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      Shuhei Goto Architects turns lecture hall into multi-level work space

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      Shuhei Goto Architects added large, stepped boxes to a former lecture hall to transform it into a playful multi-level office in Shizuoka, Japan.The Shizuoka-based studio worked with creative agency Loftwork on the project, called CODO, which was designed for logistics company Suzuyo’s head office in the city.

      An auditorium, which had previously been used for in-house events, was turned into a multi-use room where employees can work or take their breaks and the company can hold events and lectures.

      Shuhei Goto Architects’ design was informed by the 913-square-metres room’s high ceiling height. It added box-like steps to its periphery to fully utilise the existing space and allow people to circulate freely.

      “By fully utilizing the space in all directions, a new sense of distance among those present is generated, which is totally different the sense of distance in conventional office spaces,” the studio said.
      “Those working side by side don’t feel disturbed by each other’s presence because their eye levels do not coincide, or conversely, those sitting apart from each other feel interconnected because their eyes meet.”

      The stacked steps, which the studio describes as “too large for furniture and too small for architecture”, can be used as benches or tables, or simply as raised platforms to add seating on different levels of the room.
      A walkway between the stacked boxes connects two sides of the room, and details like soundproof built-in phone booths and a cantilevered viewing platform give it a playful feel not usually associated with office spaces.

      When the company hosts events, one of the boxes serves as the stage and others as seating areas.
      As the building is used as an emergency evacuation shelter for the area, the hollow steps of the boxes can also be used as storage for emergency supplies.

      Shuhei Goto Architects used wood to create the multi-level boxes and added pale-coloured, sheer curtains to the windows.
      “It’s a multi-use material: for sitting, walking, or writing,” said Shuhei Goto Architects  founder Shuhei Goto.
      “The double curtain-lace and shade is printed in gradation colour,” he told Dezeen. “The double gradation makes it look like natural light is leaking out.”

      Shuhei Goto’s Floating House in Ogasa features two-tone cladding and a 360-degree window

      Different materials were used for the floors on the different levels, with the floor of the space itself made from concrete and the lowest-level platform made from hardwood flooring.
      Some of the upper levels were carpeted to denote a difference in the areas.

      “This office was designed as a prototype for offices in a new era of innovation, based on the idea that today’s office space needs some room for flexible renewal and updates initiated by employees themselves,” the studio said.
      The CODO project has been longlisted for a Dezeen Award in the small workspace interior category this year.

      Shuhei Goto Architects was founded by Shuhei Goto in 2012. The studio has previously created the Floating House in Ogasa and designed a residence formed of four connected, house-shaped volumes.
      Photography is by Kenta Hasegawa.
      Project credits:
      Project management and creative direction: Loftwork Layout UnitArchitectural design and furniture design: Shuhei Goto ArchitectsStructural design: Tetsuro Adachi/OAK plusWood coordination, furniture production and furniture production direction: Hidakuma Inc.Curtain design: Studio Akane MoriyamaSign design: Hokkyok

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      Worrell Yeung designs industrial artist studios in historic Brooklyn factory buildings

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      New York architecture studio Worrell Yeung has transformed historic factory buildings in Brooklyn Navy Yard into multi-use workspaces and artist studios featuring time-worn brick walls and weathered beams and columns.The adaptive reuse project involved remodelling 77 Washington, a six-storey former masonry factory built in the 1920s, and four other buildings situated around on the property.

      It is located at the corner of Washington Avenue and Park Avenue in Brooklyn Navy Yard, a former shipbuilding complex between the Dumbo and Williamsburg neighbourhoods undergoing regeneration.

      Worrell Yeung drew from the area’s historic architecture and the design of early 20th-century New York warehouses to update the 38,000-square-foot (3530.3-square-metre) multi-use art and office space.

      “The existing buildings were so rich with history and layered with texture that we wanted our design to highlight these found conditions while also updating to accommodate new uses and new programs,” said co-principal Max Worrell.

      A six-storey brick structure occupies the centre of the property, with a cluster of three one-storey buildings situated on its south end and a single garage unit located on the opposite side.
      On the main building the brick facade was left untouched, while the sides of the building are painted white.

      Storefronts situated along the street level were restored to house artist and photography studios. Each of the exteriors is painted dark blue and is fronted with large windows that flood natural light into the interiors.
      The low-lying structures are connected by a central courtyard filled with gravel and plants laid out by landscape firm Michael van Valkenburgh Associates. To form the outdoor patio and bike storage area the studio removed a roof that previously covered the space.

      In the garden three solid oak logs form a series of benches. Over the past decade a local shipbuilder gathered the reclaimed wood used for the seating following a number of storms in the region.
      Inside the materials and patterns are evocative of old Brooklyn factories and warehouses. The floors are covered with concrete and metal diamond plates.

      Macro Sea turns abandoned Brooklyn warehouse into New Lab co-working space

      Exposed brick walls coated with layers of old paint pair with structural wood columns and beams in the open-plan spaces, which include meeting rooms, a small kitchenette and a large lobby area.
      Brooklyn Navy Yard woodworker Bien Hecho repurposed timber floor joists from the building into a custom-built conference table and a bench.

      Steel grids installed across the elevator shaft windows are visible from the building’s exterior and match the pattern on the translucent glass and plywood walls located in the lobby.
      “These interventions are a nod to the aesthetics of storied factory buildings and Navy Yard warehouses, which historically featured grids in their sash windows, fencing, and ship docks,” added co-principal Jejon Yeung.

      Worrell Yeung was founded in 2014 by Max Worrell and Jejon Yeung. The studio has completed a number of renovation projects in New York City, including a loft in Chelsea and an apartment inside Dumbo’s Clocktower building.

      Other office projects in Brooklyn Navy Yard are a space for tech entrepreneurs located in a former warehouse renovated by New York developer Macro Sea and Marvel Architects and a new 16-storey co-working building by S9 Architecture.
      Photography is by Naho Kubota.

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      SuperLimão converts warehouse into colourful SouSmile dental office

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      A rounded polycarbonate-clad pink volume forms a consultation room in a dental office and laboratory in São Paulo designed by local firm SuperLimão.SouSmile is a dental health treatment centre in Pinheiros, a district on the west side of São Paulo, that manufactures dental appliances, such as clear aligners and teeth whitening technologies.

      It is located in a warehouse building with tall ceilings that SuperLimão has converted into office space, a clinical room and a manufacturing lab.

      For the design the local firm focused on SouSmile’s key messages of “efficiency, transparency, joy, self-esteem and care” and used hues of bright pink and light blue to match its colourful branding.

      “Brand attributes were integrated to the architecture to convey SouSmile key messages, such as efficiency, transparency, joy, self-esteem and care,” the studio said. “The brand’s colour palette was also considered to be used in the project.”

      On the exterior of the office the brick facade has been painted white with several bricks painted pink and blue to tie in with the brand’s marketing. A large awning with a foldable garage door is located at the front of the building along with a small patio area for employees and patrons.

      The main intervention to the 500-square-metre building is a rounded volume that creates the consultation room and laboratories on the ground floor, and lounges and meeting rooms on the upper level that overlook the floor below.

      Pink-painted metal framing is covered with translucent polycarbonate panelling to form the structure, which is furnished with a dental chair, equipment and a sink counter for clinical use.
      The bright colour is also used on the staircase that leads to the upper level and to frame the windows on the manufacturing lab and meeting rooms.

      The fabrication lab situated alongside the stairs is filled with machinery and shelves for testing and engineering the dental appliances. It is outfitted with mechanics and ventilation duct work to ensure proper air exhaustion during the manufacturing process.
      At the front of the office a break area offers staff a comfortable space to relax with a kitchen area furnished with two stone counters for enjoying and preparing meals.

      Pink pendant light fixtures and a set of shelves for storing glassware and decorative plants hang from the ceiling in the space.
      Large wood tables form shared workspaces on both levels of the office. Meeting and conference rooms on the upper floor also feature brightly coloured walls painted yellow, blue and green.

      A sculptural blue bleacher seating covered with cushions and a phone booth station outfitted with acoustic paneling are among the other architectural details in the office.
      SuperLimão is an architecture studio with offices in São Paulo. It has completed a number of projects in Brazil, including an apartment with a pink ceiling and a beer hall with gabion walls.

      Other thoughtfully-designed dental facilities include an office in Berlin that takes cues from the nightclub Berghain, an orthodontist practice in Quebec outfitted with slatted wood panels and a clinic in Taiwan with a dining table in its waiting room.
      Photography is by Maíra Acayaba.
      Project credits:
      Architecture: SuperLimãoProject team: Thiago Rodrigues, Antonio Figueira de Mello, Lula Gouveia, Larissa Burke, Pamela PaffrathLighting design: LDArtiConstructor: EdifisaWorkstations, meeting tables and bleachers: Zero MáquinaWoodwork: KW MóveisPhone booth: HUB

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      ARC Club is a London co-working space for people wanting to escape working from home

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      Architect Caro Lundin took a less-is-more approach for the creation of ARC Club, a fuss-free co-working space in east London for those struggling to work from home during the coronavirus pandemic.It took just six weeks for Lundin and her self-titled studio to complete ARC Club, which takes over a formerly characterless retail unit in the neighbourhood of Homerton.
      The co-working space is meant to cater to the growing number of individuals who, according to surveys observed by Lundin, are finding it tricky to efficiently do their job from home during the pandemic due to lack of proper workspaces.

      Its “starkly beautiful” interiors have been decked out with a selection of low-cost and durable materials that Lundin felt reflected a climate where co-working is “a necessity and not a nice-to-have”.

      Designing a more modest space also meant that membership would be cheaper for those interested in working at ARC Club according to the architect.
      “Intricate details and indoor gardens are fun, but they come with a big price tag – and they’re a lot harder to keep clean,” said Lundin, who founded ARC Club alongside Hannah Philp.

      “When designing ARC Club, I asked myself ‘what do people need to work?’ A comfortable seat, natural light, thoughtful acoustics; the physical and emotional space in which to think,” she told Dezeen.
      “Functional doesn’t have to be boring, it’s a neutral space that enables the people who visit it to be their best professional selves.”

      At the centre of ARC Club, which measures just over 232 square metres, are a pair of boxy, sound-proofed pods crafted from birch plywood.
      Inside, they accommodate a handful of private meeting rooms, storage cupboards, printers and a kitchenette complete with silver-metal cabinetry.
      Lundin chose to house these services inside a pod-style system so that it can be scaled up or down to suit different-sized branches of ARC Club that open in the future.

      The pods are surrounded by various work areas. A few of the furnishings, like the birch-ply tables with the arched legs, were made by Lundin’s studio while some of the chairs were sourced second hand.

      “Offices are going to get much smaller” after pandemic says Sevil Peach

      Pops of colour have been introduced to brighten up the space. Heavy orange curtains are used as room dividers, blue cone-shaped pendant lights have been suspended from the ceiling and bands of yellow paint have been made on the concrete structural columns.
      Yellow tiles also clad surfaces in the bathrooms.

      Further branches of ARC Club co-working spaces are planned to open in 2021.
      Like the Homerton location, they will occupy vacant high-street commercial units in popular residential areas so that members can do what Lundin has monikered “WNH” – work near home.

      “A neighbourhood workplace like ARC Club allows people to retain the best of what the office has to offer – full functionality, work-life separation and human interaction – without having to get on a bus or a train,” Lundin explained.
      “In essence, it’s an accessible flexible option for a new breed of remote worker who has grown used to scheduling their work around their day, instead of the other way.”

      The global coronavirus crisis has forced many to re-think offices and the way in which we work.
      Interior designer Sevil Peach predicts that, post-pandemic, companies will scrap working in corporate towers and instead opt to have central “hubs” where just a small per cent of staff will gather.
      Architecture practice Weston Williamson + Partners also released a series of graphics that illustrated how businesses could create socially-distanced offices. Tips included wrapping screens around desks, having touch-free doors and employing a cook so that employees don’t have to use a shared kitchen.
      Photography is by Andrew Meredith.

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      ACDF outfits Montreal FlightHub office with vibrant colours

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      Curving glass walls and brightly coloured curtains for partitioning workspaces are among the details Canadian studio ACDF Architecture has used in an office renovation for a Montreal travel agency. FlightHub, an online travel agency, asked the local studio to design a workspace to accommodate the expanding operations in its Montreal headquarters.

      The office occupies 12,800 square feet (1,189 square metres) and spans an entire floor. Its design is intended to embody the agency’s three key elements: technology, travel and tribes.

      Private offices, open-plan workstations and conference rooms are set up around the perimeter of the floor and divided into the company’s teams.
      In the centre a circular room houses communal spaces, including a reception area, kitchen, lounge and game room.

      “The design includes common areas at its core, with distinct ‘tribal’ zones beyond those spaces where teams can retreat to their different lines of business,” said ACDF partner Joan Renaud. “The layout provides a functional balance of flow and concentration that is conducive to the FlightHub culture.”

      A circular glass wall detailed with narrow translucent panes wraps around the common area concealing the interior from the outer spaces. Inside, a rectangular volume, reminiscent of aerospace technology, is clad with perforated aluminium foam to block ambient sounds.

      Playster Headquarters by ACDF includes brightly coloured workspaces

      To separate the spaces within the communal zone the studio has installed several fabric curtains and used vibrant wall colours and furnishings that also act as a wayfinding system.

      In the kitchen stainless steel appliances and a rounded counter are paired with a green ceiling and floor, while the lounge features red office chairs and matching walls. Blue chairs in the reception area blend with the hues used on the walls and in the game room the bright yellow paint stands out against the foosball table and other furnishings.

      On the outer ring each of the four zones is outfitted with storage, a printing room, a small kitchenette, private phone call booths and a conference room.
      Workspaces comprise clusters of eight desks arranged in two rows of four. A low-lying black screen divides the row of desks to create a privacy wall between workers.

      ADCF completed the project in April 2020 before businesses reconsidered how to layout offices to adhere to social distancing protocols as a result of the coronavirus pandemic. However, it believes the design scheme reduces contact between people.
      The circular plan forms two pathways and entrances for moving through the space and the small kitchen and meeting rooms in each “tribe” reduce the likelihood of large gatherings in the communal areas.

      ACDF is led by Canadian architects Maxime-Alexis Frappier, Joan Renaud and Étienne Laplante Courchesne.
      The studio has completed a number of office projects in Montreal, including a colourful workspace for entertainment service Playster and offices for software company Lightspeed that combines historic brickwork with pastel hues.
      Photography is by Maxime Brouillet.

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      Gonzalez Haase AAS creates minimal interior for Berlin communications office

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      Architecture studio Gonzalez Haase AAS used aluminium and translucent sheets of polycarbonate to create the few fixtures and furnishings that appear inside this sparse Berlin office.The office belongs to trendy communications agency BAM and has been designed by Gonzalez Haase AAS as a celebration of “raw materiality and geometric simplicity”.
      “The raw, minimalistic aesthetic serves as a blank canvas for the agency’s creative projects,” the studio explained.

      Measuring 270 square metres, the office takes over the ground and first floor of a building at the heart of the German capital.

      The spacious lower level has been left open so that the agency can use it for large-scale meetings, or transform into a showroom or gallery-style space for events.

      It’s only interrupted by a floor-to-ceiling sliding partition that can be pulled across to divide the space into two separate rooms when necessary.
      The partition is crafted from four sheets of polycarbonate and has intentionally been positioned to sit slightly diagonally to contrast the sharp right angles that appear elsewhere throughout the space.

      A white flight of stairs with a wire-frame balustrade leads up to the office proper.
      Raw aluminium has been used to craft a series of blocky furnishings at this level, most notably a 22.5-metre-long shelf that extends from one side of the room to the other.
      The shelf incorporates several open and closed storage cupboards, and a bench seat where staff can sit to eat their lunch.

      Aluminium has additionally been used to make the long central work desk and the cabinetry in the small kitchenette.
      Another angled polycarbonate partition appears at this level, but in this instance separates a boardroom.

      “These monumental [aluminium] elements find balance in the large, translucent walls of polycarbonate sheeting,” added the studio.

      Berlin’s Brutalist Silence office has barely anything inside

      Further textual interest is created by the chipped wood and wool acoustic panels that have been staggered across the ceiling. They’re inset with simple strip lights that illuminate work areas below.

      Gonzalez Haase AAS was established in 1999 by Pierre Jorge Gonzalez and Judith Haase.
      The studio often applies a pared-back aesthetic to its projects – last year it completed Tem-plate, a fashion concept store in Lisbon that has been simply finished with white walls, concrete floors and display fixtures clad in crinkled silver metal.

      As well as BAM’s office, other minimal workspaces in Berlin include Brutalist Silence, an office designed by Annabell Kutucu that features exclusively concrete surfaces and only a handful of furniture.
      Photography is by Thomas Meyer.

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      Brooklyn hotel bedrooms converted into offices for remote workers

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      Brooklyn’s Wythe Hotel has teamed up with workplace designer Industrious to create rentable offices in its guest suites to cater to those who are working from home during the coronavirus pandemic. With many offices still closed due to the city’s coronavirus lockdown regulations, the Industrious at Wythe Hotel project is intended to offer remote workers with access to flexible, clean and well-equipped workspaces.

      Available for rent by the day, each office is located in one of the Williamsburg hotel’s former loft-style bedrooms with access to a private outdoor space. They are designed to cater to up to four people with Wi-Fi, access to printing services and a smart TV.

      Bedroom furnishings are replaced by sit or stand wood desks and rexford chairs from furniture rental provider Feather, and black metal table lamps.
      The finishes complement the room’s industrial aesthetic of exposed concrete floors and brick walls.

      “Together with Industrious, we are offering remote workers a safe and comfortable place to be productive and escape the confinements of their apartments for a moment,” said Wythe Hotel owner Peter Lawrence.

      Offices after pandemic will “balance physical and virtual work” says Perkins and Will interior design director

      Industrious at Wythe Hotel provides an example of the way that traditional working lifestyles could be disrupted following the pandemic.
      In its earlier stages, Dezeen editor Tom Ravenscroft said “the great work-from-home experiment” would mean remote working would no longer be unusual.

      “The companies that best navigate the future of work are going to be the ones that put choices in their employees’ hands, including the choice of where and how they do their job best,” said Industrious co-founder Jamie Hodari.
      “At Industrious, we think this is just one example of the types of innovation you’ll begin to see in our industry and beyond.”

      Other architects and designers have similarly forecasted ways that offices will change. British interior designer Sevil Peach said they will get smaller, while Form4 Architecture co-founder Paul Fero believes that cubicles will become more prevalent.
      Perkins and Will interior design director Meena Krenek said offices will balance “physical and virtual” work and proposed physical spaces for meetings and large gatherings. Global firm Woods Bagot also created diagrams of workplaces during coronavirus that merge working from home and office.

      Wythe Hotel has made the office spaces available until 31 August. The boutique hotel provided accommodation for medical workers from Woodhull Hospital in Bushwick and NYU Langone Hospital in Sunset Park during the height of the city’s pandemic, an experience it said has enabled them to develop safe practices.
      “By working in collaboration with doctors and nurses on-property during the shutdown, our staff is well-equipped to ensure that all guests are staying in a healthy environment,” it said.

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      Cabinette co-working space in Valencia plays off Jacques Tati's film Playtime

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      The 1960s film Playtime by renowned French director Jacques Tati set the tone for this whimsical co-working office that Masquespacio has designed in Valencia.Cabinette is a co-working space for creatives set inside a mixed-use building in Valencia’s La Fuensanta neighbourhood.

      It takes over a ground-floor unit that was originally fit-out to serve as an apartment. Leaving the existing bathroom facilities in place, interiors studio Masquespacio reconfigured the rest of the floor plan to accommodate a series of work areas for Cabinette’s members.

      The studio’s founders, Christophe Penasse and Ana Milena Hernández Palacios, wanted to give the 200-square-metre space a retrofuturist aesthetic that’s attractive to millennials but also makes “a clear wink to the past”.

      A particular point of reference was Playtime – a 1967 comedy film directed by Jaques Tati that follows character Monsieur Hulot as he navigates a gadget-filled version of future Paris.
      It’s revered for its satirical take on modern life and was also included in Dezeen’s list of 10 films with amazing architecture.

      Masquespacio creates colour-clashing interior for phone-repair shop in Valencia

      “We once visited a museum installation here in Valencia where they showcased some fragments of the movie, especially a moment where the leading actor goes to a meeting,” Penasse told Dezeen.

      In the film, when Hulot arrives at the meeting, he enters a huge office where each employee’s desk is closed in by a cabinet-lined box – a feature which inspired Cabinette’s name.
      Penasse and Palacious have similarly divided desks in the co-working space, but instead of individual boxes have erected low-lying partitions.
      As with the interior of the boxes in Playtime, the desks and chairs in Cabinette are a pastel green-blue colour.

      The same colour features across the floor, as well as the counter, tiled splashback and a couple of cupboards in the kitchen, which sits in the corner of the room.
      Walls and part of the floor here are painted chocolate-brown, complementing the steel stools from Masquespacio’s Déjà-Vu collection that appear beside the counter. They each feature tiers of brown, ochre and blue fringing.
      Another wall in Cabinette is clad in mirrored panels, while one on the far side of the office is a bright lilac hue. It’s decorated with various graphic-print canvases and rows of illuminated tube lights.

      A set of stairs leads up to a mezzanine where there are a pair of intimate meeting rooms that members can use for group work or take private phone calls.
      They’re screened off by the same shiny silver curtains that hang in front of the full-height windows at ground level that look through to an outdoor terrace.

      There is also a more formal boardroom that features deep-purple surfaces. The central lacquered-wood table is surrounded by Masquespacio’s gold-framed Arco chairs, which are upholstered in burnt-orange velvet.
      The studio’s eye-shaped Wink lights are also mounted on the wall.

      Masquespacio was established in 2010 by Penasse and Ana Milena Hernández Palacios. The studio has applied its colourful aesthetic to a number of projects.
      These include a phone repair shop that features a clashing mix of salmon-pink and turquoise surfaces, and a tropical green and maroon restaurant that offers Brazilian-Japanese cuisine.
      Photography is by Luis Beltran.

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