. Different types of seating furniture are provided to the users for their own choices which depict the identity of diversity and belongingness for their employees and customers. --------------------

Two different shades of individual color zones are used on walls of meeting rooms and carpet texture finish on flooring are of same color

--------------------

All the corridors in the specific zone has its color on wall/partition element and floorings are kept standard of concrete or wooden finish

111

Narsi & Associates office

Spac

Floor

Reception

Waiting Lounge Conference Room Meeting Room Multifunctional Space

112

Column

Door

Windo

ce Making Elements

Wall/Partition

Ceiling

Staircase

Furniture

113

Narsi & Associates office

Characteristics

Material

114

Finishes

Color

Reception

---------

Waiting Lounge

---------

Conference Room

---------

Meeting Room

---------

Multifunctional space

---------

Analysis

Low height ceiling and volume created through it with girgio italian marble glossy finish on floor and furniture as curvilinear vertical element

Double height ceiling and alcoves in wall, floated elliptical floor, glass façade and customized furniture Low height ceiling, light infused aluminum pipe and form of elliptical furniture

Space defined in elliptical form through glass partition and openings Full ceiling height, wall used to show their tools and screen, column as eye movement and modular furniture, staircase the vertical movement in 36' volume

115

We Work Office

Spac

Floor

Reception

Waiting Lounge Conference Room Pantry with breakout area

116

Column

Door

Windo

ce Making Elements

Wall/Partition

Ceiling

Staircase

Furniture

117

We Work Office

Characteristics

Material

Reception

Waiting Lounge

Conference Room Pantry with break out area

118

Finishes

Color

Analysis

Only furniture as spatial element is used and the Jaisalmer sand stone table top highlights the form of furniture and defines reception zone. The atrium is one of the important space in the whole building where all the events are held and staircase, partitions, furniture, texture and many colors are used for depicting we work values and culture. Simple yet speaks of we work through white and black color used on walls and furniture. Glass material for visual connection to the rest of office cabins and rooms The most important place where employees feel relaxed and can use with their own choices. Its the most traffic space in we work headquarters.

119

120

Inferences Reflection of Corporate Identity

121

LinkedIn Office

Visual Aspects

122

Office

Figures

Space Making Elements

Reception

Fig 4.1.3

Door Wall Furniture

White co

Waiting Lounge

Fig 4.1.6

Floor, Door Wall Furniture

Blue colo Glass mate

Conference Room

Fig 4.1.11

---------

Meeting Room

Fig 4.1.16, 4.1.17, 4.1.21, 4.1.22

Floor, Door, Wall, Furniture

Cafeteria

Fig 4.1.23,

---------

Corridors

Fig 4.1.29, 4.1.30, 4.1.31, 4.1.34, 4.1.35

Floor, Door, ceiling, partitions

Character

---------

Blue, gree orange, pu color Mirror Gla materia

---------

Blue, Gree Orange, Pu Pink

ristics

olor

or erial

en, urple

ass al

en, urple,

Reflection

Corporate Identity

Impact

Member's First

Diversity Member's First

---------

Members First, Open, Honest, Excellence, Relationship matters,

Reflection of corporate identity reminds the users about their company's culture to boost their work efficiency.

It impacts on employees with strong support of working as a team.

It creates an image of a company to client's and visitors that what they are and a trust worthy to work with.

--------Members First, Open, Honest, Excellence, Relationship matters, Intelligent risk, Transformation

Different environments in office spaces impacts on psychology of employees.

123

Narsi & Associates office

Visual Aspects Office

Figures

Space Making Elements

Characterist

Reception

Fig 4.2.6

Floor, ceiling, furniture

Girgio italia marble, glos finish

Waiting Lounge

Fig 4.2.9

Floor, window, wall, ceiling, furniture

glass, woode flooring

Conference Room

Fig 4.2.10

Window, wall, ceiling, furniture

aluminum pip glossy finish o table

Meeting Room

Fig 4.2.13, 4.2.16

Floor. door, partition, furniture

Wood, plexigl transparent g red color

Fig 4.2.18, 4.2.19

Floor, column, window, wall, ceiling, staircase, furniture

Transparent g concrete

Multifunctional spaces

124

tics

an ssy

pes, on

lass, glass,

glass,

Reflection Corporate Identity

Impact

Aesthetic appeal, one stop solution,

Passionate, 3D's (Design, develop, deliver)

Aesthetic appeal, seamless communication

Seamless communication, passionate

Reflection of corporate identity reminds the users about their company's culture to boost their work efficiency. The most impact is on the clients and visitors which has been given importance through visual identity in interactive spaces. It assures to the clients and visitors about their true values.

Cutting edge technology, innovation, truly inspired, excellence, passionate, 3D's (design, develop & deliver

125

We Work Office

Visual Aspects Office

Figures

Space Making Elements

Characteri

Reception

Fig 4.3.1

Furniture

Jaisalme sandstone green pri

Waiting lounge/ Atrium

Fig 4.3.5

Wall, ceiling, staircase, furniture

bricks, mu colors, can bamboo

Fig 4.3.8, 4.3.9

Door, partition, furniture

Smooth fin black & wh carpet fin transparent

Furniture

Multi colors, & bambo carpet

Conference Room

Pantry with breakout area

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Fig 4.3.10, 4.3.12

Reflection

istics

Corporate Identity

er and int

Together, trust through color, kind, indian culture as community

ulti ne & o,

Integrity, authenticity, bold, inclusive

nish, hite, nish, glass

Collaboration, integrity, Bold, together

cane oo, t

Inclusive, collaboration, authenticity

Impact

We work has given multiple option for work spaces in office for employees flexibility which gives an environment to increase productivity. The atrium has an impact of strong attention to community and teamwork where collaboration is must and brings everyone together.

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Inferences LinkedIn Office After a brief description of office spaces and analysis following are the points inferred from LinkedIn corporate office : 1) The reflection of corporate values and cultures are found in office spaces are reception, waiting lounge, meeting rooms and corridors. 2) Major visual aspects used to reflect the identity in LinkedIn are walls, partitions and colors. 3) Each zone of office is given corporate values which is a medium for wayfinding as well and can be identified where the user is standing. 4) These visual corporate identity impacts on employees’s work efficiency, work performance and well being.

Narsi & Associates office After a brief description of office spaces and analysis following are the points inferred from Narsi & Associates corporate office : 1) The reflection of corporate values and cultures are found in office spaces are reception, waiting lounge, meeting rooms, conference room and multifunctional space. 2) Major visual aspects used to reflect the identity in Narsi & Associates is volumes through ceiling and wall height and their own designed furnitures and finishes. 3) These visual corporate identity impacts on employees’s work efficiency, work performance and well being; and on clients/visitors as an image of who they are and to manifest their mission.

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We Work Office After a brief description of office spaces and analysis following are the points inferred from We work headquarter’s corporate office : 1) The reflection of corporate values and cultures are found in office spaces are reception, waiting lounge/atrium, conference room, pantry. 2) Major visual aspects used to reflect the identity in we work office is volume through ceiling and special types of furniture in different zones. 3) These visual corporate identity impacts on employees’s work efficiency, work performance and well being; and on clients/visitors as an image of who they are and to manifest their built community with kindness.

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Conclusion The corporate office environment is a vital factor for organizations when presenting themselves as a corporation to the world. The role of visual identity in the field of corporate office spaces has been a rather neglected subject in academic research and practice. The primary and secondary research in this study confirms that the design of interior spaces has an important role in reflecting the visual identity to employees, clients and visitors. The first chapter concludes that among the elements of corporate identity; corporate visual design is one of the keys to communicate identity with respect to corporate offices. This identity is perceived by human occupancy in offices through visual aspects where sight and touch are essential to understand a company’s value and culture. The conclusion from the second chapter is that the office is an important asset/property to a company when it comes to reflecting visual identity. The location and establishment of office space need to be well planned for their own corporate community. Office layouts are designed on the basis of their corporate structure and identity. Work strategy defines their culture and on that basis design decisions are made. The reflection of corporate identity is reflected mainly in the reception, waiting lounge, corridors, board room and discussion spaces, and breakout spaces. The third chapter is researched and presented as a medium/tool for an interior designer to communicate the Visual Corporate Identity in office interior spaces. Every element of design has its own expression and purpose in the space. Another layer of expression is added to space making elements (wall/partition, floor, column, ceiling, staircase, door, window, furniture) through texture, finishes and color.

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The aspects of design are considered as two layers; space making elements and spatial characteristics, which overlap and express the overall design intent Different elements of space making and their characteristics are used in various ways in different areas of the offices, where the reflection of corporate identity is manifested. All the elements together express the intended identity. Through the analysis of case studies presented in a tabular form for design students, professionals, property managers and users. There are various expressions of the corporate identity through interior elements that can be manifested. The intangible attributes of a company are experienced: - through the role of space making elements with respect to identity - through the design of furniture elements. - through use of material, colors and textures/finishes to express an identity The attributes of corporate visual identity has following effect in office space and human occupancy: •Well being of employees - Influence by physical environment for better work performance •Productivity of employees - It creates the sense of pride in the company and boost for work efficiency - Reflection of identity in different areas of offices keep reminding about their ethos & values and driven about their work •Impression and image on client & visitors - It reflects that how company wants to be perceived by clients/visitors with clear set of values and ethos. It increases the trust in the company

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This study also gives recognization to the role of interior architect in designing office spaces A framework of interior design aspects for a designer to manifest the corporate identity within an office, without verbal communication This study demonstrates that interior design is an important aspect of Corporate Visual Identity, and helps an organisation stand out from its competitors. Interior design cannot be overlooked if an organisation wishes to challenge the standards, engage and encourage its employees, and impress clients and visitors; take it to the next dimension. It represents CVI in several dimensions which can be incorporated through interior elements that subconsciously influence visitors and users of the interior space.

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Bibliography Ameer Alnasser (2013) Importance of Color in Interior Architectural Space on the Creation of Brand Identity. Eastern Mediterranean University Elin Hall (2015) Interior Design as a way to Convey Corporate Visual Identity, Linnaeus University sweden Melewar, T., & Karaosmanoglu, E. (2006). Seven dimensions of corporate identity. European Journal of Marketing, 40(7/8), 846–869. https:// doi.org/10.1108/03090560610670025 Pandya, Y. (2007). Elements of Space-Making. Mapin Publishing Gp Pty Ltd. ZEYNEP DAĞLI (2013) RELATIONSHIP OF INTERIOR DESIGN WITH THE CUSTOMER RECOGNITION OF CORPORATE IDENTITY

Unpublished Thesis/Report Goel, Kanupriya (2004) Brand identity : a study of the visual interface created, concentrating on the various formats evolved, and their continuation into various disciplines of retail.Retrived from http://hdl.handle. net/20.500.12725/2087 Kannan, Janani (2001) Brand identity through visual aesthetics.Retrived from http://hdl.handle.net/20.500.12725/2049

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List of Figures Fig 1.1 Categorisation of Corporate Identity Melewar, T., & Karaosmanoglu, E. (2006). Seven dimensions of corporate identity. European Journal of Marketing, 40(7/8), 846–869. https://doi.org/10.1108/03090560610670025 Fig 1.3.1 Visual - Eye Sight https://www.shutterstock.com/image-vector/5-senses-symbols-vector-663278629 Fig 1.3.2 Sound https://www.shutterstock.com/image-vector/5-senses-symbols-vector-663278629 Fig 1.3.3 Smell https://www.shutterstock.com/image-vector/5-senses-symbols-vector-663278629 Fig 1.3.4 Touch https://www.shutterstock.com/image-vector/5-senses-symbols-vector-663278629 Fig 2.1.1 Four physical aspects of a corporate company Kannan, Janani (2001) Brand identity through visual aesthetics. Retrieved from http://hdl.handle. net/20.500.12725/2049 Fig 2.1.2 Johnson Wax’s Corporate office https://reservations.scjohnson.com/info.aspx?EventID=20 Fig 2.1.3 Reception area reflecting transformation as visual identity https://officesnapshots.com/2019/08/08/british-american-tobacco-offices-ho-chi-minh-city/ Fig 2.1.4 Conference room of CDK global California has a furniture chassis of a car reflecting the industry they work in. https://officesnapshots.com/2020/11/23/cdk-global-officessan-jose/ Fig 2.1.5 Informal meeting space with options of inclusive furniture https://www.workdesign.com/2019/11/using-workplace-design-to-reflect-brand-values/

Fig 2.1.6 Meeting room reflecting partly transparency and privacy as well https://officesnapshots.com/2020/11/23/cdk-global-officessan-jose/ Fig 3.1 Icons for space making elements & characteristics Self (illustration by author) Fig 4.1.1 7th floor plan of LinkedIn demarcating zones based on values Provided by the designed firm Fig 4.1.2 8th floor plan of LinkedIn demarcating zones based on values Provided by the designed firm Fig 4.1.3 The reception on 7th floor located in the member’s first blue zone of LinkedIn building Provided by the designed firm Fig 4.1.6 Waiting Lounge near reception showing visual connection, seating furniture and design elements and characteristics Provided by the designed firm Fig 4.1.7 Diagram of design elements used in waiting lounge to show visual connection Self (illustration by author) Fig 4.1.9 One of the seating area is demarcated through carpet Provided by the designed firm Fig 4.1.10 Circulation passage between reception & waiting lounge Provided by the designed firm Fig 4.1.11 Conference room in neutral theme based zone Provided by the designed firm Fig 4.1.12 Diagram of design elements used in conference room Self (illustration by author) Fig 4.1.13 Visual connection of conference room with the main circulation passage Provided by the designed firm

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Fig 4.1.15 Meeting rooms in green zone - open, honest & constructive across main circulation passage Provided by the designed firm Fig 4.1.16 Mirror material used on wall & ceiling to design the feel of glass house in breakout space and green paint colors in meeting rooms Provided by the designed firm Fig 4.1.17 Orange shades used on wall and orange texture on carpet in meeting rooms of orange zone in office Provided by the designed firm Fig 4.1.18 Meeting rooms in orange zone and connection with passageways and breakout space Provided by the designed firm Fig 4.1.19 Relationship matter zone following red color as its identity Provided by the designed firm Fig 4.1.20 Isometric view of meeting rooms & breakout space in purple zone Provided by the designed firm Fig 4.1.21 Purple color used on wall in meeting rooms of purple zone in office Provided by the designed firm Fig 4.1.22 Purple paint used on wall in meeting rooms of purple zone in office Provided by the designed firm Fig 4.1.23 Industrial look yet local vibes of Cafeteria - veranda and view of wooden raft false ceiling Provided by the designed firm Fig 4.1.24 A view of one of the counters with ceiling in cafeteria Provided by the designed firm Fig 4.1.25 A view of furniture and graphic wall in cafeteria Provided by the designed firm

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Fig 4.1.27 A view of furniture demarcating through ceiling and flooring defined space with main circulation passage and media wall for entertainment Provided by the designed firm Fig 4.1.28 A view of main circulation passage in blue zone and tech lounge Provided by the designed firm Fig 4.1.30 A view of main circulation passage leading to green zone Provided by the designed firm Fig 4.1.31 Along circulation passage informal meeting spaces are deigned and above view is of yellow zone Provided by the designed firm Fig 4.1.32 Passageway in orange zone Provided by the designed firm Fig 4.1.33 Cozy corridor in purple zone Provided by the designed firm Fig 4.1.34 Cozy corridor in purple zone with seatings and exhibition space in passage Provided by the designed firm Fig 4.2.1 to 4.2.20 https://archello.com/story/72725/attachments/photos-videos Fig 4.3.1 to Fig 4.3.12 Self photographed

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Thank You