Posts tagged with "Office Interiors":
When Beinfield Architecture set out to create a new headquarters for travel search engine Kayak, it turned out that client and architect both had movement on the brain.
Bruce Beinfield, principal at Beinfield Architecture PC, explained that Kayak wanted to entice young, educated professionals from New York City to come out and work for the company in Stamford, Connecticut. The “reverse-commute” would be worth making, the team postulated, if Kayak could deliver a cool place to work.
The resulting headquarters is located just off a Metro-North Railroad stop in a formerly abandoned police station designed by Yale University architect James Gamble Rogers. “We wanted to celebrate the raw materials of the existing structure and let those elements energize the space,” Beinfield said, adding that the existing building was largely untouched during the renovation as a result.
The long, narrow structure is wrapped in neo-Gothic-style ornamentation, its brick walls studded with grand, punched openings. The double-height main floor—partially subdivided during the renovation—is topped by a concrete roof supported by dramatic, open-web steel trusses. These elements frame the soaring space and are referenced throughout the project as visual and symbolic anchors.
Kayak envisioned the patinaed headquarters containing not only top-notch collaborative offices, but also an awesome accent piece: a full-scale section of a vintage airplane fuselage that would symbolize the company’s airline-travel focus. The historic building’s nature precluded altering the structure physically, so the 20-by-30-foot fuselage couldn’t be dropped in as was originally planned. Instead, Beinfield constructed a replica within the building from new components. The elliptical fuselage is installed on the far side of the main level and is used as a large meeting room and workroom. One end of the cabin is sheathed in glass, while the interior surfaces all around have been peeled away to reveal a ribbed structure made from castellated beams. A catwalk connects the aircraft body to the rest of the space, reaching a smaller mezzanine meeting room and a circulation core beyond.
The sleek fuselage is clad in reflective aluminum along its belly, which on the floor below creates a catenary-shaped ceiling for another glass-enclosed meeting room. Distinct offices and open-air seating areas populate the main level beyond. Large semicircular lamps hang from the rafters above, while lengths of ductwork and piping zoom in and out of workspaces—like travelers making connections at a busy airport.
“Finance” usually conjures images of staid blue suits, brass plaques, and hallways lined with nondescript carpet. But when wealth-management firm Cambridge Associates moved from Menlo Park, California, to San Francisco, Amy Callahan, the firm’s managing director of operations, sought out San Francisco–based design studio O+A to “push the limits of a traditional workplace.”
O+A design studio director Mindi Weichman spearheaded the project, helping Cambridge Associates select a stripped-bare circular space with wide-sweeping views of San Francisco. “The footprint was definitely challenging,” she said. “At first, they thought they wanted private offices for all the principals and senior associates, with everyone else in an open space. But the initial planning for this showed that the perimeter would become very inefficient. We suggested workstations with large barriers so that there would be secluded zones and privacy, but no wasted space.”
From there, open desks custom designed by Knoll were provided for the rest of the employees, and other spaces were created for varying levels of privacy—from the self-explanatory conference and quiet rooms, to the library (communal, but not social) and then the kitchen area, which serves as a place to hang out and have informal gatherings.
This design strategy required toeing the line between traditional and modern office typologies. For example, keeping the concrete floors “took a bit of convincing,” Weichman said, but it created a harmonious interplay with more classic components. “[Cambridge Associates] wanted to tell a story of permanence and timelessness—and just as steel and glass serve as symbols for those values in architecture, they also convey cost and quality in the professional world.” Walnut was used extensively throughout, lending old-school warmth to the space, and a limestone wall in the reception area is polished, but not traditional.
While these client-facing areas remain conservative, with a neutral color palette of burgundy, navy, and olive, components such as a sculptural horsehair fixture by Apparatus and tessellated walnut walls in the conference rooms keep things interesting. Local art consultant Laura Grigsby contributed architectural, abstract paintings, and photographs for additional texture and color.
Employee-only areas are more playful. In the kitchen, the ceiling is peeled back to display the building’s infrastructure—just a dash of industrial aesthetic. “They wanted to show that they have an edgy side, but in a more refined way,” said Weichman. “The design is relative to whatever is happening to the space—the kitchen is a casual, louder, and more entertaining space versus the conference room, where things are clean and more buttoned up.” In the hallway, a string of weighted pendulum lights by Roll & Hill also add levity. “They can be moved, but I think the employees are scared to touch them,” laughed Weichman.
Ultimately, O+A presents a fresh approach to the now-ubiquitous open-office model replete with “standard start-up amenities.” Though there is a distinct lack of Ping-Pong tables and kegerators, the main pillars of the modern workplace—flexible seating, natural light, opportunities for socialization and relaxation—are thoughtfully well executed.
As sustainability becomes the new normal, designers are turning their focus to how people are affected by their surroundings and looking to new measurable standards that provide concrete frameworks for making healthy buildings. We examine one standard up close and break down how it can guide a project from start to finish.
Performance certifications like LEED, Passivhaus, and Green Globes have changed the way we think of baseline environmental concerns, but a new set of rubrics looks to build on those standards. The concept of wellness in many ways is an extension of the environmental movement, as it expands the ideals of building performance to the human experience.
There are several programs that fall under these formulas, such as Fitwel, developed by the General Services Administration (GSA) and Center for Active Design (CfAD), and the Living Building Challenge by the International Living Future Institute, which is more focused on the envelope of a building. Both are both great resources for making healthier and more livable places.
The WELL Building Standard® (WELL) is a “performance-based system for measuring, certifying, and monitoring features of buildings that impact the health and well-being of the people who live, work, and learn in them.” It is administered by the International WELL Building Institute (IWBI) and has been employed by engineering firm Arup for its Boston office—designed by Dyer Brown Architects—and by the American Society of Interior Designers for its Perkins +Will–designed headquarters in Washington, D.C. Others, like SOM Interior Design partner Stephen Apking, use the WELL Standard as a guideline for projects outside the U.S., such as the Japan Tobacco International (JTI) headquarters in Geneva, Switzerland.
The key to WELL’s success is its ability to use scientific evidence to support claims about wellness that have until recently been too esoteric. “Research is required to take it from the anecdotal to something that we can clearly define, with added value,” said Apking, who reported that clients are often convinced by the data and metrics that support WELL.
The standards are useful for giving clients an idea of how to design a healthy workplace, said Apking, who explained that the research into the measurable qualities of building environments has led his team at SOM to push wellness more aggressively. He cites a Harvard University study that focuses on air quality. It found that though LEED buildings get to a point where they do help workers, they should also remove carbon dioxide in addition to VOCs. This is how wellness can go beyond environmentalism and how science can help give clients more specific assurance rather than just anecdotal tales of healthy environments.
At Arup’s Boston office, it has developed a physical prototype for simultaneously quantitative and qualitative performance assessments. It sets up a continuous air-quality feedback system that monitors air quality, noise, and thermal comfort. “The sensor kit was a way to connect in a multidisciplinary way with the other parts of Arup that are advanced in building software systems,” said Mallory Taub, sustainability and WELL consultant at Arup, explaining the monitoring system. “Talking about metrics is extremely important for understanding these design strategies and how your space is performing. Is it making an impact on the people who are using it?”
However, it is important to keep in mind that people are not just numbers. Working with its in-house operational psychology team in London, Arup developed a survey with a series of questions that solicit responses that follow the seven features of WELL. How much are employees using sit-stand desks? How are the dining spaces working? How are lighting and acoustic systems working?
Similarly, designer Ilse Crawford—in her book A Frame for Life—explained the design of her London studio:
The space is laid out as an apartment, with the intention of keeping the space as domestic as possible, while allowing for us to function as a creative studio. Throughout we have used materials and elements that stimulate rather than curb the senses: wood, stone, proper rugs, plants.… The office of the future has a lot to learn from the hospitality industry. It should be a place where people feel good and grounded and motivated. The office of the past was essentially about control, a white-collar factory predicated on measurables and human ‘machines’ rather than people.
When it comes to the WELL framework, Apking also said that the early conversations with the clients allow him to organize the projects conceptually around employee well-being from the start. “It is not easy for clients to talk about this. WELL helps us lay out the concepts that we want to pursue in the design.”
To dive deeper into what wellness means in the workplaces, The Architect's Newspaper looks at how the ASID headquarters, Arup’s Boston office, and the JTI headquarters have manifested the seven concepts of WELL.
Designers must address issues of air quality standards, including ventilation and filtration systems, to control moisture and reduce harmful particulates.
The shape of the JTI headquarters by SOM helps to draw in fresh air, which is then filtered by a hybrid system that also conditions the air through a radiant system in the ceiling tiles, cooling the air with chilled water. This produces an “even coolness” that is both energy efficient and comfortable.
Because Arup’s Boston office is on the tenth floor of the building, it replaced the air handler in the building so that it could have all the systems needed and be able to take on more capacity in the future. It also used an on-demand control system that allows different ventilation depending on occupancy. Conversations around cleaning and facilities maintenance are important for keeping up on this feature.
Beyond the simple specification of lighting devices and the daylighting strategies, WELL calls for light to be controlled in more sophisticated ways that mimic natural and comfortable levels and types. Circadian lighting designs and glare controls for both electric and natural lights.
Arup’s lighting designers used the ceiling as a luminous surface by casting light onto it in an even way, reducing glare and dark spots. They also received a WELL innovation credit for their design of an electric circadian lighting system at Arup’s Boston office that changes color throughout the day to mimic natural daylight patterns. This involves more blue tones in the middle of the day and warmer tones at the end of the day, which gives the body cues that the day is progressing. The ASID headquarters includes an automated shading system made by Lutron that senses when to control light levels from the exterior.
Because the Mind feature is the most esoteric, it requires post-occupancy surveys to be conducted to verify that the design is accomplishing its aims. Beauty, design, and a sense of natural connectivity are all included.
For JTI, SOM created environments that it wanted to make “joyful” and “optimistic.” Working with artist Liam Gillick, it developed a series of colorful canvases that move through the building along a staircase. Additionally, Lake Geneva and nearby mountains can be viewed from meeting spaces, and the cafeteria at the top of ‘‘the building has a stunning vista.
At the ASID headquarters, biophilic design strategies such as incorporating natural materials and patterns are employed alongside spatial and architectural configurations meant to inspire and give a sense of subconscious well-being. Plants give a sense of peacefulness and add a splash of color, while a soundproof meditation room gives respite from the office environment.
While environmentalism focuses on reducing water usage, wellness is about water quality.
In order to guarantee a base level, this feature sets standards for water purity, targeting inorganic and organic contaminants as well as agricultural contaminants and public-water additives.
Because the municipal water testing doesn’t take into account aging pipe infrastructure, Arup added a chlorine filter to the water line of its building to ensure that drinking water tastes great. Arup also upgraded to a sparkling-water dispenser so that everyone remains hydrated. At ASID’s headquarters, placing water dispensers in desirable areas promotes healthy hydration habits, and no one is more than 100 feet away from water at any time.
The comfort feature includes thermal, acoustic, visual, and ergonomic criteria, not only considering ADA accessibility, but also protection from noise generated inside and outside the building. At the ASID headquarters, Perkins + Will used donated furniture by Humanscale, including “Quickstand” sit-stand desks complete with the Humanscale ergonomic setup of monitor arms and adjustable under-desk keyboard trays.
Arup’s office used sit-stand desks by Teknion and monitor arms by Humanscale, with smaller individual work areas and more common space. To mitigate noise, the designers used mechanical systems that met lower criteria for noise allowances as well as a range of finish materials that make the space quieter. Armstrong acoustic tiles reduce noise, and the office is fully carpeted with Interface carpet tile that has an organic pattern as part of the biophilic strategy.
By providing quality snacks and office meals, WELL-certified workspaces create an environment conducive to wellness. Transparency about these foods, such as ingredient lists, nutritional facts, and allergy information are required. Unprocessed foods and fruits and vegetables are crucial.
Arup’s Boston office likes to brag that it has one of the best office nutritional programs. At first, employees were reluctant to give up their beloved bagel-and-donut breakfasts, but now the office kitchen has a healthy spread that meets WELL standards, as well as a weekly food delivery with transparent ingredients and nutrition facts clearly stated.
The fitness feature requires a design that encourages movement. This can be simply in the form of fitness incentives from the employer, or it can mean the programming of fitness spaces and equipment into the design.
JTI’s continuous landscape loops inside and outside the building both vertically and horizontally right). The stairs circle and weave through the building up through each floor, which gives employees an attractive walking path instead of elevators. The meeting points, such as the conference center and the coffee and dining spaces, are woven through the building. The fitness center is also along the continuous landscape, which gives people the option of working out indoors and outdoors.Want more on wellness design? Read how it's spreading across hospitality architecture and beyond. Workplace Wellness Resource List Arup Boston Carpet Interface Tile Crossville Paint PPG - Ecos Imperial Countertop Okite Wall Tile Mosa Wood Tree Frog Plastic Laminate Doors and Cabinets Pointe Cork Wall Forbo SOM — JTI HQ White Carrara Marble Stair Treads Staminal Stone Artwork Liam Gillick Carpet Interface Table and Chair Arper Acoustic Metal Ceiling Trisax Pendants Arne Quinze Impact Lighting Stool La Palma Perkins + Will — ASID Task Chairs and Sit-Stand Desks Teknion Humanscale Automated Shades and Lighting Control System Lutron Grade Glazing and Doorway System Haworth Chairs and Tables Steelcase + Coalesse Keilhauer Herman Miller Bookcase and Conference Tables Herman Miller Ergonomic Desk Accessories Humanscale Credenza and Mobile Conference Table Bernhardt Design Television LG Additional Furnishings ATG Stores Davis HBF Additional Finishes Cosentino Shaw Contract Nevamar Sherwin-Williams Armstrong Additional Fixtures Kohler
Chicago-based Cards Against Humanity is not a typical company. And, working with von Weise Associates, the company now has an office space that is anything but typical. For those not familiar, Cards Against Humanity is a party game in which players are forced to match often slightly obscene or risqué cards with other players. Founded by a group of high school friends who still make up most of the company, the simple set of cards became the most popular game on Amazon in 2011, just one year after crowdfunding its startup.
With its success, the original Cards team had big ideas of how not only it could move forward as a company, but also how it could support other young creative people along the way. The first step would be to move out of its small storefront office and into a larger space. Brought in early in the process, von Weise searched for a space with the team, eventually settling on two adjacent buildings just east of the Bucktown neighborhood on the Near North Side of Chicago. Much larger than what would be needed for just the eight employees, the new space is more than just an office.
Closer to a coworking or shared space, Cards Against Humanity lends or donates desks to young people and small business who are working on their own projects. At any given time, it can be filled with over 40 people, sharing ideas and motivating each other. To accommodate the wide range of thought, a diverse set of resources and programs fill the office. In the main work area, a large open bowstring-trussed space, three shipping containers divide the room. Each container offers an escape from the more familiar desk space in the form of a Japanese tearoom, a Moroccan hookah lounge, and private phone booths. “There is a Lego room; they wanted a Lego room,” said principal Chip von Weise. “They also gave us images of Japanese spaces they wanted, and we brought in the idea for the Moroccan room. We had a lot of fun with them.” The rest of the office continues this theme of atypical spaces. A darkroom, a gallery, and studio for recording podcasts can be found. Tying back to the game’s roots in improv comedy, an 80-seat black box theater was also built out. After working with the local alderman, the theater recently received a zoning variance, and can now be opened to the public. Anticipating the long zoning process, the space was originally listed as a “training area” in the initial permit set.
The office does, however, have some more recognizable spaces as well. A kitchen and large dining area were a must, as the office is in an industrial area of the city. A large conference room also plays a key role in the business. Once a month the entire team comes together to write new cards to expand the game around a large table. Locking themselves in the room for a few days, covering the dry-erase walls with writing, they ensure the game stays fresh for its loyal fans.
For a company that has run (anti-)Black Friday promotions—raising hundreds of thousands of dollars for charity—that have included raising the price of the product, selling boxes of sterilized bull feces, and digging a “Holiday Hole,” a typical office was just not going to cut it. Yet the unorthodox makers of an obscene game are not the only ones to see the value in their new office. AIA Chicago awarded von Weise a 2016 Interior Honor Award for the project. And who doesn’t want a Japanese tearoom to unwind in after an intense brainstorming session?
General Contractor Wigmore Construction 312-544-0742
Whether or not we’ve realized it, most of us have bought products through Square, a company that supplies small businesses with the now-ubiquitous square-shaped hardware and software that remotely processes credit card payments. Square’s new offices in San Francisco are meant to be as minimal, clear, and usable as its products.
Located in what was once a miserable, almost completely windowless Bank of America data center, the new 300,000-square-foot, fourth-floor office is just the opposite: an open, light-filled workspace organized by a central “boulevard,” lined with gathering spaces (including a library, gallery, and cafe), and a wide variety of working spaces, including bench-style work desks, tables, and semi-private, acoustically lined “work cabanas.”
To manage the space’s ridiculously big floor plates (100,000 square feet, four times the typical size), according to Bohlin Cywinski Jackson (BCJ) principal Gregory Mottola, the firm studied urban precedents as varied as Dubrovnik and Milan, looking at everything from urban plazas to enclosed arcades. Unifying the office floors is a massive amphitheater stair that cuts through floors six, seven, and eight, and provides zones for individual work, group meetings, and large presentations. The stair is fitted with movable, lightweight powder-coated tables that snake their way down its length to create unique working and relaxing environments. Another office anchor is the eighth and ninth floor “Square Stair,” a floating switchback connecting the office floor to the main dining level.
“You’re giving up rentable floor area, but the payoff is you have these incredible group amenities,” said Mottola. “The key was this idea of creating a really collaborative, transparent company. You don’t want to have one place feel disconnected from the rest.”
Clean lines and lots of white (on steel panels, stretch-fabric ceiling panels, and drywalls) reflect the brand’s identity and lightens the mood, while salvaged wood elements, like the eucalyptus amphitheater stair, Plyboo cabanas, and end-grain woodblock flooring in the lobby, provide warmth and visual interest. Splashes of color demarcate important spaces, provide needed accents, and reflect the locale: Bright orange, for instance, recalls the Golden Gate Bridge, while blue shades evoke the nearby San Francisco Bay. The company installed new windows along the perimeters of the sixth, seventh, and eighth floors, drawing in natural light where there once had been none. Another big aspect of the design within a limited budget was lighting. BCJ employed a variety of techniques, from spear-shaped “light saber” LEDs above the boulevard to indirect lighting in the workstations and sculptural accent pendants in the lounge spaces.
“We tried to make the most of those dramatic moments when we could,” said Mottola, who noted that Square was drawn to BCJ’s clean work for Apple’s stores, but not its purely monochrome palette. As the company grows at an exponential rate, the airy, collaborative, and flexible spaces will no doubt come in handy. “We want them to be able to grow and shift over time,” he added.
“You could say we were the underdogs,” Blitz principal and CEO Melissa Hanley said about being selected to design Microsoft’s flagship office in one of San Francisco’s most notable buildings, 555 California Street. “Microsoft challenged a lot of things with this project, from hiring a tiny little baby firm like us to selecting a transparent site in San Francisco.”
Aside from facing the obstacles of being a small architecture firm tapped to create an office for one of the largest technology companies in the world, Blitz had to work within the restraints of 555 California Street (formerly the Bank of America Center). Art Gensler was brought on to design the tower’s indoor space when the building opened in 1969, and he’s credited by some as the inventor of commercial interior architecture. “There was a great deal of responsibility to not mess it up,” Hanley said.
Hanley and her team treated working within the iconic building’s structure and Microsoft’s “global design guidelines” (hundreds of parameters for everything from the conference rooms to staff algorithms) as a huge, complex puzzle. To take the stakes one notch higher, the office was downsizing from a 90,000-square-foot space to a 43,500-square-foot space, and employees were understandably concerned.
In an attempt to solve all of these challenges with one elegant solution, “We really focused on the idea of neighborhood design,” Hanley said. “We broke up a sea of desks into groups of 18 to 30 users, and every ‘neighborhood’ has familiar touch points such as lockers for flex employees, water, trash, etc.” Each neighborhood is a different bright color, which offers easy wayfinding and furthers employees’ sense of home. The layout offers equal access to front-row views of the cityscape from the 265 windows on the site.
The office also showcases Microsoft’s latest technology to customers. Upon entering the lobby, visitors walk up a 30-foot-tall staircase to a landing featuring an interactive, virtual moss wall. “It is technical, fun, and childlike,” Hanley said. “It’s a place where people can pause and think about their journey into the space.” Blitz echoed the moss wall with real living walls throughout the space, a slightly surreal move that blurs the borders between reality and technology. The firm extended the outdoor, organic aesthetic with textural flooring and canopies wrapped in a bleached-cork covering that resembles birch.
Although the project was a game changer for Blitz, which now has three ongoing projects with Microsoft in addition to work for Comcast and Yahoo, it was also pivotal for Microsoft. “Before this office, Microsoft was located in the outskirts of the city; it was almost like a castle in the sky,” Hanley said. “Now it is downtown, it is transparent, it engages with the city, and all the stuff that goes on outside its windows influences it day-to-day.”
As Chicago-based Partners by Design nears its 23rd year of interior design, the firm has branched out into into architecture, spatial branding, and other building services. Its recent office design for financial tech company Enova brings those years of experience and diverse expertise to the table—producing a workplace in which color, graphics, materials, and varied spaces come together in one unified environment.
When Enova wanted to consolidate its Chicago offices, it hired Partners by Design (PBD) to create a bright, flexible space. “PBD was challenged to enable greater communication, collaboration, and continuity across the organization, no matter the function,” said Cathy Grable, Partners by Design’s project designer for Enova. Coming from offices spread through nine floors of another downtown building with an offsite call center, the new three-floor South Loop office brings everyone under one roof and makes communication among departments simpler.
Working with Enova’s CEO and facilities director, Partners by Design kept the palette refined with splashes of color and graphics. “They expressed that they wanted the place to be playful, yet still techy,” Partners by Design architect Sara Gotschewski told AN. “And they love color.”
As a result, three commissioned graffiti pieces demarcate the center of each floor and the main gathering spaces. Color is also injected into the project in the form of bright lime-green workrooms and elevator banks painted Enova’s trademark blue. The rest of the office is finished in white with warm plywood accents.
It was important to the client to have a variety of workspace configurations to match the variety of tasks performed by different workers. Employees who need to be on the phone require more private and quiet, while software development teams need larger, focused team rooms. Some positions require low-walled workstations, while others need space to sketch, diagram, and collaborate. Partners by Design used material choice, organization, and a mix of open and closed spaces to achieve the diverse spaces requested. Graphic carpet covers much of the workspace, while polished concrete floors are used for common spaces. Meeting and team rooms are separated with glass walls that double as writing surfaces, while keeping the office as transparent as possible.
One of the reasons Enova decided to invest in a newly designed office space was to attract talent in the highly competitive tech industry. “Recognizing Enova’s goals to foster a young dynamic culture that prizes innovation and new ideas, Partners by Design created a hip corporate space that brings a “wow” factor perfect for employee development and recruitment,” explained Grable. Since young workers often judge their workplace by amenities and environment, it is important that the office provides a space that is both efficient for the job at hand, as well as appealing to the intended workforce. Partners by Design was careful to meet the set needs of the established company, while injecting some new functions to bring the space up to the tech world’s expectations. Socially, communal eating areas provide space for worker interaction and informal collaboration (a beer keg fridge helps facilitate the discussion). Central break areas on each of the three floors let workers get away from their desks, while anchoring each of the floors.
As might be expected in any tech company, the entire project is wired to facilitate fast communication among departments. This ability was a major incentive for moving the call center to the same space as the rest of the company.
With the tech industry making up more and more of Chicago’s economy and young workers demanding to live in the city, the city’s office landscape is quickly being rethought. The bright graphics and carefully detailed material palette Partners by Design brought to the Enova project, along with the functional, yet varied work environments, stand as an example of how Chicago does tech. Resources
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