Walls don’t often strike us as exciting, but in this office project for ON Headquarters, located west of Mexico City, we really do like the large surfaces. We also like the subtle, elegant lighting, and the subdued colour scheme.
ON provides services to the oil and gas industry, so the designers at LSA Arquitectos and BLANCASMORAN (Imanol Legorreta Molina, Pablo Sepúlveda de Yturbe and Abel Blancas Morán) selected surface materials and textures that reflect the passing of time.
The boardroom exterior walls and the directors offices are covered in walnut veneer, the lobby walls and the customized assistants’ blocks in the concourse are of Iranian Travertine marble, and the interior walls of the boardroom are of wool fabric.
The floors in the lobby and concourse are covered with metal sheeting, and in the directors’ offices with oak
Much of the furniture is custom-made, including the welcome desk that is made of metal sheeting and black Emperador marble. The chairs are desks are by VITRA and the lighting by Construlita, Delta Light and Tom Dixon.
The overall effect the designers have accomlished in this 780 square-meter (8,395 sq.ft) space is calm, opulent and restrained. - Tuija Seipell. (Images by Rafael Gamo)
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Our fascination with cool offices continues. This time, we are attracted to a Victorian building in Dublin.
This past June, after only six months of elaborate reconstruction and renovation, global insurance firm XL Group plc moved into one of the most prestigious addresses in Dublin, Ireland.
The former private club building at Number 8 St. Stephen’s Green is a protected structure, which made the job of RKD Architects that much more challenging.
RKD’s not-so-easy task was to respect the original building and its later reiterations, while making sure XL Group’s staff and management had all the tools and comforts of a modern office.
The building dates back to 1792 when it was constructed as an imposing, five-bay, four-storeys- over-basement residence for Lord Mountgarrat. From 1847 to 2003, it was owned by the Hibernian United Services Club and operated as a private club.
After the 6.5 million Euro (about $8.2 mil. US) renovation, the grand scale, elegance and drama of a private gentlemen’s club are still intact, and the unseemly practicalities of air conditioning, IT and plumbing are discreetly and stylishly hidden behind cabinetry and other structures.
Reinforcing and restoring the best parts of the building has left, for example, the grand Portland-stone staircase as the central eye-catcher at the entrance, and given the staff and clients an impressive environment that demands attention.
We love the ceilings, the exposed brick, and the mirrors and subtle insertions of colour in the modern offices.
In even the most updated of the spaces, there is some aspect that reminds of the past and shows off the peculiarities of the grand, old building. - Tuija Seipell.
If only we had a spare historic Barchessa in Italy and an extra million lying about, we, too, would build an office and showroom, just like fashion house Rubens Luciano’s in Villa Gritti, Stra, near Venice.
We’ve covered many a gorgeous office over the years in our quest for the world’s coolest offices, and although many of them a grand in scale and lavish in budget, each one has ideas just waiting for any of us to emulate in our own, perhaps more modest, surroundings.
In the case of the Rubens Luciano office architect Simone Micheli mastered several copy-worthy feats: The use of natural light and glass to create the feeling of openness; the combination of old and new in a way that is not pretentious; and the exquisite attention to detail.
Several of Micheli’s other hallmarks are also visible in this project: smooth, flowing lines; shiny, seamless surfaces; rounded edges; and organic-looking, bulbous shapes. We also love the meticulous detailing and the minimalist, clean overall look.
The four-year-long renovation collaboration between Simone Micheli and his friends, fashion-house founders Rubens and Luciano, was unveiled at a great party on September 1, a date that also marked the 49th birthday of the architect. - Tuija Seipell.
If we at TCH were to establish a new office, this is what it could look like. A clean, minimalist space, with a touch of history and elegance.
The 150 square meter office is located in Kortrijk, Belgium, in a historically important, restored textile weaving factory from the early part of 1900.
Vincent Van Duysen Architects handled not only the restoration of the space but also the interior design, and the design of much of the furniture.
The office consists of a large main space and smaller offices for the four staff members. Most interesting about this elegant project is the fact that the office is not for a design studio or architectural firm, but for Belgo-Seeds, a business involved in global importing and exporting of agricultural products, especially seeds. A shelving unit with beautifully lit glass containers of seeds is the only direct reference to this.
The brick ceiling and cast-iron columns are restored nods to the industrial past of the building, while the dark timber wall paneling, light oak floors and soft hues of fabrics and furnishings add a comfortable feel.
Most of the furniture was custom-designed by Vincent Van Duysen including the desks, all storage units and the pendant lighting. The office chair used in this project is the brown leather version Van Duysen’s design for Bulo. The coffee table is a custom version of Van Duysen’s Surface for B&B Italia:.
We love the lack of visual noise; the spaciousness, openness and sophistication achieved with the intelligent use of glass, screens and lighting. - Tuija Seipell
We like this 130 square meter (1,400 sq.ft.) office for its crisp simplicity.
It is a expansion project by Alain Wong of Comodo for his company’s own office space located in Knutsford Terrace, Tsim Sha Tsui, Kowloon, Hong Kong.
Wong calls the project Landscape in Bustling City, a fitting name for an office located in the middle of the busy city in an area that used to be lush gardens.
Comodo’s earlier office was predominantly black and white, as is the new one, except for the natural wood used to create platforms, partitions and furnishings.
The extensive use of unfinished raw wood board creates a nice balance of function and whimsy, and brings a sense of the outdoors inside. Natural light streams into much of the space through glass partitions. - Tuija Seipell.
The offices are located on Stockholm’s luxury power-shopping boulevard, Birger Jarlsgatan, in the two loft floors of building number 9 where the street-level occupants include Agent Provocateur.
Medge is a consultancy in sports rights management, TV distribution and media operations, so it is appropriate that their 180 square-meter (1937.5 sq.ft.) digs are testosterone-induced. Dark half-paneling with its English Gentlemen’s Club vibe gives a nod to the company’s other office in London and draws the line between traditional (below) and modern (above).
A hideously ugly reddish upholstered couch/sofa in a corner seating area, and the heavy iron bars and wood beams in the ceiling give off a sense of a confidence and strength. We love the use of white paint in the uppermost areas as it contrasts powerfully with the black, and opens up the space to the skylights. Tuija Seipell.
It’s the ceiling. Definitely the ceiling. And the wood, of course. We just cannot take our eyes off of cool wood features, so, naturally this studio in Melbourne drew our attention.
It is for Assemble an architecture, design and property development company focused on small footprint projects. Joachim Holland, one of the three key players at Assemble, is also the design principal at Jackson Clements Burrows whose work with the Trojan House we wrote about some time ago.
True to their hands-on spirit, the Assemble team participated in the actual building of the studio and, with professional help, put together its pine batten-and-stud latticework ceiling that was loosely modeled after origami.
In addition to looking lovely, the ceiling is highly functional. It conceals a network of pipes, ducts, tubes, fire alarms, smoke detectors and air-conditioning units, and also improves the acoustics in the space otherwise dominated by exposed concrete and glass.
The ceiling is constructed from five triangles repeated five times across the length of the ceiling. We like how the ceiling’s sense of light weight and openness livens up an otherwise fairly standard, boxy space. - Tuija Seipell.
A fresh take on the office cubicle is possible! Just look at the fun little houses in which the 30 or so cubicle dwellers toil at this Los Angeles-based creative media agency.
Designed by Edward Ogosta Architecture, the 6,000-square-foot (558 sq.ft.) warehouse space initially appears like any big white space with particle-board detailing. But the seemingly bland interior reveals a number of clever ideas, all designed to spark create ideas and encourage interaction as well as provide privacy.
Ogosta named the design Hybrid Office to indicate that every main feature represents two supposedly unrelated things: something from the surrounding city and/or nature married with an office function.
The office cubicles are called House-Tables and their skyline represents that of a row of houses.
There’s a gathering space, an amphitheater-like area constructed with book cases called Book-Arena, and a tatami-covered thinking space called Sky-Cave. Tall, cone shaped hollow tree trunks have become chairs that provide individual privacy. - Tuija Seipell.
Many of us know what it's like to work from home. Distraction upon distraction tends to stunt our productiveness. If only more of us could convince our employers that we can, in fact, stay motivated and actually get work accomplished in the confines of our own home offices.
The design team at Synthesis recently installed Chelsea Workspace - a custom home office for a private personal investment advisor. Constrained by both budget and space, the design team at Synthesis enwrapped a series of prefabricated CNC milled birch plywood ribs atop all the necessary features any home workspace should include: a desk, sliding and hinged storage units, a printer and paper shredder, concealed paths for wires and cables and recesses for lighting - thereby eliminating all unnecessary clutter.
One small window emits natural light onto the surfaces where horizontal spacers are arranged in the pattern of a world map, which will allow the owner to map out his travels. The design of the work space presents a viable solution to ensure working from home can be free from distraction, and where focus in an innovative space ensures the highest level of productivity. - Andrew J Martin
The interior of the headquarters for KH Gears exudes a sense of engine power, industry and technology. One can almost hear the metallic rumble of massive machinery, toiling tirelessly in a massive engine room somewhere in the not-so-distant future.
The 855 square-meter (about 9,200 sq.ft.) first phase of the 5,300 square-meter (about 57,000 sq.ft.) industrial laboratory and office space of one of the world’s largest gear producers, opened in Zhuhai, Guangdong, China, in December 2011. The remainder of the space will be developed along the same design guidelines in 2013.
Hong-Kong-based Arboit, lead by founder, Italian-trained architect, Alberto Puchetti, designed the space.
The overall goal was to refresh the brand image of the well-established company, to emphasize its strong scientific heritage and the high value of its products.
Arboit used extremely crisp and large grey-tone visuals of the actual gears sparsely yet effectively to celebrate their beauty, precision and balance.
KH Gears logo green appears strategically throughout the space.
It is used on walls and in corridors as a definer of space and as an aide to directions in the large facility where clients also frequently visit the laboratories, and on parts of furniture as an accent. The green also refers to the company’s environmentally friendly policies.
As a nod to the heritage of technology, the font used in the directionals is the typical font of the early days of computers.
The shiny, dark-gray floors, coated in epoxy resin, and the partially smoked glass walls add to the feel of meticulous, laboratory-grade orderliness and efficiency. - Tuija Seipell