[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-vitra-work-spirit-2012":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":706},{"id":4,"title":5,"slug":6,"image":7,"source":8,"brand_name":9,"brand":10,"brand_slug":11,"file_size":12,"pages":13,"pages_count":701,"matched_pages":702,"match_count":703,"two_pages":704,"show_text":705},7155,"Work Spirit 2012","vitra-work-spirit-2012","\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002F3f\u002F252b012ab909328e11ff9b1880478b.pdf","Vitra",1477,"vitra","22.6 MB",[14,17,21,25,29,33,37,41,45,49,53,57,61,65,69,73,77,81,85,89,93,97,101,105,109,113,117,120,124,128,132,136,140,144,148,152,156,160,164,168,172,176,180,184,188,192,196,200,204,208,212,216,220,224,228,232,236,240,244,247,251,255,259,263,267,271,275,279,283,287,291,295,299,303,307,311,315,319,323,327,331,335,339,343,347,351,355,358,362,365,369,372,376,379,383,386,390,393,397,400,404,407,411,414,418,421,425,429,433,437,441,445,449,453,457,461,465,469,473,477,481,485,489,493,497,500,504,507,511,515,519,522,525,528,532,536,539,542,545,548,552,555,559,563,567,571,574,578,582,586,590,594,598,602,606,610,614,618,622,626,630,634,638,642,646,650,654,658,662,666,670,674,678,682,686,690,694,698],{"image":7,"text":15,"number":16},"WORKSPIRIT\nEURO 9\nEDWARD BARBER & JAY OSGERBY\nRONAN & ERWAN BOUROULLEC\nFELIX BURRICHTER\nRATTAN CHADHA\nTHOMAS DEMAND\nKAMAL MEATTLE\nPIERRE DE MEURON \nSEVIL PEACH\nDIRK SCHÖNBERGER\nINGNACIO URIARTE\nANDREAS ZIMMERMANN\n012\nTHE MAGAZINE ABOUT OFFICE CULTURE AND THE FUTURE OF WORK BY VITRA.\n",1,{"image":18,"text":19,"number":20},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.2.png","RONAN BOUROULLEC’S (DREAM-) OFFICE IN BRITTANY.\n",2,{"image":22,"text":23,"number":24},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.3.png","LEADERSHIP\n",3,{"image":26,"text":27,"number":28},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.4.png","4\nWORKSPIRIT\nCharles-Eames-Str. 2\nD-79576 Weil am Rhein\nwww.design-museum.de\nVitra \nDesign \nMuseum\nGlobal Sponsor\nLouis Kahn\nThe Power of Architecture\n23. 02.  – 11. 08. 2013\nThomas Florschuetz – Enclosure\n01. 02.  – 26. 05. 2013\n",4,{"image":30,"text":31,"number":32},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.5.png","WORKSPIRIT\n012\nTABLE OF CONTENTS 1\u002F2\nPOWERHOUSE ARCHITECT PIERRE DE MEURON DISCUSSES \nCONTEMPORARY LEADERSHIP, SUCCESS AND YOUNGER GENERATIONS \nOF EMPLOYEES WITH HARALD WILLENBROCK.\nLEADERSHIP p.28\n���������������� p.57\nNOT HAVING TIME FOR YOUR HEALTH BECAUSE YOU’RE IN THE OFFICE \nIS NO EXCUSE. BERLIN-BASED FITNESS EXPERT MARK ZINKERNAGEL \nREVEALS EXERCISE ADVISE TAILORED TO THE WORKPLACE. \n���������������� p.34\nWHY IT’S GOOD NEWS THAT THE \nFAX MACHINE IS ON THE VERGE OF \nEXTINCTION.\n������������\np.18\n���������\nFOLLOWING THE DISCOVERY OF HIS OWN HEALTH \nISSUES, KAMAL MEATTLE INITIATED THE GREENSPACES \nPROJECT – PRODUCING MOUNTAIN FRESH AIR IN ONE \nOF THE MOST POLLUTED CITIES IN THE WORLD.  \nWORKING IN THE OFFICE, AT HOME OR ON THE \nGO: MOVERS AND SHAKERS RATTAN CHADHA, DIRK \nSCHÖNEBERGER AND FELIX BURRICHTER REVEAL THEIR \nWORK HABITS.  \nTHIRD\n����������\np.52, p.142, p.148 \n���� p.122\nMOST PEOPLE DON’T REALIZE THE PHYSICAL BENEFITS OF ALTERNATING \nBETWEEN SITTING AND STANDING. THE EXCEPTIONALLY ORIGINAL VITRA TYDE \nDESK ALONGSIDE AN ABC OF THE ADVANTAGES OF WORKING ON YOUR FEET. \nSEPARATING YOURSELF FROM COLLEAGUES IN CLOSED WORKSPACES \nIS A THING OF THE PAST. A PHOTO SHOOTING WITH THE LATEST VITRA \nPRODUCTS SHOWS THE POTENTIAL OF THE OPEN SPACE.\nOPEN SPACE p.84\nWHETHER DURING A CONFERENCE CALL OR SIMPLY \nFOR SOME PRIVACY – THE SPHERE TABLE ENABLES \nTERRITORIAL DEMARCATION - EVEN IN OPEN OFFICES. \nSPHERE TABLE\np.174\n",5,{"image":34,"text":35,"number":36},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.6.png","\nPhysix developed by Vitra in Switzerland, Design: Alberto Meda\nGo to www.vitra.com to ﬁnd Vitra retail partners in your area. \nwww.vitra.com\u002Fphysix\n",6,{"image":38,"text":39,"number":40},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.7.png","WORKSPIRIT\n012\nTABLE OF CONTENTS 2\u002F2\n������ p.130\nTHE RESULT OF INTENSIVE RESEARCH INTO \nMATERIALS AND PRODUCTION, THE PHYSIX \nTASK CHAIR IS A SITTING EXPERIENCE AS \nVARIABLE AS ITS ENTHUSIASTS. \n��������������  p.115\n����������\nRONAN AND ERWAN BOUROULLEC DELIVER THEIR OWN DISTINCT \nDESIGN. THE BRITTANY BROTHERS DISCUSS DEMOCRATIC \nCOOPERATION, GLOBAL OFFICE CULTURE AND DIVULGE UNEXPECTED \nSOURCES OF INSPIRATION.\nLONDON-BASED ARCHITECT SEVIL PEACH TOOK VITRA’S  \nEMPLOYEES OUT OF THEIR CUBICLES, LIBERATING SPACE FROM \nTHE STODGY OFFICE LANDSCAPE. HER VIEWS ON MOVEMENT, \nPLAYGROUNDS AND HUMANITY IN THE OFFICE. \n������������ p.72\nSHARING IS A MODERN MOVEMENT. WRITER AND \nPHILOSOPHER MIRNA FUNK LOOKS AT WHAT’S GOING \nON WITH THIS NEWFOUND ALTRUISM. \nFUTURE WITHOUT\nOWNERSHIP\np.67\n������� p.162\nLEAPS FORWARD IN DIGITALIZATION MAKE US FORGET ABOUT THE CHARM \nOF ANALOGUE OFFICE ACCESSORIES. A SELECTION OF SOME PRODUCTS FOR \nYOUR INNER AESTHETE. \nOFFLINE p.11\n�����������������\np.16, p.51,  p.82\nWHETHER IN A FIELD BY THE SEA OR AT THE KITCHEN \nTABLE, WE ASKED OUR FEATURED DESIGNERS \nEDWARD BARBER AND JAY OSGERBY, SEVIL PEACH AND \nRATTAN CHADHA ABOUT THEIR DREAM WORKPLACES, \nVISUALIZED HERE BY PLAYFUL IMAGINATIONS.\nIN ADDITION TO BEING THE CREATORS OF THE TIP TON CHAIR, BRITISH \nDESIGN DUO EDWARD BARBER AND JAY OSGERBY SHOT INTO THE \nSPOTLIGHT THIS YEAR FOR THEIR INTERPRETATION OF THE OLYMPIC TORCH. \nA CONVERSATION WITH NICK COMPTON.\n����������������������������\np.60\nANDREAS ZIMMERMANN\nIGNACIO URIARTE\nTHOMAS DEMAND\n������������ p.36\nTHE VITRA CAMPUS IN WEIL AM RHEIN IS MORE THAN JUST AN  \nARCHITECTURAL DISNEYLAND. IT’S AN INDUSTRIAL PARK WITH THE  \nFUNCTIONAL OBJECTIVE OF MANUFACTURING.\n",7,{"image":42,"text":43,"number":44},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.8.png","8\nWORKSPIRIT\npublisher\nVITRA AG\neditor-in-chief\u002Fcreative director\nTHE GAABS\nCHRISTIANE BÖRDNER & MARCUS GAAB\nart direction\nCHRISTIANE BÖRDNER\ndesign\nDANIEL BARTH, MYRIAM LUTZ, STEPHANIE \nPFÄNDER, DEBBIE SIMONS \nmanaging director\nSTEFANIE ROTH\neditor\nALICIA REUTER\nassistant editor\nZSUZSANNA TOTH\nimaging\nFRANZISKA STROHM\nproduction \u002F litho\nAPPEL GRAFIK\nprinting\nNEFF + STUMME, WITTINGEN\nFLORIAN BÖHM, NICK COMPTON, KARINA EIBATOVA, HEATHER \nFLOW, MIRNA FUNK, JEREMY LIEBMAN, \n������������������������� �����������������������\nOBERMEYER, KATRIN SCHACKE, MAT THIAS WEINGÄRTNER, \nHARALD WILLENBROCK, MARK ZINKERNAGEL\nADRIAN CRISPIN, MARIE JACOBS, ANJA GEERKEN, \nKAVIAR GAUCHE, MARKUS LENZ, SOPHIE LOVELL, \nKAI MASER, ALVARA FISCHER, VERONIKA SCHUNK\nDISTRIBUTION RIGHTS\nAll the designs shown here are protected under law. Vitra and the \nVitra Design Museum have been awarded the intangible proper ty \nrights to manufacture and sell these products by the owners in \nquestion and hold the exclusive manufacturing and distribution \nrights worldwide.\nHowever, the following restrictions apply:\nCharles & Ray Eames\nWorldwide distribution rights for «Organic Chair», «La Chaise», \n«Eames Elephant» and for the Miniatures Collection. Otherwise, \ndistribution rights for furniture in Europe and the Middle East \nonly. For other regions, please contact Herman Miller Inc.\nEames House Bird \nWorldwide distribution rights.\nGeorge Nelson\nWorldwide distribution rights for all clocks and for the Mini-\natures Collection. Otherwise, distribution rights for furniture in \nEurope and the Middle East only. For other regions, please con-\ntact Herman Miller Inc.\nIsamu Noguchi\nDistribution rights for «Akari Light Sculptures» are restricted \nto Europe (apar t from France) and Australia. The «Coffee Table» \ndistribution rights for Nor th America are held by Herman Miller \nInc., the «Dining Table» distribution rights for Nor th America are \nheld by Knoll Inc.\nSori Yanagi\nWorldwide distribution rights for «Elephant Stool», distribution \nrights for «Butterfly Stool» are restricted to Europe, Africa, \nNor th and South America.\nClassic Pillows & Repeat Pillows\nDistribution rights for Europe and Japan. For other regions, \nplease contact Maharam Inc., New York.\nThe design of the Eames Aluminium Chair and the EAMES name \nare registered trademarks.\nThe design of the Eames Lounge Chair and the EAMES name are \nregistered trademarks.\nThe design of the Panton Chair and the PANTON name are re-\ngistered trademarks.\nC O N T R I B U T O R S\nS P E C I A L  T H A N K S\nWORKSPIRIT\n012\nWORKSPIRIT IS A PROJEC T OF \n��������������������������������������������������\n����������������������������������������������\nCONCEPT AND DESIGN BY \n������������������������������������������������������������������������\nCOPYRIGHT VITRA ©���������������������������������������������������������������������\nAND COPYRIGHTS ARE RESERVED. NOTHING CONTAINED IN THIS BROCHURE MAY BE REPRODUCED \nWITHOUT WRITTEN PERMISSION.\n���������������������\n��������������\nCOVERSHOOT PHYSIX: MARCUS GA AB, ST YLING: ANN-K ATHRIN OBERMEYER\nALL IMAGES BY MARCUS GAAB STUDIO \nUNLESS OTHERWISE NOTED.\n",8,{"image":46,"text":47,"number":48},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.9.png","DEAR READER,\nWHAT DO WE MEAN WHEN WE SAY “THE FUTURE”? IS IT ONE MINUTE FROM NOW? TOMORROW? NEXT \nYEAR? TWENTY YEARS? LIKEWISE, WHAT IS AN OFFICE? A PLACE TO WORK? TO EARN MONEY? TO CON-\nNECT WITH COLLEAGUES? WHAT IS THE ROLE OF AN OFFICE WHEN WE WORK EVERYWHERE, FROM AIR-\nPORT LOUNGES TO OUR KITCHEN TABLES?\nIF WE LOOK AT THE OFFICE IN COMPARISON TO A HALF-CENTURY AGO, NOT MUCH HAS CHANGED. SURE, \nMAYBE WE DRESS MORE CASUALLY, BUT MANY STILL GO TO A WORKPLACE, LABOUR FOR EIGHT HOURS \nAT ASSIGNED DESKS, TAKE BREAKS WITH A CUP OF COFFEE, AND ARE ENCOURAGED, ABOVE ALL, TO BE \nPRODUCTIVE. WHAT HAS CHANGED, AND IMMENSELY, IS THE WAY WE COMMUNICATE, THE GEOGRAPH-\nICAL LOCATION OF OUR COLLABORATORS AND THE MACHINERY THAT MAKES IT POSSIBLE. \nMANY OF THE DESIGNERS, WRITERS, ARCHITECTS, THINKERS, TRANSLATORS AND VISIONARIES THAT \nCOLLABORATED TO PRODUCE WORKSPIRIT PROBABLY DON’T THINK OF THEMSELVES AS OFFICE WORKERS \nOF THE FUTURE, BUT AS THIS ISSUE CAME TOGETHER, IT BECAME APPARENT THAT WE ARE. WE WORK \nFROM HOME AND AN OFFICE, WE RELY PROFOUNDLY ON TECHNOLOGY AND MANY OF OUR WORKSPACES \nARE OPEN, WITH MEETINGS ON COUCHES, MUSIC PLAYING IN THE BACKGROUND, AND DISCUSSIONS \nTAKING PLACE OVER SKYPE, ON DESKS \u002F WORKBENCHES (OFTEN) SHARED WITH OUR BOSSES, AND \nOVER OUR SOCIAL NETWORKS. WE REPLY TO E-MAILS ON THE MORNING TRAIN, CHANGE LOCATIONS TO \nCHANGE PERSPECTIVE WHEN WRESTLING WITH CREATIVE OBSTACLES, AND RESPOND TO EACH OTHERS \nQUERIES AT ALL HOURS OF THE DAY AND NIGHT. WE DON’T EXPECT OUR EMPLOYERS TO PROVIDE US \nWITH COMPUTERS – WE’VE BROUGHT OUR OWN – WE ONLY ASK THAT THEY SUPPLY THE NETWORK AND \nCAST A SOLID TEAM OF PLAYERS. WE UNDERSTAND THAT ALTHOUGH SOLITARY CONCENTRATION IS ES-\nSENTIAL, THE EFFORT IS COLLABORATIVE.\nWORKSPIRIT IS ABOUT JUST THAT – THE SPIRIT OF CONTEMPORARY WORK. IT SEES THE OFFICE AS A \nPLACE WHERE WE CHOOSE TO COME TOGETHER, ENGAGING IN COLLABORATIONS BOTH MINOR AND MA-\nJOR AS WE PASS THROUGH THE WORKPLACE.  AFTER ALL, IT IS THROUGH THESE CONNECTIONS THAT WE \nEXCHANGE THE IDEAS THAT WILL BRING ABOUT THE FUTURE OUTSIDE OUR FOUR WALLS.\nCHRISTIANE BÖRDNER & MARCUS GAAB\n",9,{"image":50,"text":51,"number":52},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.10.png","\nTip Ton developed by Vitra in Switzerland, Design: Edward Barber & Jay Osgerby\nGo to www.vitra.com to ﬁnd Vitra retail partners in your area. \nwww.vitra.com\u002Ftipton\n",10,{"image":54,"text":55,"number":56},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.11.png","OFFLINE\nTOWER BLOCK Hay\nEraser-Gorilla KIKKERLAND\nOFFLINE\nIN THE EVERYDAY OFFICE HALF YOUR LIFE IS ORGAN-\nIZED BY POST-IT’S. BUT EVEN EXPERIENCED SCRAWL-\nERS ARE AWARE OF THE DISADVANTAGES OF THE LITTLE \nCHAOS CONQUERORS. AS A RULE, CONVENTIONAL \nPOST-IT’S ARE NEVER AT HAND, AND OFTEN LOSE \nTHEIR STICK AT EXACTLY THE WRONG MOMENT, LEAV-\nING US IN A STATE OF  FORGETFULNESS AND DESPAIR. \nTHE HORRIBLE COLOURS OF THE LITTLE PIECES OF \nLAYERED ADHESIVE PAPER COME IN SHADES THAT ARE \nOFF-PUTTING TO ANY CRITICAL AESTHETE. AT LAST \n“TOWER BLOCK” FROM THE  DANISH BRAND HAY, WITH \n1200 TO 1600 SHEETS, OFFERS AN  ALTERNATIVE FOR \nOUR FRIDGE AND THE COMPUTER SCREEN AND IS THE \nIDEAL CLIMBING WALL FOR THE GRASS-GREEN  GORILLA \nBY KIKKERLAND. GORILLAS MANAGE TO  CONFINE ALL \nTHEIR ACTIVITIES TO THE HOURS BETWEEN 7 A.M. \nAND 6 P.M., MAKING THIS THE  PERFECT OFFICE MATE \nFOR THE WORKPLACE. IN  ADDITION TO VANQUISHING \nEVERYDAY OFFICE  MISTAKES, THIS GORILLA, MADE \nFROM PVC-FREE THERMONUCLEAR PLASTIC ALSO BE-\nNEFITS HIS  FELLOW SPECIES: TWO PERCENT OF SALES \nPROCEEDS GO TO THE CENTER FOR BIOLOGICAL DI-\nVERSITY, WHICH BRINGS ATTENTION TO A VARIETY OF \nHUNTED AND ENDANGERED SPECIES. \n“CHOOSE A JOB YOU LOVE\nAND YOU WILL NEVER HAVE TO WORK A DAY IN YOUR LIFE.”\nCONFUCIUS\n",11,{"image":58,"text":59,"number":60},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.12.png","WORKSPIRIT\nNotebook SMYTHSON\n12\n�����������������������������������������������������\n����������������������������������������������������������\n���� ����� ����� ���������� ������ ��������������� ���\n���������������� ��� ���� ���������� ��� ���� ����� ��� ��������\n����� ��� ����� ����� ����� ����� ������������ ������ ������\n����������������������������������������������������������\n��� ���� ���������� ��� �� ��������� �������� ���������� �����\n������������� �������� ������� ������ ���������� ���������� ���\n�����������������������������������������������������\n���������������������������������������������������������\n����������������������������������������������������������\n��������������\n“WHO EVER SAID THAT PLEASURE \nWASN’T FUNCTIONAL?”\nCHARLES EAMES\nWORKSPIRIT\n",12,{"image":62,"text":63,"number":64},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.13.png","MAGNIFYING GLASS Maison Martin Margiela\nUSUALLY THE MOST IMPORTANT DETAILS ARE ONLY \nFOUND \nWHEN \nTHINGS \nARE \nEXAMINED \nUNDER \nA MICROSCOPE, OR AT LEAST THIS SEEMS TO BE WHAT \nTHE TEAM BEHIND MAISON MARTIN MARGIELA HAS \nDISCOVERED. THIS MAGNIFYING GLASS FROM THE \nFRENCH DESIGN COLLECTIVE HAS A 2.5 DIOPTRE LENS, \nCOSTS 60 EUROS AND HAS ADOPTED AN IRONIC FORM \nOF DISTRACTION FROM ONE’S OWN VISUAL DEFICITS. \nTHE HANDY MAGNIFYING GLASS COMES IN THE FORM \nOF A HALF SPECTACLE FRAME – AT FIRST GLANCE, THE \nFACT THAT ONE IS USING AN OBJECT THAT APPEARS \nDEFECTIVE REMAINS UNDETECTED –  AMUSINGLY RE-\nTURNING TO THE NOTION OF DETAILS.\n“YOU’RE ANALOG PLAYERS \nIN A DIGITAL WORLD, \nYOU’RE DONE.”\nROMAN NAGEL IN OCEAN’S THIRTEEN\nOFFLINE\n",13,{"image":66,"text":67,"number":68},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.14.png","RUBBER THIMBLE Läufer\n14\nANYONE WHO HAS READ UMBERTO ECO’S NOVEL IN \nTHE NAME OF THE ROSE KNOWS ABOUT THE TRAGIC \nDEATH OF THOSE CURIOUS MONKS THAT FLIPPED \nTHROUGH THE POISONED PAGES OF ARISTOTLE’S \nDEDUCTIONS. IN THAT SCENARIO MOISTENING THEIR \nFINGERTIPS IN THEIR MOUTHS AFTER EACH FLIP OF A \nPAGE HAD  DEVASTATING CONSEQUENCES. HAD THE \nPROTAGONISTS BEEN EQUIPPED WITH THE  RUBBER \nTHIMBLE FROM LÄUFER, AT THE VERY LEAST THEIR \nTHIRST FOR KNOWLEDGE WOULD HAVE BEEN SATIS-\nFIED. THIS IS JUST ONE ADVANTAGE TO THE PAGE-\nTURNER, AVAILABLE IN A VARIETY OF SIZES FOR \nONLY TWO EUROS. COVERED WITH SOFT RUBBER \nNUBS, THE THIMBLE BRAKES ON SLICK PAGES AND \nPROVIDES RELIEF TO THE OVERWORKED FINGERS \nTHE FREQUENT FLIPPING OF PAPER ENTHUSIASTS. \nEVEN IF THIS SMALL OFFICE ACCESSORY LOOKS A BIT \nOLD-FASHIONED NEXT TO THE LAPTOP OR TABLET – IT \nIS CERTAINLY MORE  ELEGANT THAN A FURTIVE FINGER \nIN THE MOUTH. \n“I HAVE SEEN THE FUTURE \nAND IT WORKS.” \nLINCOLN STEFFENS\nWORKSPIRIT\n",14,{"image":70,"text":71,"number":72},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.15.png","",15,{"image":74,"text":75,"number":76},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.16.png","16\nWORKSPIRIT\nA few things are important for me. One, is having \n somewhere where I can pick up IDEAS from other people. \nNETWORKING for me is crucial. I think better when I am \nnetworking, when I can talk to people. It gives me a lot \nof ENERGY. Another thing is INSPIRATION. And that \ncan happen when you are alone but in an inspiring place. \nI am fascinated by ART, so art is very important to me.\nBecause I try and work out the meaning behind these \nthings. I want to jog my brain. To get ideas you need \nto think. I can’t think sitting in an empty room. I need \nto get more KNOWLEDGE. And the only way I can get \nmore is by TALKING. And by looking at things that I \ndon’t understand. Why did Andy Warhol paint a Camp-\nbell Soup tin? Why did it become art? \nMY DREAMWORKPLACE \nBY RATTAN CHADHA\nILLUSTRATION KARINA EIBATOVA\n",16,{"image":78,"text":79,"number":80},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.17.png","OFFICE ETIQUETTE\n \n \n \n \n \n \nHOW TO\n \n \n \n \n \n \n*******\n  \n \n \n \n \nWIN OVER YOUR CO-WORKERS\n \n \n \n \n     ****************************\n3, 7 & 8 COURTESY OF DIVISION OF LABOR\n1.  \nMAKE SURE YOUR DESK IS AS MESSY AS POSSIBLE \n \nothers will read it as a sign of productivity.\n2. \nALWAYS SEND E-MAILS AT RANDOM TIMES – 10:45 PM, 7:15 AM – AND ON IMPORTANT PUBLIC HOLIDAYS. \n3. \nNOTHING GOOD EVER CAME FROM HITTING “REPLY ALL.” \n4. \nSIGHING LOUDLY AND OFTEN CAN BE USED AS A WAY TO EXPRESS JUST HOW MUCH WORK YOU HAVE. \n5. \nTHE PRINTER WILL WORK BOTH FASTER AND BETTER IF YOU YELL AT IT. \n6. \nUSE AS MUCH JARGON AS POSSIBLE. PHRASES LIKE “THINK OUTSIDE OF THE BOX” AND TEXT SPEAK CAN BE \nAN  \n \n \nEXCEPTIONALLY EFFECTIVE WAY TO COMMUNICATE\n  \nat the end of the day it all boils down to hitting the ground running. \nwe’re  \n \n \nreally going to have to push the \n \nenvelope on this one. c u l8r!\n7. \nIF IT’S REALLY FUNNY, IT’S PROBABLY HARASSMENT.\n8. \nTHINK BEFORE HITTING PRINT \n \nand sleeping with co-workers.\n",17,{"image":82,"text":83,"number":84},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.18.png","18\nWORKSPIRIT\nKAMAL MEATTLE IN FRONT OF HIS HYDROPONICS.\n“AMBIENT AIR IS TAKEN IN FROM THE HIGHEST POINT OF THE BUILD-\nING AND “SCRUBBED” BY PASSING IT THROUGH AN AIR WASHER, \nWHERE IT IS, QUITE LITERALLY, WASHED THEN FILTERED AND CON-\nTINUOUSLY TREATED BY UV-C LIGHT.\nTHIS TREATED AIR FLOWS OVER PLANTS OF SPECIFIC SPECIES IN OUR \nGREEN HOUSE, WHICH SERVES AS A CO² SINK.”\nPHOTOS BY PAHARPUR BUSINESS CENTRE & SOFTWARE TECHNOLOGY INCUBATOR PARK\n",18,{"image":86,"text":87,"number":88},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.19.png","AR\nWHERE \nARE \nTHE \nPLANTS \nLOCATED \nIN \nTHE \nBUILD-\nINGS?\nHOW TO GROW FRESH AIR\nAR\nHOW IS THE FRESH AIR \nDISTRIBUTED?\nKM\nAmbient air is taken in from \nthe highest point of the \nbuilding and “scrubbed” by \npassing it through an air \nwasher, where it is, quite \n�������������������������������\nand continuously treated by \nUV-C light. This treated air \n����� ����� ������� ��� ���������\nspecies in our green house, \n������\n�������\n���\n��\n��²\nsink. The oxygenated air is \npumped out of the green \nhouse through air handling \n���������������������������\nINTERVIEW BY ALICIA REUTER\nPHOTOCONCEPT AND REALISATION BY KATRIN SCHACKE\nKamal Meattle�������������������GreenSpaces Project and Paharpur Business Centre and Software \n�������������������������������������������������������������������������������������������������\n��������������������������������������������������������������������������������������������������\n�������������������������������������������������������������������������������������������������������\n��������������������������������������������������������������������������������������������������\n����������������������������������������������������������������������������������������������������\n�������������������������������������������������������������������������������������������������\n����������������������������������������������������������������������������������������������������\n��������������������������������������������������������������������������������������������������\narchitecture and sustainable upkeep.\nAR\nHOW DID YOU ARRIVE AT \nTHE IDEA OF USING PLANTS \nAS \nA \nTREATMENT \nAFTER \nYOU \nWERE \nTOLD \nYOUR \nLUNG CAPACITY HAD BEEN \nREDUCED? \nKM\n�������\n������\n����\n��������\nresearch showed that in the \nU.S. NASA was engaged in \ntesting using green plants \n�����\n���������\n���������\norganic compounds (VOC’s), \nsuch \nas \nformaldehyde \nor \nacetone, and simultaneously \nproduced more oxygen. Their \n����������\n����\n���\n���������\nhuman life on the moon and \nin space stations. At this \nstage no information was \nbeing published so at our end \nwe began looking into  Indian\nhistory in an attempt to learn \nfrom it. We found that the \ntulsi plant, also known as \nholy basil, and the banyan \ntree were considered sacred \nby Buddhists and Indians, \n���� ����� ������ ������ ����\n����������������������������\nThrough our research we dis-\n�������� ����� ������ �����������\n��� ������� �� ���� ������ ������\nthe mother-in-law’s tongue \n���������������������������\n����� ���������� ��� �����������\n������������ ���� ���������\nVOC’s from indoor air than \nother plants. These three \nplants helped us to “grow” \nthe fresh air required to keep \nus healthy and allow us to re-\nduce the external air supply \nto the building, while meet-\n���� ���� ��������� �������\nStandard for Indoor Air Qual-\nity (IAQ). \nKM\n��� ���� ���� ����� ��� �����\na dedicated set of plants \n������������������������������\n�����������������������������\n�����������������������������\nare grown in  hydrophonics\n�� ���� ������ ���� ���������\noccupants.\nGreenSpaces \nis \n another \n����������������������������������\nour learning from PBC Park \non \na \nmuch \n larger \nscale. \n��� ����� ����� �� ������������\non the roof with plants to \n�������� ���������� ������ ����\nto the  entire building. It is a \n��������� ��������� ���� ���� �����\n�������� ������������ ������� ��\n������������ ������������� ���\n������ ����������� ���� �����\nCanada, \nAustralia, \nJapan, \nChina, South Korea and India. \nAR\nAND WHAT IMPACT DO YOU \nSEE ON PRODUCTIVITY AND \nHEALTH?\nKM\n����������������������������������\nto the mountains and is \nsitting at a desk up in the \nhills when really it is only \nabout \n20\nminutes \naway \nfrom the  centre of Delhi. \n����\n��������������\n���������\nCancer \nInstitute, \n Kolkata\n������������������������������\n����� ������ ���� ����� ��� ����\nhealthiest  building in Delhi. \nTheir study found that there \nis a 42 percent  probability of \nincreasing one’s  saturated\nblood  oxygen by one per-\ncent \nif \none \nis \ninside \na \nbuilding that follows indoor \n���� ��������� ����������� ���� ���\nhours. According to another \nstudy carried out by  Central\nPollution \nControl \nBoard, \n����������\n���\n�������������\nand Forests, compared to \nother buildings in Delhi, the \nincidence of eye irritation at \n���� ����� ��� ��������� ��� ���\npercent, \nlower \nrespiratory \n��������� ��� ��� ���������\nheadaches by 24 percent, \nupper respiratory  symptoms\nby 20 percent, lung impair-\n����� ��� ������ �������� ����\nasthma by 9 percent.\n������ ����� ������ ���� ��������\nin the building 24\u002F7, the \noccupants are less likely to \nsuffer \nfrom \nSick \n Building \nSyndrome and as a  result of \nfewer sick days, we  experience \na \n20 \npercent \nincrease \nin \n������������������������\nGREEN OFFICE\n",19,{"image":90,"text":91,"number":92},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.20.png","20\nAR\nHOW DO THE EMPLOYEES \nREACT TO THE CONCEPT? \nAR\nDOES IT MAKE OCCUPANTS \nFEEL CONNECTED? \nKM\n�����������������������������������������������������������������������������������������������\n�����������������������������������������������������������������������������������������������-\n�������������������������������������������������������������������������������������������������\n�����������������������������������������������������������������������������������������������\nawareness, especially in commercial buildings.\nAR\nWHAT \nIS \nTHE \nFUTURE \nENVIRONMENTAL IMPACT? \nAR\nARE THE OFFICES A SERIES\nOF SMALL ROOMS, OR ONE \nLARGE OPEN SPACE? IN YOUR \nRESEARCH HAVE YOU SEEN \nTHAT THERE’S A  DIFFERENCE?\nKM\nAs far as indoor air quality is \n����������� ����� ��� ��������\n����������������������\nAR\nWHAT OBSTACLES DO ARCHITECTS, DESIGNERS AND BUILDERS FACE IN\nCONSTRUCTING THIS KIND OF BUILDING?\nKM\n�����������������������������������������������������������������������������������������\nsuch buildings are registered for construction with the Indian Green Building Council. \n���������������������������������������������������������������������������������������\n�����������������������������������������������������������������������������������\n������������������������������������������������������������������������������-\ntions.\nAR\nARE THERE MATERIALS, BESIDES PLANTS, THAT YOU REGULARLY WORK \nWITH IN YOUR GREEN AND SUSTAINABLE EFFORTS?\nKM\nWe looked at all aspects of the “Green Sustainable Building” and worked on a holistic plan and that is what made us suc-\n�������������������������������������������������������������������������������������������������������������������������\n���������������������������������������������������������������������������������������������������������������������-\n�����������������������������������������������������������������������������������������������������������������������\nto become a sustainable building this was the only way forward and accordingly we had our road map ready so we would \n���������������������������\n���������������������������������������������������������������������������������������������������������������������\n��������������������������������������������������������������������������������������������������������������������������-\n����������������������������������������������������������������������������������������������������������������������-\n������� ���� ���� ���������� ��� ��� ������ ��� ������� ��� ��������� ��� ���� ���������� ����� ��� ������ �� ���� ����� ��� �������� ����\n��������������������������������������������������������������������������������������\n�������������������������������������������������������������������������������������������������������������������������\n����������������������������������������������������������������������������������������������������������������������������\n������������������������������������������������������������������������������������������������������������������������-\n����������������������������������������������������������������������������������������������������������������������-\n������������������������������������������������������������������������������������������������������������������������\n���������������������������������������������������������������������������������������������������������������������-\n�����������������������������������������������������������������������������������������������\nKM\nEmployees \nand \noccupants \n������ ������������ ����� �����\nproud to be associated with \na building like ours. The \nmountain air ambience helps \nthem perform at  optimum \n�����������������������������\nand fresh through the day. \nAccording \nto \nthem, \nthe \nfreshness of “greens” in the \nworkspace \nkeeps \nthem \ngoing. It makes the work \n�������������\n��������\n����\n������������������������������\n����� ����� ������� �� ���� ���-\nural green plants indoors \n�������������������������������\n����������������������������\nplants I mentioned earlier. \nKM\nBuildings take up 40 percent \nof the world’s energy and \nconstruction of these build-\nings uses up about 40 per-\ncent \nof \nthe \nworld’s \nre-\nsources.  Businesses across \nthe globe are increasingly \n���������� ����� ���� ����� ��� ���\npossible to drastically re-\nduce the drain on resources \n��� ���������� ������� ���-\nciency and green techno-\nlogy. It is important for \n����������\n���\n�����������\nthat green buildings could \nbe one of the solutions to \nthe impending challenge of \nexhausted natural resources \nand climate change.\n���� ������ ������� ��� ������-\ning the building scenario in \nIndia is to reshape the way \ncommercial \nbuildings \nare \ndesigned and built, with the \ngoal of reducing the impact \n����������������������������-\n�������� ����������� �������\nrequirements, \nharnessing \n����������\n��������\n���-\nciently using resources, re-\nducing and reusing waste \ngenerated from construction \n��������� ���� ����� ���� ����\nleast, creating buildings that \nare healthy and safe for their \noccupants. We, at PBC, prac-\ntice our beliefs before we \nstart preaching them. This is \n�����������������������������\nbuilding in the country. \nWORKSPIRIT\n",20,{"image":94,"text":95,"number":96},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.21.png","GREEN OFFICE\nMOTHER-IN-LAW’S TONGUE (“THE BEDROOM PLANT”) \nSANSEVIERIA TRIFASCIATA\nAlso known as snake plant, tiger’s talk orchid (in China) and sword of St. George (in Brazil).\nTo clean the air: 6 – 8 waist high plants per person.\n��������������������² to oxygen at night. \n(Unlike the other plants, which release CO² at night, which is why it’s good for the bedroom.)\n��������������������������������������������������������������������������������������������������������������������\n",21,{"image":98,"text":99,"number":100},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.22.png","22\nWORKSPIRIT\nARECA PALM (“THE LIVING ROOM PLANT”) \nDYPSIS LUTESCENS\n�������������������������������������������������������������\n����������������������������������������������������������\n�������������������²�������������������������������������������������������������������\n���������������������������������������������������\n",22,{"image":102,"text":103,"number":104},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.23.png","AR\nWHAT WOULD YOU DO DIFFERENTLY FOR YOUR NEXT BUILDING?\nKM\n������������������������������������������������������������������-\n������������������������������������������������������������������������\nand sustainable features are incorporated and implemented so that \n��������������������������������������������������������������������\n�����������������������\nAR\nWHAT IS DRIVING THE GREEN AND SUSTAINABLE MOVEMENT? IS IT DESIGNERS, \nCLIENTS, THE GOVERNMENT? OR IS IT A COLLABORATIVE PROCESS?\n�� ������ ��� ��� �� �������������� �������� ��\nrightly so, as I strongly feel that unless \nall the stakeholders come together on \nthe same platform, this change of mind- \nset is not possible. At the same time all \n��������������������������������������\n���������������������������������\nKM\nAR\nHOW DO YOU SEE THESE EFFORTS REFLECTED IN TERMS OF COST? \nKM\n���������������������������������������������������������������������-\n������� ���� �������� ������� ���������� ���� ������� ��� ������� ��� ����\n��������� ������� ����� ��� ������ ��� ��������� �������� ��� ������� ����\n����������������������������������������������������\nAR\nANY TIPS FOR WORKING BETTER?\nKM\n����� ���� ��� �� ������� ������ ��� ��� ����� �� ������� ��� ������� �� ��� ����\nbreathes fresh air, one will surely perform better. \n���\n���\n���\n���\n���\n������\n��\n���\nREDUCTION IN EYE IRRITATION\nLIKELIHOOD OF AN INCREASE IN SATURATED \n���������������������������������������\nREDUCTION IN LOWER RESPIRATORY SYMPTOMS\nREDUCTION IN HEADACHES\nREDUCTION IN UPPER RESPIRATORY SYMPTOMS\nREDUCTION IN LUNG IMPAIRMENTS\nREDUCTION IN ASTHMA\nINCREASE IN PRODUCTIVITY\nFrom the Central Pollution Control Board. “Epidemiological Study of Effect of Air \n����������������������������������������������������������������������������������\n��������������������������������������������������������������\nwww.greenspaces.in\nwww.pbcnet.com\nGREEN OFFICE\n",23,{"image":106,"text":107,"number":108},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.24.png","24\nWORKSPIRIT\n",24,{"image":110,"text":111,"number":112},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.25.png","GREEN OFFICE\n",25,{"image":114,"text":115,"number":116},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.26.png","��\nWORKSPIRIT\nMONEY PLANT (“THE SPECIALIST PLANT”) \nEPIPREMNUM AUREUM\n������������������������������������������������������������������������������������������������������������\nTo clean the air: 3 waist high plants per person.\n�������������������������������������������������������������\n���������������������������������������������\n������������������������������������������������������\n",26,{"image":118,"text":23,"number":119},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.27.png",27,{"image":121,"text":122,"number":123},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.28.png","28\n28\n“We want to get into life, into the mud and dirt” \n \nThere’s not another large ofﬁ ce that creates the unique architecture like that of \nHerzon & de Meuron. Pierre de Meuron explains why size is no reason for nightmares \nand Basel is still the best place to work.  \nHW\nYOU ARE NOW 62 YEARS OLD, AL-\nMOST TWICE AS OLD AS YOUR \nEMPLOYEES. DO YOU FEEL LIKE \nYOU STILL UNDERSTAND WHAT \nMAKES YOUNG ARCHITECTS TICK \n– HOW THEY THINK AND WORK? \nHW\nHOW IS HERZON & DE MEURON \nLEAD? WHAT LEADERSHIP STYLE \nIS USED? \nHW\nAND? WHY WOULD ONE LEAVE \nONE OF THE WORLD’S MOST \nRENOWNED OFFICES?\nPdeM\nGood people leave the ofﬁ ce \nbecause they want to create their \nown independent companies. It’s \nnot only in Basel and Switzerland \nthat one can ﬁ nd ofﬁ ces of former \nHerzog de Meuron employees, \nwhich \npleases \nme \ngreatly. \nAnother group of employees \nthat we lose are expats who have \ncome to us from somewhere else \nin the world. We have over 40 \nnationalities in the ofﬁ ce, many \nstart families in Basel, have \nchildren and then at about age 40 \nfeel homesick. This is a pattern \nthat is constantly repeated. \nHW\nTRUTHFULLY, WOULD YOU WANT \nTO WORK UNDER THE LEADER-\nSHIP OF PIERRE DE MEURON?  \n\"IT'S NOT ONLY THE \nLEADER PIERRE DE \nMEURON. LEADERSHIP \nIS SHARED AMONGST \nA GROUP OF KEY PEOPLE.\"\nHW\nMR. DE MEURON, FIRST YOU WERE \nAN ARCHITECT, THEN A SUCCESS-\nFUL ARCHITECT, TODAY YOU ARE \nA VERY SUCCESSFUL ARCHITECT \nWITH MORE THAN 370 EMPLOYEES \nON FOUR CONTINENTS. YOU ARE \nNO LONGER JUST A BUILDING \nPLANNER, BUT ALSO A BOSS. IS \nTHIS A BURDEN OR A PLEASURE \nFOR YOU? \n \nPdeM \nBoth. Architecture includes the \ncreative process of design and the \ndevelopment and undertaking of \nimplementation and realization. \nFor some projects these poles are \nclose to one another, in others it \nis like a balancing act. \nHW\nYOU’VE KNOWN JACQUES HERZOG \nSINCE \nYOU \nWERE \nBOTH \nIN \nPRIMARY SCHOOL. DO DECADES \nOF FRIENDSHIP HELP WHEN YOU’RE \nRUNNING A BUSINESS – OR IS IT \nA HINDRANCE, BECAUSE YOU BE-\nLIEVE YOU KNOW WHAT THE \nOTHER IS THINKING AND FEELING? \nPdeM \nWe are very different, and \ntherein lies the charm. We \nknow each other’s strengths \nand weaknesses and we use \nthese without mercy – for the \nbeneﬁ t of the ofﬁ ce, which is for \nus a project, just as any of our \nconstruction projects. We would \nhave never been so successful if \nJacques and I were not con-\nstantly engaged in an exchange \nand even contradicting each \nother. The dialogue helps in \nquestioning or conﬁ rming one’s \nown position. This could be one \nof the reasons why it is possible \nfor us to run an ofﬁ ce together, \nalong with our Senior Partners \nChristine Binswanger, Ascan \nMergenthaler and Stefan Mar-\nbach. We all have different \nqualities. Thus our projects \ncommand a much stronger ar-\ngumentative ground and the \ncommon discourse leaves us \nwith a more powerful architec-\ntural statement.\nPdeM \nI have no ofﬁ cial title such as \n“CEO, Chairman, President,” \nI work together with the senior \npartners and the business man-\nagers. I can only take this kind \nof responsibility on as part of \nthe team. As an architect, it \nreally doesn’t work differently. \nAn ofﬁ ce of our size, that \ndoesn’t make corporate archi-\ntecture, is relatively unique in \nPdeM\nThe average age in the ofﬁ ce is \n35, and apart from that, I don’t \nthink that we’ve forgotten what \nmakes architects tick. Early on \nJacques and I asked ourselves \nhow we want to develop our of-\nﬁ ce. \nWe \nhave \ndeliberately \nchosen to give our ofﬁ ce to \na younger generation. We want \nto grow old in a young ofﬁ ce \nand the exchange with the \nyounger generation is import-\nant to us. That is why we are \nﬁ ghting every day for the best \ntalent. \nHW\nDO YOU REALLY HAVE TO FIGHT? \nTHERE \nARE \nPROBABLY \nONLY \nA FEW NAMES IN THE ARCHITEC-\nTURE WORLD THAT CARRY THE \nAPPEAL OF YOURS.\nPdeM\nMany would like to come to \nHerzog de Meuron, to have the \nunique experience of working \non high-level international pro-\njects. But we constantly lose \ngood people too. The average \nstay at our ofﬁ ce is about ﬁ ve \nyears – this means that we have \na mid-sized ﬂ uctuation, which \nis unfortunate for us. We’re in-\nvestigating exactly why we lose \nwhom. \nthe world, and this requires the \nwhole team. Our hierarchies \nare as balanced as possible and \nthe knowledge of all employees \nis taken seriously. However, this \nmeans that we have to ensure \nthat even a student dares to \nspeak their mind. In the end, we \nwant young people in the ofﬁ ce \nwho will make active contribu-\ntions. \nPdeM\nOh, it’s not only the leader Pierre \nde Meuron. Leadership is shared \namongst a group of key people. \nWORKSPIRIT\nINTERVIEW BY HARALD WILLENBROCK\n28\n28\n“We want to get into life, into the mud and dirt”\nThere’s not another large ofﬁ ce that creates the unique architecture like that of \nHerzon & de Meuron. Pierre de Meuron explains why size is no reason for nightmares\nand Basel is still the best place to work. \nHW\nYOU ARE NOW 62 YEARS OLD, AL-\nMOST TWICE AS OLD AS YOUR\nEMPLOYEES. DO YOU FEEL LIKE\nYOU STILL UNDERSTAND WHAT\nMAKES YOUNG ARCHITECTS TICK\n– HOW THEY THINK AND WORK?\nHW\nHOW IS HERZON & DE MEURON\nLEAD? WHAT LEADERSHIP STYLE \nIS USED?\nHW\nAND? WHY WOULD ONE LEAVE\nONE OF THE WORLD’S MOST \nRENOWNED OFFICES?\nPdeM\nGood people leave the ofﬁ ce \nbecause they want to create their\nown independent companies. It’s \nnot only in Basel and Switzerland \nthat one can ﬁ nd ofﬁ ces of former \nHerzog de Meuron employees, \nwhich \npleases \nme \ngreatly.\nAnother group of employees \nthat we lose are expats who have\ncome to us from somewhere else\nin the world. We have over 40 \nnationalities in the ofﬁ ce, many \nstart families in Basel, have\nchildren and then at about age 40\nfeel homesick. This is a pattern\nthat is constantly repeated.\nHW\nTRUTHFULLY, WOULD YOU WANT\nTO WORK UNDER THE LEADER-\nSHIP OF PIERRE DE MEURON?  \n\"IT'S NOT ONLY THE\nLEADER PIERRE DE\nMEURON. LEADERSHIP\nIS SHARED AMONGST\nA GROUP OF KEY PEOPLE.\"\nHW\nMR. DE MEURON, FIRST YOU WERE\nAN ARCHITECT, THEN A SUCCESS-\nFUL ARCHITECT, TODAY YOU ARE \nA VERY SUCCESSFUL ARCHITECT\nWITH MORE THAN 370 EMPLOYEES \nON FOUR CONTINENTS. YOU ARE\nNO LONGER JUST A BUILDING\nPLANNER, BUT ALSO A BOSS. IS \nTHIS A BURDEN OR A PLEASURE\nFOR YOU?\nPdeM\nBoth. Architecture includes the \ncreative process of design and the \ndevelopment and undertaking of \nimplementation and realization.\nFor some projects these poles are\nclose to one another, in others it\nis like a balancing act.\nHW\nYOU’VE KNOWN JACQUES HERZOG\nSINCE \nYOU \nWERE \nBOTH \nIN\nPRIMARY SCHOOL. DO DECADES\nOF FRIENDSHIP HELP WHEN YOU’RE \nRUNNING A BUSINESS – OR IS IT \nA HINDRANCE, BECAUSE YOU BE-\nLIEVE YOU KNOW WHAT THE \nOTHER IS THINKING AND FEELING?\nPdeM \nWe are very different, and \ntherein lies the charm. We \nknow each other’s strengths\nand weaknesses and we use\nthese without mercy – for the \nbeneﬁ t of the ofﬁ ce, which is for \nus a project, just as any of our \nconstruction projects. We would \nhave never been so successful if \nJacques and I were not con-\nstantly engaged in an exchange\nand even contradicting each \nother. The dialogue helps in \nquestioning or conﬁ rming one’s \nown position. This could be one \nof the reasons why it is possible\nfor us to run an ofﬁ ce together,\nalong with our Senior Partners\nChristine Binswanger, Ascan\nMergenthaler and Stefan Mar-\nbach. We all have different \nqualities. Thus our projects \ncommand a much stronger ar-\ngumentative ground and the \ncommon discourse leaves us\nwith a more powerful architec-\ntural statement.\nPdeM \nI have no ofﬁ cial title such as\n“CEO, Chairman, President,”\nI work together with the senior\npartners and the business man-\nagers. I can only take this kind\nof responsibility on as part of \nthe team. As an architect, it\nreally doesn’t work differently. \nAn ofﬁ ce of our size, that\ndoesn’t make corporate archi-\ntecture, is relatively unique in\nPdeM\nThe average age in the ofﬁ ce is\n35, and apart from that, I don’t \nthink that we’ve forgotten what \nmakes architects tick. Early on\nJacques and I asked ourselves \nhow we want to develop our of-\nﬁ ce. \nWe \nhave \ndeliberately\nchosen to give our ofﬁ ce to \na younger generation. We want \nto grow old in a young ofﬁ ce \nand the exchange with the\nyounger generation is import-\nant to us. That is why we are\nﬁ ghting every day for the best \ntalent.\nHW\nDO YOU REALLY HAVE TO FIGHT? \nTHERE \nARE \nPROBABLY \nONLY \nA FEW NAMES IN THE ARCHITEC-\nTURE WORLD THAT CARRY THE \nAPPEAL OF YOURS.\nPdeM\nMany would like to come to\nHerzog de Meuron, to have the\nunique experience of working \non high-level international pro-\njects. But we constantly lose\ngood people too. The average\nstay at our ofﬁ ce is about ﬁ ve \nyears – this means that we have \na mid-sized ﬂ uctuation, which\nis unfortunate for us. We’re in-\nvestigating exactly why we lose\nwhom.\nthe world, and this requires the \nwhole team. Our hierarchies\nare as balanced as possible and\nthe knowledge of all employees \nis taken seriously. However, this \nmeans that we have to ensure\nthat even a student dares to \nspeak their mind. In the end, we\nwant young people in the ofﬁ ce \nwho will make active contribu-\ntions.\nPdeM\nOh, it’s not only the leader Pierre \nde Meuron. Leadership is shared \namongst a group of key people.\nWORKSPIRIT\nINTERVIEW BY HARALD WILLENBROCK\n",28,{"image":125,"text":126,"number":127},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.29.png","LEADERSHIP\nLEADERSHIP\n",29,{"image":129,"text":130,"number":131},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.30.png","��\n��\nWORKSPIRIT\nHW\nWHAT CAN YOU DO AGAINST IT? \nPdeM\nWe care. We try to be good em-\nployers, even beyond the ofﬁ ce. \nChildcare is a good example, be-\ncause a place in an Eng-\nlish-speaking day care centre \ncosts about 2,200 francs per \nchild \nper \nmonth. This \nis \na big problem for expats who \ncan’t rely on grandparents, be-\ncause the grandparents don’t \nlive there. Apropos children: \nWe’re experiencing a real baby \nboom in the ofﬁ ce at the mo-\nment, and are trying not to lose \ngood architects. We’re making \nan effort to develop a part-time \nHW\nAND IT’S STRONG ENOUGH TO \nHOLD A BUSINESS TOGETHER \nTHAT IS SPINNING AT FULL SPEED?\nmodel to enable the young fam-\nilies to return to their import-\nant jobs. \nHW\nHOW \nDO \nYOU \nPRODUCE \nA CORPORATE IDENTITY WITH \nA HIGHLY MOBILE WORKFORCE \nTHAT IS SCATTERED HALFWAY \nAROUND THE GLOBE?\nPdeM\nMore than two-thirds of the em-\nployees of Herzog & de Meuron \nare in Basel. The concept and com-\npetition work only takes place \nhere. We only open other agencies \nfor the late stage undertakings and \nthe execution of projects on-site. \nOur identity arises primarily out \nof our work and the project. Be-\ncause that’s why one comes to \nHerzog de Meuron: To get an as-\nsignment, to discuss it, to develop \nit with colleagues and bring it to \nlife. We’re not dreamers that are \nimagining completely unbuild-\nable architectural follies. We want \nto get into life, to get into the mud \nand dirt. That’s what makes our \nlives, and these experiences are the \nglue that holds us together.\nPdeM\nOur ofﬁ ce is ruled by creative \nconcentration. Architecture is \nlived as a development process \nthat calls for dialogue. Informal \nmoments of exchange occur in \nregular coffee breaks, for those \nwho want to use them. These \nmoments are important for us \nand they are cherished. Once \na year we also lead two days of \nintensive workshops, in which \nall the worldwide employees \nfrom Herzog & de Meuron \ncome to Basel. The strengthen-\ning of project insights and com-\npetition presentations leads to \nintensive discussions about on-\ngoing projects. By now we can \ndraw on our extensive experi-\nence and know-how. We use \nthis and share this knowledge \nwith our employees. The work-\nshops are followed by relaxa-\ntion in the evenings, dinner and \nDJ’s playing music until dawn. \nThese are great times, and a \nhuge release of energy. \nHW\nFOR ALL OF THESE 370 PEOPLE \nYOU ARE RESPONSIBLE AS A “CEO, \nCHAIRMAN, PRESIDENT.” DO YOU \nSOMETIMES SLEEP BADLY KNOW-\nING THIS? \nPdeM\nNo. But of course there’s always \nthat question of how our world \nis changing in light of political, \neconomic and cultural develop-\nments. At the moment I’m quite \noptimistic about our work. We \nbelieve \nthat \nwe \ndo \na good job, which is apparent \nbecause builders always return \nto us with new orders. For ex-\nample, the Tate Gallery weren’t \nobliged to build with us a second \ntime. Even after the successful \nopening of the Tate Modern in \n2000, it was not evident that we \nwould be chosen for the com-\npetitive bidding for the second \nphase. Nicholas Serota, the di-\nrector of Tate Modern appar-\nently wanted to build with us \nagain, which speaks for the \nquality of our collaboration. \nOver the years we’ve also built \na trusting relationship with \ncompanies who are character-\nized by open dialogue like \nRoche, Ricola and the Swiss \nFederal Railways – SBB. This is \na prerequisite to arriving at the \nbest solutions.\n\"THE AVERAGE STAY \nAT OUR OFFICE IS \nABOUT FIVE YEARS \n- THIS MEANS WE HAVE \nA MID-SIZED \nFLUCTUATION, WHICH \nIS UNFORTUNATE \nFOR US.\"\n��\n��\nWORKSPIRIT\nHW\nWHAT CAN YOU DO AGAINST IT?\nPdeM\nWe care. We try to be good em-\nployers, even beyond the ofﬁ ce. \nChildcare is a good example, be-\ncause a place in an Eng-\nlish-speaking day care centre\ncosts about 2,200 francs per\nchild \nper \nmonth. This \nis\na big problem for expats who \ncan’t rely on grandparents, be-\ncause the grandparents don’t \nlive there. Apropos children: \nWe’re experiencing a real baby \nboom in the ofﬁ ce at the mo-\nment, and are trying not to lose\ngood architects. We’re making \nan effort to develop a part-time\nHW\nAND IT’S STRONG ENOUGH TO \nHOLD A BUSINESS TOGETHER \nTHAT IS SPINNING AT FULL SPEED?\nmodel to enable the young fam-\nilies to return to their import-\nant jobs.\nHW\nHOW \nDO \nYOU \nPRODUCE\nA CORPORATE IDENTITY WITH \nA HIGHLY MOBILE WORKFORCE\nTHAT IS SCATTERED HALFWAY\nAROUND THE GLOBE?\nPdeM\nMore than two-thirds of the em-\nployees of Herzog & de Meuron \nare in Basel. The concept and com-\npetition work only takes place \nhere. We only open other agencies \nfor the late stage undertakings and \nthe execution of projects on-site.\nOur identity arises primarily out\nof our work and the project. Be-\ncause that’s why one comes to\nHerzog de Meuron: To get an as-\nsignment, to discuss it, to develop\nit with colleagues and bring it to\nlife. We’re not dreamers that are\nimagining completely unbuild-\nable architectural follies. We want \nto get into life, to get into the mud\nand dirt. That’s what makes our\nlives, and these experiences are the \nglue that holds us together.\nPdeM\nOur ofﬁ ce is ruled by creative\nconcentration. Architecture is \nlived as a development process\nthat calls for dialogue. Informal\nmoments of exchange occur in \nregular coffee breaks, for those \nwho want to use them. These \nmoments are important for us\nand they are cherished. Once\na year we also lead two days of \nintensive workshops, in which\nall the worldwide employees\nfrom Herzog & de Meuron\ncome to Basel. The strengthen-\ning of project insights and com-\npetition presentations leads to\nintensive discussions about on-\ngoing projects. By now we can\ndraw on our extensive experi-\nence and know-how. We use\nthis and share this knowledge \nwith our employees. The work-\nshops are followed by relaxa-\ntion in the evenings, dinner and \nDJ’s playing music until dawn.\nThese are great times, and a\nhuge release of energy.\nHW\nFOR ALL OF THESE 370 PEOPLE\nYOU ARE RESPONSIBLE AS A “CEO,\nCHAIRMAN, PRESIDENT.” DO YOU \nSOMETIMES SLEEP BADLY KNOW-\nING THIS?\nPdeM\nNo. But of course there’s always \nthat question of how our world\nis changing in light of political, \neconomic and cultural develop-\nments. At the moment I’m quite\noptimistic about our work. We\nbelieve \nthat \nwe \ndo \na good job, which is apparent \nbecause builders always return\nto us with new orders. For ex-\nample, the Tate Gallery weren’t \nobliged to build with us a second\ntime. Even after the successful\nopening of the Tate Modern in\n2000, it was not evident that we\nwould be chosen for the com-\npetitive bidding for the second\nphase. Nicholas Serota, the di-\nrector of Tate Modern appar-\nently wanted to build with us \nagain, which speaks for the \nquality of our collaboration.\nOver the years we’ve also built \na trusting relationship with\ncompanies who are character-\nized by open dialogue like \nRoche, Ricola and the Swiss\nFederal Railways – SBB. This is\na prerequisite to arriving at the \nbest solutions.\n\"THE AVERAGE STAY\nAT OUR OFFICE IS\nABOUT FIVE YEARS\n- THIS MEANS WE HAVE\nA MID-SIZED\nFLUCTUATION, WHICH\nIS UNFORTUNATE \nFOR US.\"\n",30,{"image":133,"text":134,"number":135},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.31.png","LEADERSHIP\nHW\nAS A LEADER, CAN YOU SHOW \nWEAKNESSES? \nPdeM\nAbsolutely, as a leader I have to \nconstantly show that I am not \na machine that is only pushing. \nWe all know what it’s like to \nhave these days where it’s one \nblow after the other, at these \ntimes it is essential not to be \ndiscouraged. \nLife \nruns \nin \nsine curves. \nHW\nCAN YOU GIVE ME AN EXAMPLE? \nPdeM\nTake \nthe \nElbphilharmonie \nHamburg, this project was an \nextreme burden to our ofﬁ ce. \nComplex political and construc-\ntion circumstances lead to this \nsituation. This is no secret and \nis not concealed. We actively \ndiscussed the situation at the \nArchitecture Biennale in Venice \nthis year. It is important to look \nforward and to be proactive in \nﬁ nding solutions and we know: \nWe’ll manage it. However, a \nproject isn’t ﬁ nished until the \nbuilding is handed over to its \nusers, functions well and, in the \ncase of the Elbphilharmonie, \nsounds superb. Residents of \nHamburg should discover and \nclaim this place for themselves. \nPdeM\nNever. However, it is essential \nthat we convey respect for our \nwork, \nwhich \nis \nextremely \nstrenuous and demanding. It is \noccasionally reported that we \nare star architects, who just \nshake designs out of our sleeve \nand demand astronomical fees \nfor them. Architecture is not \nsomething you casually create \non the computer while whist-\nling. Architecture is physically \npresent; it consists of walls, \nﬂ oors and ceilings that have to \nbe consciously designed. We try \nto convincingly convey this to \nthe younger generations in our \nofﬁ ce. \nHW\nFORMER \nDEUTSCHE \nTELEKOM \nCEO \nKAI-UWE \nRICKE \nONCE \nEXPRESSED \nREGRET \nTHAT \nHE \nWASN’T ENOUGH OF AN EXAMPLE \nAS A BOSS. IS PART OF THAT JOB \nTO \nSPREAD \nSPORADIC \nFEAR \nAND TERROR? \nHW\nYOUR COLLEAGUE, REM KOOL-\nHAAS, RECENTLY STATED: “THAT'S \nOUR DIRTY SECRET. WE ARCHI-\nTECTS ARE CELEBRATED AS HEROES \n– BUT HUMILIATION IS PART OF \nOUR DAILY LIVES. THE BIGGEST \nPART OF OUR WORK FOR COMPETI-\nTIONS AND BID INVITATIONS DIS-\nAPPEARS AUTOMATICALLY.” DE-\nPRESSING, IS IT NOT? \n\"AS A LEADER I HAVE TO CONSTANTLY SHOW THAT \nI AM NOT A MACHINE THAT IS ONLY PUSHING.\"\nHW\nAND THE BIGGEST MISTAKE THAT \nHAS \nUNDERMINED \nYOU \nAS \nA LEADER? \nPdeM\nIt’s not about naming the \nbiggest mistake. I’ve surely \nmade a lot of mistakes. More \nimportant is the question of \nhow you handle it. Others \ngladly seek mistakes out, so in \nthe worst case there is an insol-\nuble escalation of blame. It is \nimportant to acknowledge mis-\ntakes, to pay the penalty and to \nﬁ nally to learn from them. We \nalways have to think about how \nwe can improve and act accord-\ningly. The biggest mistake is to \nthink that one has no faults. \nPdeM\nIt’s true that the expense of \ncompetition is high. And natur-\nally it’s frustrating that only \none agency can win. Neverthe-\nless, I hold architectural com-\npetitions to be a great politico- \neconomic, entrepreneurial and \ncultural achievement. They en-\nrich society and give young of-\nﬁ ces the chance to receive new \nprojects. Bringing tightly spe-\nciﬁ ed proposals to life and con-\nvincing a jury or builder is a \nchallenge that we gladly face. \nOur everyday projects beneﬁ t \nenormously from these experi-\nences. \nLEADERSHIP\nHW\nAS A LEADER, CAN YOU SHOW\nWEAKNESSES? \nPdeM\nAbsolutely, as a leader I have to\nconstantly show that I am not \na machine that is only pushing. \nWe all know what it’s like to \nhave these days where it’s one\nblow after the other, at these \ntimes it is essential not to be \ndiscouraged. \nLife \nruns \nin \nsine curves.\nHW\nCAN YOU GIVE ME AN EXAMPLE?\nPdeM\nTake \nthe \nElbphilharmonie \nHamburg, this project was an \nextreme burden to our ofﬁ ce.\nComplex political and construc-\ntion circumstances lead to this \nsituation. This is no secret and \nis not concealed. We actively\ndiscussed the situation at the\nArchitecture Biennale in Venice \nthis year. It is important to look\nforward and to be proactive in \nﬁ nding solutions and we know: \nWe’ll manage it. However, a \nproject isn’t ﬁ nished until the \nbuilding is handed over to its \nusers, functions well and, in the \ncase of the Elbphilharmonie, \nsounds superb. Residents of \nHamburg should discover and \nclaim this place for themselves.\nPdeM\nNever. However, it is essential\nthat we convey respect for our\nwork, \nwhich \nis \nextremely\nstrenuous and demanding. It is\noccasionally reported that we\nare star architects, who just\nshake designs out of our sleeve \nand demand astronomical fees \nfor them. Architecture is not\nsomething you casually create \non the computer while whist-\nling. Architecture is physically \npresent; it consists of walls, \nﬂ oors and ceilings that have to \nbe consciously designed. We try \nto convincingly convey this to\nthe younger generations in our \nofﬁ ce. \nHW\nFORMER \nDEUTSCHE \nTELEKOM \nCEO \nKAI-UWE \nRICKE \nONCE\nEXPRESSED \nREGRET \nTHAT \nHE\nWASN’T ENOUGH OF AN EXAMPLE \nAS A BOSS. IS PART OF THAT JOB\nTO \nSPREAD \nSPORADIC \nFEAR\nAND TERROR?\nHW\nYOUR COLLEAGUE, REM KOOL-\nHAAS, RECENTLY STATED: “THAT'S \nOUR DIRTY SECRET. WE ARCHI-\nTECTS ARE CELEBRATED AS HEROES \n– BUT HUMILIATION IS PART OF\nOUR DAILY LIVES. THE BIGGEST \nPART OF OUR WORK FOR COMPETI-\nTIONS AND BID INVITATIONS DIS-\nAPPEARS AUTOMATICALLY.” DE-\nPRESSING, IS IT NOT?\n\"AS A LEADER I HAVE TO CONSTANTLY SHOW THAT\nI AM NOT A MACHINE THAT IS ONLY PUSHING.\"\nHW\nAND THE BIGGEST MISTAKE THAT\nHAS \nUNDERMINED \nYOU \nAS \nA LEADER?\nPdeM\nIt’s not about naming the\nbiggest mistake. I’ve surely \nmade a lot of mistakes. More \nimportant is the question of \nhow you handle it. Others\ngladly seek mistakes out, so in\nthe worst case there is an insol-\nuble escalation of blame. It is \nimportant to acknowledge mis-\ntakes, to pay the penalty and to \nﬁ nally to learn from them. We\nalways have to think about how \nwe can improve and act accord-\ningly. The biggest mistake is to \nthink that one has no faults.\nPdeM\nIt’s true that the expense of \ncompetition is high. And natur-\nally it’s frustrating that only\none agency can win. Neverthe-\nless, I hold architectural com-\npetitions to be a great politico-\neconomic, entrepreneurial and\ncultural achievement. They en-\nrich society and give young of-\nﬁ ces the chance to receive new\nprojects. Bringing tightly spe-\nciﬁ ed proposals to life and con-\nvincing a jury or builder is a\nchallenge that we gladly face.\nOur everyday projects beneﬁ t \nenormously from these experi-\nences.\n",31,{"image":137,"text":138,"number":139},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.32.png","��\n��\nWORKSPIRIT\nHW\nAS A LEADER IS OUTSIDE HELP \nSOMETIMES NEEDED? \nPdeM\nAbsolutely. Leadership can’t be \nlearned from books, rather from \nobserving and understanding \nwhat is going on around you, \nwhat is going right or wrong, \nwhere intervention is required. \nI have encountered some excep-\ntional builders who are at the \nsame time visionary entrepren-\neurs. The names that spontan-\neously come to mind are Hans-\nPeter Richterich from Ricola or \nRolf Fehlbaum from Vitra. At \nthe same time both are also \nfriends who have, in their way, \ninﬂ uenced me by their very \nnature. With them, we’re al-\nways returning to questions of \ncorporate culture. \nHW\nWHAT DIFFERENTIATES TODAY’S \nBUILDERS FROM THOSE AT THE \nTURN OF THE CENTURY? \nPdeM\nThe public sector as a builder \nhas weakened – it has less \nmoney available for the fund-\ning of public buildings. But \nthese are exactly the undertak-\nings that interest us: stadiums, \nmuseums and concert houses. \nPrivate homes are only enga-\nging in special cases. \nHW\nWHY IS THAT?\nHW\nAND YET YOU ACCEPT PRIVATE \nCOMMISSIONS. \nPdeM\nThe project must inspire us. \nPrivate homes are only inter-\nesting when, together with the \nbuilder, we succeed in achieving \na type of “architectural aware-\nness,” where one is in the posi-\ntion of being able to push the \nlimits and ﬁ nd new answers to \narchitectural quandaries. It is a \nfundamental question that we \nface with every project. We \nwant to remain very selective. If \nthe conditions are not met, we \nallow our selves to step back. \nWho builds today? Only rarely \npeople combine architecture \nwith a cultural mission. Much \nmore frequently they are in-\nvestors who want to make \nmoney, plain and simple. \nPdeM\nIn the stock market bubbles and \nlosses are piling up, therefore a \nlot of money is ﬂ owing into real \nestate. Today, an estimated 90 \npercent of building projects are \noriented purely towards proﬁ ts. \nAs a result, little of substance is \nbuilt. For me, the sustainability \nof a building has to do not only \nwith not only the calibre of its \necology and energy, rather with \nthe design qualities. Why have \nthese incredible Tuscan towns \nsurvived, why are the Pantheon \nand the pyramids still standing \ntoday? Because they have such a \ncreative force that future gener-\nations don’t want to immedi-\nately tear them down and re-\nplace them. Unfortunately, in \nrecent decades very little of this \nquality has been built. \nHW\nIF THE COMPANY HERZOG DE \nMEURON IS A PROJECT – HOW IS \nTHIS PROJECT OPERATED? \nHW\nBEYOND THAT, DO YOU ALSO RE-\nCEIVE PROFESSIONAL SUPPORT? \nPdeM\nHW\nHOW MANY PROJECTS ARE YOU \nWORKING ON? WHAT IS YOUR \nSUCCESS RATE? \nPdeM\nAt the moment we’re working \non ﬁ ve competitions. The exper-\niences of the last few decades \nhave shown that more than half \ndecide to go with us. However, \ntoday \ncompletely \ndifferent \nthings are expected from archi-\ntects in comparison to the past. \nThe generation before us, in the \n70s and 80s had a different \nmindset. Anyone who wants to \ndesign and execute today has to \nplough through a much more \ncomplicated ﬁ eld. Builders have \nchanged dramatically in the last \nfew years. \nPdeM\nLook \nhere. \n(ﬂ ips \nthrough \na folder full of sketches) These \ndiagrams are all the results of \nour thoughts on how we want \nto structure our ofﬁ ce.\nHW\nIT LOOKS PRETTY COMPLICATED.\nPdeM\nOn the contrary, the point is to \nsimplify the complicated. How \ncan I organize a quality man-\nagement system? How do I \nbring the people together who \nshould be together, but are not? \nHow does the organism of the \nofﬁ ce function? I tell you, yes, \nHerzog de Meuron is a project \nfor us just like every building \nproject. With the difference be-\ning that it will never be ﬁ nished. \nOf course, lawyers and business \nconsultants also assist us, in the \nend we are a group of 11 busi-\nnesses across the world. Will we \nestablish a corporation in Hong \nKong? One in Brazil? For these \nissues we need economic advice. \nMoreover, \ndiscussions \nwith \nartists have had a great inﬂ u-\nence on our work and ofﬁ ce. In \nthe early years Jacques and I ex-\namined the work of Joseph \nBeuys and Rémy Zaugg. For ex-\nample, Rémy Zaugg sharpened \nour thinking and compelled us \nto repeatedly question things. \nFor us, Aldo Rossi and Lucius \nBurckhardt \nwere \ninﬂ uential \nduring our architecture studies \nat ETH. We still carry these ex-\nperiences with us today. \n��\n��\nWORKSPIRIT\nHW\nAS A LEADER IS OUTSIDE HELP\nSOMETIMES NEEDED? \nPdeM\nAbsolutely. Leadership can’t be \nlearned from books, rather from\nobserving and understanding\nwhat is going on around you,\nwhat is going right or wrong, \nwhere intervention is required. \nI have encountered some excep-\ntional builders who are at the \nsame time visionary entrepren-\neurs. The names that spontan-\neously come to mind are Hans-\nPeter Richterich from Ricola or\nRolf Fehlbaum from Vitra. At\nthe same time both are also\nfriends who have, in their way, \ninﬂ uenced me by their very\nnature. With them, we’re al-\nways returning to questions of \ncorporate culture.\nHW\nWHAT DIFFERENTIATES TODAY’S\nBUILDERS FROM THOSE AT THE \nTURN OF THE CENTURY?\nPdeM\nThe public sector as a builder \nhas weakened – it has less \nmoney available for the fund-\ning of public buildings. But\nthese are exactly the undertak-\nings that interest us: stadiums, \nmuseums and concert houses. \nPrivate homes are only enga-\nging in special cases.\nHW\nWHY IS THAT?\nHW\nAND YET YOU ACCEPT PRIVATE \nCOMMISSIONS.\nPdeM\nThe project must inspire us. \nPrivate homes are only inter-\nesting when, together with the\nbuilder, we succeed in achieving \na type of “architectural aware-\nness,” where one is in the posi-\ntion of being able to push the \nlimits and ﬁ nd new answers to \narchitectural quandaries. It is a \nfundamental question that we \nface with every project. We \nwant to remain very selective. If \nthe conditions are not met, we\nallow our selves to step back.\nWho builds today? Only rarely\npeople combine architecture\nwith a cultural mission. Much\nmore frequently they are in-\nvestors who want to make\nmoney, plain and simple.\nPdeM\nIn the stock market bubbles and\nlosses are piling up, therefore a \nlot of money is ﬂ owing into real\nestate. Today, an estimated 90\npercent of building projects are \noriented purely towards proﬁ ts. \nAs a result, little of substance is \nbuilt. For me, the sustainability \nof a building has to do not only\nwith not only the calibre of its \necology and energy, rather with \nthe design qualities. Why have\nthese incredible Tuscan towns\nsurvived, why are the Pantheon\nand the pyramids still standing \ntoday? Because they have such a\ncreative force that future gener-\nations don’t want to immedi-\nately tear them down and re-\nplace them. Unfortunately, in \nrecent decades very little of this\nquality has been built.\nHW\nIF THE COMPANY HERZOG DE\nMEURON IS A PROJECT – HOW IS\nTHIS PROJECT OPERATED?\nHW\nBEYOND THAT, DO YOU ALSO RE-\nCEIVE PROFESSIONAL SUPPORT?\nPdeM\nHW\nHOW MANY PROJECTS ARE YOU\nWORKING ON? WHAT IS YOUR \nSUCCESS RATE?\nPdeM\nAt the moment we’re working\non ﬁ ve competitions. The exper-\niences of the last few decades \nhave shown that more than half \ndecide to go with us. However,\ntoday \ncompletely \ndifferent\nthings are expected from archi-\ntects in comparison to the past. \nThe generation before us, in the \n70s and 80s had a different\nmindset. Anyone who wants to \ndesign and execute today has to\nplough through a much more \ncomplicated ﬁ eld. Builders have\nchanged dramatically in the last \nfew years.\nPdeM\nLook \nhere. \n(ﬂ ips \nthrough\na folder full of sketches) These \ndiagrams are all the results of \nour thoughts on how we want \nto structure our ofﬁ ce.\nHW\nIT LOOKS PRETTY COMPLICATED.\nPdeM\nOn the contrary, the point is to\nsimplify the complicated. How \ncan I organize a quality man-\nagement system? How do I \nbring the people together who\nshould be together, but are not? \nHow does the organism of the \nofﬁ ce function? I tell you, yes, \nHerzog de Meuron is a project\nfor us just like every building\nproject. With the difference be-\ning that it will never be ﬁ nished.\nOf course, lawyers and business\nconsultants also assist us, in the \nend we are a group of 11 busi-\nnesses across the world. Will we\nestablish a corporation in Hong \nKong? One in Brazil? For these \nissues we need economic advice. \nMoreover, \ndiscussions \nwith\nartists have had a great inﬂ u-\nence on our work and ofﬁ ce. In \nthe early years Jacques and I ex-\namined the work of Joseph\nBeuys and Rémy Zaugg. For ex-\nample, Rémy Zaugg sharpened \nour thinking and compelled us\nto repeatedly question things.\nFor us, Aldo Rossi and Lucius\nBurckhardt \nwere \ninﬂ uential\nduring our architecture studies \nat ETH. We still carry these ex-\nperiences with us today.\n",32,{"image":141,"text":142,"number":143},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.33.png","LEADERSHIP\nHW\nWHY IS THAT? \nHW\nIT’S BEEN SAID THAT YOU ONCE \nCONVINCED JOSEPH BEUYS TO \nDESIGN SUBJECTS AND COSTUMES \nFOR YOUR CARNIVAL GROUP. IS \nTHIS REALLY TRUE? \n\"HERZOG DE MEURON IS A PROJECT FOR US JUST \nLIKE EVERY BUILDING PROJECT. WITH THE DIFFER-\nENCE THAT IT WILL NEVER BE FINISHED.\"\nHW\nAND YOU MADE FUN OF IT. \nPdeM\nYes, but not of the city that \nbought the artwork, rather the \npeople that were upset. We \nknew Beuy’s work and found \nthis “I could do this” attitude, \nwhich was used against him, \ncompletely uncalled for. We \ngathered our courage and called \nhim. He immediately invited \nus, two 27 year olds, to Düssel-\ndorf-Niederkassel. \nHW \nWHAT? WHY?\nPdeM \nI think he was fascinated by the \nrelationship between the Celtic \norigins of Carnival and sham-\nanism. He also found it inter-\nesting that people were dealing \nwith art at Carnival, which \nwould normally never happen. \nWhen we were with him he ex-\nplained to us: My art does not \nbelong in a museum, rather on \nthe street. But insurance-wise \nthis was not possible and with \nhis consent we created an exact \nreplica of his artwork. For three \ndays during Carnival Feuer-\nstätte I was hauled through the \nstreets of Basel. And on the last \nnight Beuys personally de-\nlivered it to the museum. \nHW\nEVEN THOUGH YOU CONTINUE \nTO BUILD AROUND THE WORLD, \nYOU STILL LIVE IN YOUR HOMET-\nOWN OF BASEL. WHY?\nPdeM\nBasel, with its bridge over the \nRhine, has always been a \nthorough fare city from north to \nsouth, which has lead to lively \nexchanges. Basel established the \nﬁ rst university in Switzerland \nand has always been a research \ncity. The mindset of researchers \nis something completely differ-\nent from the mindset of bankers \nor insurers. Moreover, there is \nan unparalleled tradition of pat-\nronage in Basel. The number of \ntop-notch museums and the \nfamous Theatre Basel, which is \nwell known outside the city, are \nunique to an urban area of this \nsize. \nPdeM\nYes, that’s how we ﬁ rst got to \nknow him. Since childhood \nJacques and I have been mem-\nbers of a Basel Carnival clique. \nEvery year the group chose a \ncurrent subject as the theme. In \n1977 the Kunstmuseum Basel \nbought the work Feuerstätte I \nfrom Joseph Beuys, which con-\nsisted of a wooden wagon, a few \ncopper rods and iron bars. Pub-\nlic funds were used to purchase \nit for 300,000 francs, and of \ncourse a few people in the city \nwere not amused. \nPdeM\nThe awareness of architecture is \nextremely high here. London, \nNew York or Tokyo don’t have \nsuch a diverse concentration of \narchitecture as Basel. Eleven \nPritzker Prize winners have \nconstructed buildings in this \ncity of 180,000 residents. Due to \ncompanies like Novartis, Roche \nand Vitra, international archi-\ntects like Chipperﬁ eld, SANAA \nand Gehry have been brought \nhere. This shows that there is \nno protectionism here, rather \none exposes oneself anew in \nBasel. \nLEADERSHIP\nHW\nWHY IS THAT?\nHW\nIT’S BEEN SAID THAT YOU ONCE \nCONVINCED JOSEPH BEUYS TO\nDESIGN SUBJECTS AND COSTUMES\nFOR YOUR CARNIVAL GROUP. IS\nTHIS REALLY TRUE?\n\"HERZOG DE MEURON IS A PROJECT FOR US JUST\nLIKE EVERY BUILDING PROJECT. WITH THE DIFFER-\nENCE THAT IT WILL NEVER BE FINISHED.\"\nHW\nAND YOU MADE FUN OF IT.\nPdeM\nYes, but not of the city that \nbought the artwork, rather the\npeople that were upset. We \nknew Beuy’s work and found \nthis “I could do this” attitude, \nwhich was used against him,\ncompletely uncalled for. We \ngathered our courage and called\nhim. He immediately invited\nus, two 27 year olds, to Düssel-\ndorf-Niederkassel.\nHW \nWHAT? WHY?\nPdeM \nI think he was fascinated by the \nrelationship between the Celtic \norigins of Carnival and sham-\nanism. He also found it inter-\nesting that people were dealing\nwith art at Carnival, which \nwould normally never happen.\nWhen we were with him he ex-\nplained to us: My art does not\nbelong in a museum, rather on \nthe street. But insurance-wise \nthis was not possible and with\nhis consent we created an exact \nreplica of his artwork. For three \ndays during Carnival Feuer-\nstätte I was hauled through the \nstreets of Basel. And on the last \nnight Beuys personally de-\nlivered it to the museum.\nHW\nEVEN THOUGH YOU CONTINUE \nTO BUILD AROUND THE WORLD, \nYOU STILL LIVE IN YOUR HOMET-\nOWN OF BASEL. WHY?\nPdeM\nBasel, with its bridge over the \nRhine, has always been a\nthorough fare city from north to \nsouth, which has lead to lively \nexchanges. Basel established the \nﬁ rst university in Switzerland \nand has always been a research\ncity. The mindset of researchers\nis something completely differ-\nent from the mindset of bankers\nor insurers. Moreover, there is \nan unparalleled tradition of pat-\nronage in Basel. The number of \ntop-notch museums and the \nfamous Theatre Basel, which is\nwell known outside the city, are \nunique to an urban area of this \nsize.\nPdeM\nYes, that’s how we ﬁ rst got to\nknow him. Since childhood \nJacques and I have been mem-\nbers of a Basel Carnival clique. \nEvery year the group chose a \ncurrent subject as the theme. In\n1977 the Kunstmuseum Basel \nbought the work Feuerstätte I\nfrom Joseph Beuys, which con-\nsisted of a wooden wagon, a few \ncopper rods and iron bars. Pub-\nlic funds were used to purchase\nit for 300,000 francs, and of \ncourse a few people in the city \nwere not amused.\nPdeM\nThe awareness of architecture is\nextremely high here. London,\nNew York or Tokyo don’t have \nsuch a diverse concentration of \narchitecture as Basel. Eleven\nPritzker Prize winners have\nconstructed buildings in this \ncity of 180,000 residents. Due to\ncompanies like Novartis, Roche\nand Vitra, international archi-\ntects like Chipperﬁ eld, SANAA \nand Gehry have been brought\nhere. This shows that there is \nno protectionism here, rather\none exposes oneself anew in \nBasel.\n",33,{"image":145,"text":146,"number":147},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.34.png","��\nWORKSPIRIT\nCAN YOU FAX IT, \nPLEASE??!!\n",34,{"image":149,"text":150,"number":151},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.35.png","OFFICE DINOSAURS\n�������������������������������\nin the 1990s or before knows \nthe sound: a series of beeps and \nsqueaks from the bulky ma-\n������\n��������\n���������\n����\n���������������������������������\nthe speedy transmission of im-\n�����������������������������\n�����������������������������\n��������������������������������\n������� ���� ���� ����������� ������\n����������� ������ ���� ���� �����\n������ ��������� �� ���������� ���\nthe spam mail that would later \n��������������������������������\n���������������������������������\n��������� ���������� ����� ����\n������ ���� ���� �������� ��� ����\n1843 – about ten years after \n���������������������������������\n�������� ������� ���� �����������\n���� ��������� ���� �������� ����\nonly able to send dots and \n��������������������������������\n����������\n������\n�������������\n�������������������������������\n������ �� ������������ ���������\n�������� ���������� ������� ��� ����\n������������������������������\n�������������\n���\n�����������\n���������������������������������\n�������� ���� ���������� ������\n������������������������������\n����������������\n��������������������������������\n����������������������������������\nwhen he would send his reports \nto Rolling Stone Magazine�� ���\n���� ����� ����� ��� ��������� ��� ����\n������� ��� ����� ��������� ����� ���\n����� �� ������ ���� ������� ��� ���\n�������� �� ����������� ������ ���\n�������������������������������\n����������������������������������\n����� �������� ����� ���� �����\n����� ��� ���� �������� ������� ���\n����������������\n��������������������������������\n���� ���� ���� �������� ����� ����\n�������������� ������������� �����\n���������������������������������\n��� ��������� �������� ���� �����\n������� ������������� ��� ������\n���� ����������� ������� ���� ���\n�����������������������������\n���� ����� �� ���� ��� ��� �����\n������������������������������\n����� ��������� ������������ ���\n����� ���������� �������� ������\n�������������������������������\n������� ������� �������� ���������\n�������� ����� ���� ���� ��������\n����� ������� ��� ���� ����� �����\n������� ��� ����� ��� �����������\n������������������������������\n����������������������������������\n���������������������������������\n������� �������� �� ���� ���� ���\n��������������������������������\n���������� ����� ������ ���� ����� ��\n�������� ����� ����� ����� ����\n�������� ������ ���� ������ �����\n������������������������\n�������\n������\n������\n��������\n��������� ���� ��� ��� ���� ��� ���\n������������ �������� ������� ����\n������ ����� ����� ��� �������� ���\n������� ����������� �� ���� �����\n����������������������������������\n������� ��������� ����� ������ ����\n�������������������������������\n��������������������������������\n����� ��������� ��������� ���������\n�������� ������������ ���� �����\n������ ��������� ��� ������������\n���� ���� �������� ���� ��������\n�������� ��� ������ �� ����� ������\n��� ������� ������� ������ ������\n�������������������������������\n����� ������� ���� ����� �� ��������\npounds of air pollution would \n���������������\n��������������������������������\n��������������������������������\n��������������������������������\n��������\n���\n�������\n������\n����\n��������� �������� ���� ����������\n���� ���� �������� ��� �� ������ ���\n��������������� ���� ���� �����\n����� ��� ������� ���� ���� ���� ����\n���������������������������������\n�����������\nTEXT BY ALICIA REUTER\n��������������������\n����� ��� �� ������ ��� ����\n������������������������\n����� ������� �� ������\nfor papers to be sor-\n������������������������\n���\n��������\n�������\n������ ���� ������ ����\n���������������������\nSo why do we \nstill keep them \n�������\nPHOTO: TURNING THE PAGES.COM\nSTAFF MEMBERS WITH SUSSEX‘S NEW FAX MACHINE. \nPHOTO PUBLISHED IN THE BULLETIN ON JANUARY 13��� 1987.\n",35,{"image":153,"text":154,"number":155},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.36.png","��\n36\nHONGKONG 2\n123 x 80 cm\n������������������������\nWORKSPIRIT\n",36,{"image":157,"text":158,"number":159},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.37.png","Lego plastic bricks are the foundational ma-\nterial and prime ideological inspiration for \nAndreas Zimmermann’s practice. Taking \nfrom Lego’s “system of play” philosophy, \nZimmermann uses Lego constructions to \nanalyze the outcome of an applied system \nupon distinct motifs. Zimmermann’s result-\ning images are variable reconstructions of \nreality. Like plastic Legos, Zimmermann’s \nimages are devoid of the artist’s hand – \nfabricated and redundant. In 1960 Lego’s \nwooden toy warehouse was destroyed by \n���� ���� ���� ��������� �������� ����� ��� ���-\ncontinue wooden toys entirely. The wooden \ntoys were too labor intensive for the post-\nwar era of mass production. The uniqueness \nof each hand crafted wooden toy was oblit-\nerated and homogeneous plastic toys were \ncreated. Zimmermann’s photographs ex-\nplore both the aesthetic and philosophical \nimplications of monotonous manufactured \nsystems within the workforce. \nTEXT BY HEATHER FLOW\nANDREAS ZIMMERMANN\n“SPONTANEOUS RANDOM” \nOFFICE & ART\n",37,{"image":161,"text":162,"number":163},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.38.png","38\nBARS 2010\n133 x 103 cm\n������������������������\nWORKSPIRIT\n",38,{"image":165,"text":166,"number":167},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.39.png","PLAID 2012\n62 x 124 cm\n������������������������\nPERNAMBUCO 2008\n161 x 124 cm\n������������������������\nSCIFI 2008\n101 x 104 cm\n������������������������\nOFFICE & ART\n",39,{"image":169,"text":170,"number":171},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.40.png","40\nTAKUMI 2010\n133 x 104 cm\n������������������������\nWORKSPIRIT\nANDREAS ZIMMERMAN’S EXHIBITION “CORTEX” OPENS ON FRIDAY, 2 NOVEMBER 2012 AT LEHR ZEITGENÖSSISCHE KUNST IN COLOGNE.\nIT WILL RUN THROUGH 12 DECEMBER 2012 AND IS ACCOMPANIED BY AN EDITION. WWW.LEHR-GALERIE.DE\n",40,{"image":173,"text":174,"number":175},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.41.png","LEVELS 2012\n133 x 104 cm\n������������������������\nOFFICE & ART\n",41,{"image":177,"text":178,"number":179},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.42.png","��\nIgnacio Uriarte began \nhis professional life \nwith a career in busi-\nness \nadministration. \nSince devoting him-\nself to his artistic prac-\ntice, \nUriarte’s \ndis-\ncourse is centered on \n���� ��������� ����� ���\n����\n������\n�������-\nment. The systematic \nrepetition and serial i-\nzation \nencapsulated \nin Uriarte‘s working \n������� ������� �����\nthe futile and repeti-\ntive labor of the cur-\n����� ������� ���������\nUriarte \nemphasizes \nmass production manu-\nfacturing and the al-\nienation of the worker. \nThe formal platform \nfor Uriarte’s work is \nhis investigation of \ndematerialization, \nIgnacio Uriarte \nTEXT BY HEATHER FLOW\nARCHIVADORES EN ARCHIVO, 2007\n��������������������\n����������������������������\nBARCELONA\n",42,{"image":181,"text":182,"number":183},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.43.png","PAPIERBALLFALL, 2008\n�������������������\n����������������������������\nBARCELONA\nOFFICE & ART\n",43,{"image":185,"text":186,"number":187},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.44.png","44\nand repetition or per-\nmutation. Every con-\nceivable material or \ngesture one might as-\nsociate with the busi-\nness workplace such \nas biro pens, A4s, \nMicrosoft Excel, Xerox \nmachines and writing \nblocs are deftly ad-\nministered within his \npractice. The narrow \nrange of instruments \nand techniques used, \nsuch as the use of only \nthe \nfour \n“primary” \ncommercial colors of \nBic ballpoint pens, re-\n������������������������\ntendency.\nA STACK, 2010\n������������������������\n����������������������������\nBARCELONA\nLEVELS 2012\n133 x 104 cm\n������������������������\nWORKSPIRIT\n",44,{"image":189,"text":190,"number":191},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.45.png","������������������\n�������������������������������������������\n�����������������������������������������������������������������\n������������������������\n�������������������������������������\nENVELOPE, 2003\n�������������\n����������������������������\nBARCELONA\nBIC MONOCHROMES, 2005\n����������������������\n�������������������\n�������������������������������������\nOFFICE & ART\n",45,{"image":193,"text":194,"number":195},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.46.png","��\nThomas Demand’s photographs are slight \nimprovisations upon reality. The works \ncreate a tension between the fabricated \nand the real. Demand begins with a \npre-existing photograph of an actual loca-\ntion culled from the mass media. While his \nlarge-scale photographs resemble these \nmass-media images, the works actually \nshow three-dimensional, life-sized models \nmade from cardboard and paper that De-\nmand builds in his studio solely for the \npurpose of being photographed. This gen-\neralization process drains away context \n��������������������������������������������\nlanguage. The confounding of references \nis such that the very idea of an original \n�������������������������������������������\nan examination of systems and patterns: \nsystems of construction and patterns of \nvisual comprehension.\nTEXT BY HEATHER FLOW\nThomas Demand\nWORKSPIRIT\n",46,{"image":197,"text":198,"number":199},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.47.png","POLL 2001\n�����������������������\n180 x 260 cm\n�����������������������������\nOFFICE & ART\n",47,{"image":201,"text":202,"number":203},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.48.png","48\n������������������\n82 5\u002F8 X 118 1\u002F8 INCHES\n210 X 300 CM\n����������������������������\nWORKSPIRIT\n",48,{"image":205,"text":206,"number":207},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.49.png","OFFICE & ART\n",49,{"image":209,"text":210,"number":211},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.50.png","��\nCONTROL ROOM 2011\n�����������������������\n200 x 300 cm\n����������������������������\nWORKSPIRIT\n",50,{"image":213,"text":214,"number":215},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.51.png","MY DREAMWORKPLACE\nWe had to work over a weekend recently and it was the hottest \nweekend of the year. But we had to work so we worked in the \ngarden. That is deﬁnitely a fantasy but that is so climate related. \nI really like working outside and I would have loved to have a \ngarden in our ofﬁce but we couldn’t afford it. I really like to \nwork at my kitchen table at home, that is the place near the cof-\nfee. The whole concept of the kitchen table is very important to \nme. That’s where the action is in a way. When we had the ofﬁce \nat home, people came in, we cooked and some of them worked at \nthe kitchen table, some worked in the garden.\nMY DREAMWORKPLACE \nBY SEVIL PEACH\nILLUSTRATION KARINA EIBATOVA\n",51,{"image":217,"text":218,"number":219},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.52.png","52\nWORKSPIRIT\nCB\nIS THERE A PLACE WHERE YOU \nPREFER TO WORK? AND RE-\nSPECTIVELY A PLACE WHERE \nYOU \nABSOLUTELY \nCAN’T \nWORK?\nCB\nIN A HOTEL DO YOU PREFER TO \nWORK IN YOUR ROOM, OR DO \nYOU \nSIT \nDOWNSTAIRS \nIN \nTHE LOBBY?\nDS\nIn my room. I need quiet. When \nI’m focused on plans, I can’t sit \nin a room full of people. It just \ndoesn’t work.\n“I‘m great at working at the hotel in the evenings.”\nCB\nCAN YOU BRIEFLY TELL US \nWHERE YOUR FIRST, SECOND \nAND THIRD WORKPLACES ARE?\nDS\n����������������������������������\nHerzogenaurach, Germany. The \n������������������������������-\nlin, and the third is simply \nwherever I happen to be. At the \nmoment it’s in New York for \nFashion Week. \nCB\nWHAT ARE YOUR WORK TOOLS?\nCB\nWHAT ARE YOUR MAIN \nRESPONSIBILITIES \nAS \nA CREATIVE DIRECTOR? \nINTERVIEW BY CHRISTIANE BÖRDNER\nAfter successfully presenting his collection as an independent designer in capitals like Paris and Antwerp \nunder the label Dirk Schönberger for ten years, he became the creative director and consultant for the \n�����������������������������������������������������������������������������������������������������\nSport Style division at adidas. \nWith a revenue of 2 billion Euros in 2010 and a projected 3.5 billion Euro business plan for 2015, \naccording to the Frankfurter Allgemeine Zeitung, Dirk Schönberger has the greatest output and revenue \nin Germany’s fashion industry, after fashion designer Karl Lagerfeld at Chanel. As the coordinating \nleader he has found his own way to lead his creative team, currently spread over four countries in \nthree time zones.\nCB\nARE YOU TRAVELLING MORE \nOFTEN \nTHAN \nYOU \nARE \nIN \nHERZOGENAURACH?\nDS\nI have the feeling I’m travelling \nmore often. But really, I prob-\nably spend most of my time in \nmy main workplace. Honestly, I \nsometimes have the feeling that \nI’m nowhere.\nCB\nYOU JUST HAD A SHOW, DID \nYOU PUT ON Y-3?\nDS\nYes, \nand \nwe’re \nnow \nsub-\nsequently shooting the cam-\npaign and lookbooks. I’m in \nNew York about four times a \nyear, usually for one to two \nweeks each time. I’m in Port-\nland, which is the headquarters \nfor the U.S. adidas Originals \nteam, just as often. I’m in \nShanghai two or three times a \nyear. That’s where the young \nNEO Collection is being concep-\ntualized. On top of this there’s \nalways a trip to Tokyo to Yohji \nYamamoto, who’s responsible \nfor the Y-3 collection. These are \n���������� ���� �������� ����������\ntrips. \nDS\nWell, in airplanes I really can’t \nfunction. I’ve often tried, and \ngenuinely intend to work, then I \nrealize that it’s just not possible. \nIn airplanes my thoughts totally \ndrift away and I can’t concen-\ntrate on anything. My mind is \nbusy, but I can’t put down on pa-\nper what’s going on in there. Ul-\ntimately, every time I’m on the \ngo my mind is going too, but I \ncan’t open up my laptop and get \nit down, it just doesn’t work. \nTo my disadvantage, I‘m great \nat working at hotels in the even-\nings.  Of course, I can also work \n���������������������������������\nhave to see so many people \nmeans that I can’t simply close \nmy door. \nDS\niPhone, \niPad \nand \nMacbook. \nI always have them with me. \nToday I’m in a photo studio and I \nhave all three with me. If I’ll use \nthem all, that’s another ques-\ntion.\nCB\nDO YOU ALSO HAVE A NOTE-\nBOOK? \nDS\nYes, I have one. I don’t draw on \nthe computer, rather by hand. \nI can’t draw on the computer at \nall. Straight pre-prepared lines \nin Illustrator, where you only add \nthe details – I really don’t like \nthat. It would restrict me too \nmuch.\nDS\nMainly directing. I look at what \nmy colleagues have designed \nand then we discuss if it’s going \nin the right direction. When it’s \nnot then I give it a push. \nCB\nHOW MANY PEOPLE WORK UN-\nDER YOU? HOW DO YOU LEAD \nTHEM WHEN YOU’RE TRAVEL-\nLING? \nDS\nAs I mentioned, they are in Port-\nland, Shanghai, Tokyo, and so \non. Therefore we’re usually ex-\nchanging ideas in meetings, over \nvideo conferences, or calls where \nwe’re sending PowerPoint pre-\nsentations back and forth, et \ncetera. This way you’re not just \nsitting in planes. \n",52,{"image":221,"text":222,"number":223},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.53.png","THIRD WORKPLACE\nPHOTOS BY DEBORA MITTELSTAEDT\nCB\nHOW MANY E-MAILS DO YOU \nTHINK YOU GET IN A DAY?\nCB\nDO YOU SOMETIMES NOTICE THAT CERTAIN THINGS JUST DON’T FUNC-\nTION OVER GREAT DISTANCES? HOW DO YOU HOLD THE PEOPLE TO-\nGETHER?\nDS\nI make sure the teams also meet in person. This is really important to \nme. Twice a year we have a big meeting with all of the design directors \nand assistants. At the same time when it comes to the seasons, the \n���������������������������������������������������������������������������\ntimely manner.\nCB\nIN ORDER FOR EVERYTHING TO \nBE SO WELL ORGANIZED, YOU \nDEFINITELY HAVE A GOOD BACK \nOFFICE. HOW MANY ASSISTANTS \nDO YOU HAVE SUPPORTING \nYOUR WORK? \nCB\nHOW MANY PHONES DO YOU \nHAVE?\nDS\nIn Herzogenaurach I have two that \nsupport me.  Moreover, I have my \ndesign directors and their assistants. \nEverywhere that I am, someone is \nthere to support and organize things \nfor me.\nDS\nTwo. I have a private phone and \na work phone. \nDS\nI estimate about 100. \n",53,{"image":225,"text":226,"number":227},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.54.png","54\nWORKSPIRIT\n",54,{"image":229,"text":230,"number":231},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.55.png","THIRD WORKPLACE\nCB\nWHEN \nONE \nIS TRAVELLING, \nTHINGS ALWAYS FALL THROUGH \nTHE CRACKS. HOW YOU MAIN-\nTAIN YOUR OVERVIEW?\nDS\nDuring preparations for the cam-\npaign just last week, we con-\nstantly had friendly reminders of \nthis. In principle I always try to \nanswer everything right away. \nBut at times when I’m simply not \n��� ���� ������� ������� ��� ����������\nplaces, then it’s hard. \nCB\nARE YOU ALWAYS AVAILABLE, \nOR DO YOU ALSO SOMETIMES \nSWITCH YOUR PHONE OFF?\nCB\nARE YOU THE TYPE TO WORK \nUNTIL YOU COLLAPSE, OR DO \nYOU RECOGNIZE THE SIGNS \nOF WHEN IT’S TIME TO TAKE \nA BREAK? \nDS\nUntil last year I didn’t really know about this. I just kept on working, no matter how I felt. I never actually \ncared, until I realized that I’m not 20 anymore. Then I had to change some things. I had to change my \ntravel behaviour completely. Last year I took one night trips to America or Asia. I won’t do this anymore. \n�������������������������������������������������������������������������������������������������������\nback and then return a week later. Which can happen because all of the collections are on different \ntimelines. You simply have to organize, and that’s where I am now. Here in New York we just photo-\ngraphed three campaigns, we had a show and talked about the next collection for Summer 2014. \nCB\nWHAT DOES YOUR WORKDAY \nLOOK LIKE? WHAT DO YOU DO \nFIRST WHEN YOU GET TO THE \nHERZOGENAURACH OFFICE?\nCB\nDO THE DIFFERENT COLLEC-\nTIONS OR FOCUS CHANGE AS \nA MANAGER? \nDS\nIn principle, both. From NEO to \nOriginals, from Originals to \n������� ����� ������ ��� ���� ��\nnances. It’s not like I’m just sit-\nting there looking at a white \npiece of paper and attempting to \ncreate something. My job is re-\nmarkably multi-faceted. \nCB\nYOU MEAN THAT ALL OF THE \nCAMPAIGNS \nWERE \nPHOTO-\nGRAPHED IN NEW YORK, SO \nTHAT \nTHE \nTEAM \nBRINGS \nEVERYTHING TO THE STAGE \nWITH MORE FOCUS AND EFFI-\nCIENCY?\nCB\nI KNOW THAT YOU LIKE TO \nSTAY AT THE BOWERY HOTEL \nIN NEW YORK. DO YOU HAVE A \nFAVOURITE WORKPLACE THERE \nAS WELL?  \nDS\nTravelling I’ve always had really good experiences sitting at the Bowery Hotel in the evenings. I feel comfort-\n�������������������������������������������������������������������������������������������������������������\nnitely. But I gladly work in Herzogenaurach as well. This might sound like a surprise, but it lies in the comfort \nthat the majority of my team is there. I can quickly and personally communicate. For my design work I prefer \nto work alone at home. \nDS\n���� �������� ��� ���� ������ ��������\n������ ������ ���� ���� ����� ������\nI do is check E-mails that I didn’t \nget to the day before. At nine my \nappointments start and usually \nlast until six in the evening. After \nthat it’s really varied topics. \nIt’s usually not design directing, \n������� ������ ���������� ���� ��\nnances. I’m usually busy with \nthese issues for the whole day. \nThen come design meetings and \nbusiness update meetings. Be-\n������ ���� ������������ ���� ����\ncollections, I have to be able to \nswitch \nbetween \nthings \nvery \nquickly. \nDS\nIn the beginning I was available \nalmost 24 hours. I never really \nturn my phone off, but in the \nmeantime I’ve found a way to \nalso \nhave \nbreaks, \nto \nsleep \nthrough and to wait until morn-\ning to check my E-mails. \nDS\nExactly. \nBecause \nit’s \nsimply \n����� ��������� ����� ���� ������\nwho are there anyways for the \nshow, photograph the campaign \nin parallel. Otherwise, we’d just \n����������������������������������\nto London and then back to New \nYork. This is idiotic. It can be \ndone differently. \nCB\nFOR A LONG TIME YOU WERE \nINDEPENDENT. DO YOU SEE A \nDIFFERENCE TO YOUR CUR-\nRENT RESPONSIBILITIES – OR \nDOES WORK REMAIN WORK? \nTHEN, IN THE END, DOES THE \nPRODUCT SIMPLY HAVE TO \nSELL?\nDS\n����� ���� ����� ����� ���� �����\nthen you make the decisions \nabout its DNA. When you work \nfor a brand like adidas, you have \nto conform to it. This is logical \nand a conscious decision on my \npart. It’s interesting to have to \nrestrict yourself. This is really \nthe only difference. \n",55,{"image":233,"text":234,"number":235},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.56.png","\nwww.vitra.com\u002Fvitrahaus\nVitraHaus Opening hours: Mon-Sun 10am-6pm\nCharles-Eames-Str. 2, D-79576 Weil am Rhein, Tel. +49 (0)7621 702 3500, vitrahaus@vitra.com\nThe VitraHaus, built by Herzog & de Meuron, is Vitra’s ﬂagship store and \nhome to the Vitra Home Collection. Discover a vast array of styles \nand inspirational ideas for your home, or visit our shop and the VitraHaus Café. \nThe VitraHaus consultants are happy to assist you on-site.\n",56,{"image":237,"text":238,"number":239},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.57.png","OFFICE IN MOTION\n",57,{"image":241,"text":242,"number":243},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.58.png","58\nWORKSPIRIT\n",58,{"image":245,"text":23,"number":246},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.59.png",59,{"image":248,"text":249,"number":250},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.60.png","60\nWORKSPIRIT\nINTERVIEW BY NICK COMPTON\nTHIS SUMMER, EDWARD BARBER AND JAY OSGERBY DID WHAT VERY FEW \nDESIGNERS ANYWHERE DO. THEY EMERGED, BLINKING, INTO THE BRIGHT \nLIGHT OF NATIONAL NOTICE. BARBER OSGERBY, GIVEN JUST TEN DAYS TO \nPREPARE THEIR PITCH, WON THE COMPETITION TO DESIGN THE TORCH FOR \n�����������������������������������������������������������\nLASER CUT WITH 8,000 HOLES TO REPRESENT THE 8,000 TORCH BEARERS \nWHO CARRIED IT ON A 8,000 MILE RELAY, THE PAIR’S DESIGN WAS \nA POPULAR HIT AND BECAME A SYMBOL OF THE OLYMPIC ATMOSPHERE \nTHAT WILL LIVE LONG IN THE CITY’S COLLECTIVE MEMORY. \nWhen we met with them, a foam model, an early 3D-printed prototype and an aluminium version lie on a table in their temporary studio in the \n�������������������������������������������������������������������������������������������������������������������������������������������\n�����������������������������������������������������������������������������������������������������������������������������������������������\n������������������������������������������������������������������������\n�����������������������������������������������������������������������������������������������������������������������������������������������\nSince then they have designed furniture and products for most of the major European design manufacturers. In 2001, they established  Universal \n�������������������������������������������������������������������������������������������������������������������������������������������������\nsultancy.\nTORCH DESIGNED FOR THE 2012 SUMMER OLYMPICS\nEDWARD BARBER\n",60,{"image":252,"text":253,"number":254},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.61.png","J\nNC  \nI WANTED TO START WITH THE DEVELOPMENT OF \nTHE «TIP TON» CHAIR. I KNOW YOU SPENT A LOT OF \nTIME IN SCHOOLS AND CLASSROOMS LOOKING AT HOW \nTHEY WORKED. IS THERE SOMETHING WE CAN BRING \nFROM THE LATEST THINKING ABOUT EDUCATIONAL \nSPACES AND LIBRARIES INTO THE WORK PLACE? \nJO \nWELL, LETS TALK ABOUT HOW TIP TON STARTED. EDWARD AND I ARE ROYAL  DESIGNERS \nFOR INDUSTRY, AN ACCOLADE THAT IS GIVEN BY THE RSA ROYAL SOCIETY FOR THE  ENCOURAGEMENT \nOF ARTS, MANUFACTURES AND COMMERCE. THE RSA WAS BUILDING A SCHOOL, THEIR FIRST \nACADEMY IN TIPTON, NEAR BIRMINGHAM AND MCASLAN AND PARTNERS WERE  DESIGNING THE \nSCHOOL.\nPART OF OUR ROLE AS ROYAL DESIGNERS WAS TO HELP THEM SELECT FURNITURE FOR THE \n�����������������������������������������������������������������������������������\nING. BUT WE WERE REALLY SURPRISED THAT FURNITURE HADN’T CHANGED A GREAT DEAL \nSINCE WE WERE IN SCHOOL.\nEB \n�����������������������������������������������������������������������������\nusing school furniture anyway. The academies generally have some architectural merit \n�������������������������������������������������������������������������������������\n��������������������������������������������������������������������������������������\n�������������������������������������������������������������������������������������������\nwas what we felt anyway.\nTIP TON \nDESIGNED FOR VITRA\nED BARBER AND JAY OSGERBY IN THEIR STUDIO IN LONDON\nEDWARD BARBER & JAY OSGERBY\nMAP TABLE AND TIP TON DESIGNED FOR VITRA\nPHOTOS BY MARCUS GAAB\nEdward Barber\nJ\nA\nY\n \nO\nS\nG\nE\nR\nB\nY\n",61,{"image":256,"text":257,"number":258},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.62.png","62\nWORKSPIRIT\nJ\nJO \nIT DIDN’T TAKE LONG FOR US TO \n DEVELOP A BRIEF FOR A NEW CHAIR, BECAUSE \nWE COULD SEE A HUGE OPPORTUNITY. SO WE \n���� �� ������ ����������� ���� �� ���� ��� ���\nSEARCH AND CAME UP WITH A BRIEF THAT \nIDENTIFIED FOUR OR FIVE KEY POINTS. ONE OF \nWHICH WAS THAT THE CHAIR HAD TO HAVE AN \nINCREDIBLY LONG LIFE CYCLE. AND WE WANTED \nTO GET SOME DEGREE OF MOVEMENT IN THE \nCHAIR BECAUSE RESEARCH HAD SHOWN THAT \nWHEN YOU MOVE YOU THINK, IF YOU STAY STILL \nYOU FALL ASLEEP. \n���������������������������������������\nWARD ON THEIR CHAIRS IS TO KEEP THE BLOOD \nFLOWING AND MAINTAIN ATTENTION. IT’S NOT \nTHAT THEY ARE BEING NAUGHTY. \nALSO THERE WAS COLOUR. WE WANTED TO \nHAVE COLOUR IN THE FURNITURE. AND SOUND \nWAS SOMETHING THAT KEPT COMING UP WITH \nTHE TEACHERS. HAVING CHAIRS THAT WERE \nQUIET AND DIDN’T CLATTER ALONG THE FLOOR \n���� ������ ���������� ��� �� ���� ��� ������\nERS. PLASTIC WAS THE OBVIOUS CHOICE: YOU \nCAN GET HOLD OF IT QUICKLY, YOU CAN MAKE \nIT COLOURED, IT CAN BE PRODUCED QUICKLY \nAND HAS A LOW PRICE POINT. \nEB \nBut also if you are going to \n�����������������������������������������\n�������������������������������������\nto have someone who can not only \nproduce the piece in volume but also \nhave the means to distribute it in an \n������������������������������������������\n����������������������������������������\n��������\n����� ���� ����� ������������ ��� ������\neven though it started as a school pro-\nject, we realised that whenever you \n���� �������� ��� �� ������ ���� �� ������� ���\n����������������������������������������\n�������������������������������������\n����������������������������������������\nIn fact, most of the sales at the mo-\n����� ������� ��� ��������� ���� ��������\n�����������������������������������������\n��� ��������� ������ ����� ���������� ���\nsome level \nJO�\n������������������������������������������������\n�������������������������������������������������������������\nto about it in terms of manufacturing because it is a huge \n����������������������������������������������������������\n�������������������������������������������������������������\n���������������������������������������������������������������\nplace.\n������������������������������������������������������������\n�����������������������������������������������������������\nchair more or less.\nNC  \nWHAT ARE THE DIFFERENT REQUIREMENTS OF A \nSCHOOL CHAIR IN COMPARISON TO AN OFFICE CHAIR, APART \nFROM THE PRICE POINTS AND THE VOLUME?\nJO�\n�����������������������������������������\n������������������������������������������������\nEB�\n�����������������������������������������������������������������������\n��������������������������������������������������������������������������������\ntra feature so you get the job.\nEB�\n�����������������������������������������������������������������������������������������������������������\n����������������\n���������������������������������������������������������������������������������������������������������������������������������\n����������������������������������������������������������������������������������������������������������������������������\n����������������������������������������������������������������\nNK \nCAN YOU TALK ABOUT YOUR WORKING RELATIONSHIP  \nWITH VITRA?\n... WOMEN LIKE TO TIP FORWARD\nAND THEY GENERALLY SIT QUITE UPRIGHT...\nJO \nThey are the best manufacturer in the \n���������������������������������������������������\n���������������������������������������������������\nVitra but they give you the space – the physical, \nconceptual and intellectual space – to discover \n�������������������\n����������������������������������������������������������������������������\n������������������������������������������������������������������������������������\nWHEN YOU MOVE\nYOU THINK\nNC \nAND THEN YOU NEED THE SEVEN ADJUSTER KNOBS...\n",62,{"image":260,"text":261,"number":262},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.63.png","EDWARD BARBER & JAY OSGERBY\n...MEN JUST SLUMP...\nNC \nDO YOU SPEND A LOT OF TIME \nAT VITRA?\nJO \nYeah, a lot. We are over there once a month. \nWe have a number of projects in the pipeline with them.\nNK \nTHE TIP TON PROJECT TOOK TWO YEARS OF \nWORKING WITH VITRA?\nJO�\n����������������������������������������������\ning out of the mould. \nEB�\n�������������������������������������������������\n����������������������������������������������������\nJO \nIt was the main project in the studio. It has \nbeen really successful and well received. We have done \n���������������������������\nEB \nOnce people understand why we have done it, \nit really opens up the project.\nJO \nWhat is great about the project is that we \n������������������������������������������������������������\n�����������������������������������������������������������\n���������������������������������������������������������\n����������������������������������������������������������\n���������������������������������������������������������������\n�������������\nJO \n����������������������������������������\n�������������������������������������������������\n����������������������������������������������������\n�������������������������������������������������������\n������������������������������������������������������\n��������������������������������������������������\n���� ������ ��� ������� ������������ ����������� ��� ����\n��������������������������������������������������������\n��������������������������������������������������������\n�����������������������������������������������������\n���������������������\nJO \n������������������������������������������\n��������������������������������������������������\nforward, and they generally sit quite upright, \nwhereas men just slump.\n���������������������������������������������������\n���������������������������������������������������\n�������������������������������������������������\n�������������������������������������������������\n����������������������������������������������������\nanywhere really – because classrooms need to be \n���������������������������������������������������\n����������������������������������������������\n������������������������������\n��� ���� ������ �������������������� ���� �������� ���\n�������������������������������������������������\n���������������������������������������������������\nsystem.\nEB \n�������������������������������������������\nany company with just a few people. And then you \ncan add more and more. \nEB \nIt seems quite obvious \nbut there are actually very few \nmanufacturers who will do that. \nAnd they will give you that room to \n�������������������������������\n��� ����� ��� ����� ����� ��� �� ������� ����\n�������������������������������������\n�������������������������������������������\n��� ���� ������ ����� ���� ��������� ����\n�����������������������������������\ntually responding to our wishes. \nAnd there is a very strong dialogue. \n������������������������������������\n������ �� �������� ���� ��� ���� �������\n����������������������������������\n����������������������������������\n������������������������������������\n������������������������������������\nworld. Other manufacturers are \n��������� ����� �������� ��� ����� ��� ��\n���� ��� �� �������� ���� ��� ��� �����\ndeeper with Vitra.\nNC \nTHEY ARE IMPOSSIBLE TO TIP OVER?\nNC \nBRINGING THE IDEA OF MOTION INTO THE   \nWORKPLACE.\n�����������������������������������������������������������\nYOU HAVE TO BE ABLE TO CHANGE TABLES AROUND\n AND STACK THEM. SO WE DESIGNED THAT AT THE SAME TIME. \n",63,{"image":264,"text":265,"number":266},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.64.png","64\nWORKSPIRIT\nEB \nTHE STRUCTURE OF AN OFFICE FUNDAMENTALLY CHANGES \n����� ���� ����� ����� ���� ������� ��� ����� �������� ����� ������\n����������������������������������������������������������\nTURE, I SUPPOSE. BUT THEN THE BIGGEST CHALLENGE IS WORKING IN \nLONDON AND PARTICULARLY THIS AREA SHOREDITCH IN THAT ROOMS \n������������������������������������������������������������\nGROW THAT YOU ARE EITHER LOOKING AT COMPLETELY MOVING OR \nTAKING ANOTHER STUDIO IN THE SAME PLACE. \nIN OUR OTHER BUILDING WE HAD FOUR ROOMS ON DIFFERENT \nFLOORS, WHICH OBVIOUSLY MADE THINGS TRICKY. NOW WE ARE IN \nTWO BUILDINGS, WHICH MAKES THINGS EVEN TRICKIER. \nNK�\n�����������������������������������������������������������\n������������������������������\nEB�\n����������������������������������������������������\nNK�\n�������������������������������������������������������������\n��������������������������������������\nNK�\n��������������������������������������������������������������\n�\n�����������\nJB�\n������������������������������\n����� ���� ����� ��� ������ ������ �����\n��������������������������������������\n���������\nEB�\n���� ������ ������ ������� �������� ��� ������ ����� ��� �����\n�����������������������������������������������������������\n�����������������������������������������������������������������\n�� ���� ������������� ��������� ��� ��� ���� ���� ������� ����� ����\n�������������������������������������������������������������\n���� ���� ����� ��� ������ ������� �������� ���������� ���� ��������\n����������������������������������������������������������\n�������� ����������� ���� ������������� ���� ������ ������� �����\n������������\nNK�\n���������������������������������������������������������������������\n��������������������������������������\nJB \nThe whole freelance thing is massive. \nNK�\n��������������������������\nJB�\n�����������������������������������������������������������������������������\n��������������������������������������������������������������������������������\n������������������������������������������������������������������������������\nthey are gone. The job has gone to tender and you only need two people. Then it is \n�����������������������������������������������\n",64,{"image":268,"text":269,"number":270},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.65.png","EDWARD BARBER & JAY OSGERBY\nTHE PHYSICAL SIZE \nOF COMPUTERS \nHAS CHANGED \nHOW PEOPLE \nWORK\nEB \nAnd they want to feel that they have somewhere with a bit of \n������������������������������������������������������������������������\nyeah, high ceilings and good natural light are the fundamentals of a \n�����������������������������������������������������������������������\nthe main thing because you can simulate good light. It is just low ceil-\n��������������������������������������������������������������������������\n������������������������������������������������������������������������\n������������������������������������������������������������������������\n�����������������������������������������������������������������������\nfootage.\nIT’S NOT ROCKET SCIENCE\nEB \n����� ��� ���������� �������� �����\n�����������������������������������������\n��������������������������������������\nfor an airline. But in the end everyone \n������ ��� �� ��������� ���� ���� ����� ��\n���������������������������������������\ning the richer the company, the more \n�������������������������������������\n���������������������������������������\n�����������������������������������������\nto promote an image.\nNK�\n����� ������� �������� ����� �������� �������\n���������������������������������������������������\n��������\nNK�\n��������������������������������������������\n����������������������������������������������\n��������������������������������������������������\n����������������������������������������������\n���������������\nJB�\n�� ������ ����� ������� ����� ��� ����� ��� ��� ������������ �����\n��������������������������������������������������������������������������\n�����������������������������������������������������������������������\n���������������������������������������������������������������������\n�������������������������������������������������������������������\n���������� ����� ��� ���� ���������� ��� ���� ����� ������ ��� ���� �����\n�����������������������������������������������������������������������\nons to go from down there to up there. So you put the library up there \n��������������������������������������������������������������������\n���������������������������������������������������������������������\nOVER THE LAST FOUR YEARS, \nWE HAVE DOUBLED OUR STAFF.\nJB \n���������� ����� ���� �������\n���������������������������������������\n��������� ��������� ��� ���� ���� ��� ������\nstanding the brief and accommodat-\n��������������������������������\nEB \n����� ����� ���� ��� ������ ��������\n���������������������������������������\n�����������������������������������������\n��������������������������������������\nbecause they have more space and \nmore money.\nJB \nSome things have changed. The \n���������������������������������������\n���� ������� ������ ���� ����� ����� �������\n��������������������������������������\nthat everything is portable.\n�� ������ ����� ���� ����� ����� ����� �������\nwill be using the Internet on handheld \n��������������������������������������\nputers. That will completely change the \n�������������\n",65,{"image":272,"text":273,"number":274},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.66.png","66\nWORKSPIRIT\nNC \nINCREASINGLY PEOPLE FETISHISE CRAFT, I GUESS \nBECAUSE THEY ARE STUCK STARING AT A SCREEN ALL \nDAY. EVERYBODY WANTS TO RUN OFF AND DO SOME \nCARPENTRY OR MESS WITH THEIR BIKE WHEN THEY GET \n��������������������������������������������������\nCORPORATING THAT INTO AN OFFICE?\nEB \nYeah, well, we tend to be very physical in our \n��������������������������������������������������������\n  NC \nIS THAT A DELIBERATE DECISION?\nEB \nYeah, computers are used in every project \n������������������������������������������������������������\n�������������������������������������������������������������\n���������������������������������������������������������\n����������������������������������������������������������\n�������������������������������������������������������\n����������������������������������������������������\n�������������������������������������������������������\n�������������\nJO�\n����������������������������������������������\nmodels, not just because it is a nice thing to come to \n�����������������������������������������������������������\nbest way to communicate to other people.\nEB \nAlso, if you are designing a piece of furniture, \n��������������������������������������������������������\n������������������������������������������������������������\n����������������������\nEB�\n�����������������������������������������������\n��������������������������������������������������������������\n�����������������������������������������������������������\n������������������������������������������������������\n����������������������������������������\nYou can go down any street near here and get inspired.\nNC \nWHERE WOULD YOUR\nDREAM OFFICE BE?\nHIGH CEILINGS \nAND GOOD \nNATURAL LIGHT \nARE THE \nFUNDAMENTALS\nOF A GOOD \nWORKING \nENVIRONMENT\nIF YOU WORK ON A COMPUTER, EVERYTHING BECOMES VERY STATIC. \n",66,{"image":276,"text":277,"number":278},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.67.png","ESSAY\nAuthor: Mirna Funk \n�\n�\n1\nFuture without Ownership \nThe Rediscovery of the Joy of Sharing \nTo share is not a new invention, but a modern movement. It is suddenly appearing in \nall areas of life – whether it’s a desk at work, one’s home or a car – sharing is \nexperiencing an increase in popularity. We asked ourselves: What’s going on with this \nnewfound altruism?\nI remember the first time, in 2006, that I put my apartment on Craigslist. I did this to rent it in \nparallel during an extended period of travel. At that time, the first Easy Jet tourists were just \narriving in Berlin, and I managed to finance my entire trip with the rental of my apartment. \nThat I even came to the idea of travelling around the world for eight weeks was a result of the \nspontaneous decision to quit my job, inspired by reading Holm Friebe and Sascha Lobo’s \nbook Wir nennen es Arbeit (We Call It Work, 2006). In it they describe a future based on new \ntechnology, which would enable the dream of autonomous work.\nIt’s been six years since this personal gesture of freedom. The theories of both thinkers, \nFriebe and Lobo, who were critically received in the beginning, have become a reality. \nAirbnb has replaced Craigslist, and created a subletting empire. In front of my door metered \nparking spaces have been given to car sharing companies and on the fields of the former \nTempelhof airport, urbanites have divided acreage, cultivating it as a community. These \ntrends are surreal and irritating in the face of the existing environment of turbo-capitalism and \nthe pressure of being an individual. In the end, one expects altruistic sharing during an \neconomic crisis as a last resort. In a time when one could instinctively think about hoarding \nand counting every penny, a great willingness to share ownership has developed, against all \nforms of the cultural pessimism of our present.\nIn legal jargon, the term “property” denotes actual control of an object. It says nothing about \nwhether the “possessor” of an object is also the owner. Thus, a possession can have multiple \nowners, for example, through loan or theft.\nSharing is nothing but a continuous, recurring loan with different owners. The only difference \nis that the natural desire to exercise proprietorship over an item is virtually non-existent in \nsharing. The act of sharing and the need to possess are not mutually exclusive. But what does \nthis actuality mean for humans? Does the need to possess come from within? Is the worth of \n",67,{"image":280,"text":281,"number":282},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.68.png","68\nWORKSPIRIT\nAuthor: Mirna Funk \n�\n�\n2\nan object closely related to the desire to possess it? What can the “Endowment Effect” reveal \nabout our qualities of sharing and are relationships to objects essential for the stable \ndevelopment of the self?\nYou Are What You Possess \nIn 2001 artist Michael Landy destroyed all his possessions. More than 7000 objects, including \nhis birth certificate and his father’s sheepskin jacket were first shredded in a chipper, then \npulverised.\nThis idea could have come from me. Sometimes I also fantasize about standing in front of my \nburning home, watching everything go up in flames. I’ve visualized this as a thought \nexperiment a hundred times, always with the same result: I wouldn’t miss a thing. My life is \nnot bound to a single object. My mother calls this characteristic cold hearted. I call myself \nfree.\nAs I have in the past, I rent my apartment when I travel. When I consider my residence, I \nalways have to answer the same question, namely, what I will do with my “personal effects.” \nUsually I say that I intend to pack them away, but this is actually a lie, because I have no \n“personal effects,” and perhaps more seriously: I don’t even know what exactly this means. Is \nit books, hand towels, papers, clothes or is it a hairbrush?\nTo an unprecedented extent, what defines us today is what we have. We generate subjectivity \nwith the help of objects. Even the brand of toothpaste we use says something about us. \nEverything shouts, “That’s me!” Every fibre of our body, every object in our home and even \nthe colour of our bicycle communicates to others who we are. This occurs out of a natural \nneed, and should not be condemned per se. William James, was engaged with the identity of \nthe self as early as the mid-19th century, defining it as follows: “In its widest possible sense, \nhowever, a man's Self is the sum total of all that he can call his, not only his body and his \npsychic powers, but his clothes and his house, his wife and children, his ancestors and friends, \nhis reputation and works, his lands and horses, and yacht and bank-account.”1 People hang \nonto their possessions. Not only because they define their identity, but this also stems out of \nneurological grounds. Thirty-two years ago economist Richard Thaler discovered that the\n��������������������������������������������������������\n��James, William: Principles of Psychology, p.291. \n�\n",68,{"image":284,"text":285,"number":286},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.69.png","ESSAY\nAuthor: Mirna Funk \n�\n�\n3\nobjects people possess are attributed with an inordinate value. The so-called Endowment or \nOwnership Effect reveals that we inscribe an object we possess with more worth than a \nsimilar or identical object that we do not own. In 2008 neurologists substantiated the \nEndowment Effect through studies of the brain. Thus, it is less a question that the worth is \nenhanced by the gravity of ownership, rather, that the value of possession is multiplied against \nthe possibility of its loss.\nI Cannot Lose What I Do Not Own \nMy Endowment Value appears to be low – every time I rent my apartment, I lose at least one \nobject through theft or breakage – but it doesn’t bother me in the least. Recently a friend \nasked me what happens to the valuables that I leave in my apartment. I answered, “If someone \nurgently needed to steal my stereo, then he or she has to do what they have to do.” \nFundamentally I differ from most other people. It’s important to note at this point that most \nmodern sharing programs exclude the ability to lose something. This means, what I don’t \nown, I can’t lose: This is the case for car sharing or music portals such as Spotify. In these \ncases possession is shared between all. Therefore my claim to power and fear of loss cannot \ndevelop. If I never possessed an object, I never built a relationship with it. The “Music Cloud” \nallows for a non-possessive and freely accessible space, in which no claims to power can be \nestablished. This is different from when I have lent out a CD. The consumer who digitally \naccesses the music I upload has no influence on my personal behaviour or life. I will never \nknow if another person hears my music. Even with car sharing companies, the boundaries \nbetween having and using are blurred. As there are continually more cars in use, I can no \nlonger distinguish which one I used to drive to work in the morning, and which I use to return \nhome in the evening.\nIn 1976 Erich Fromm described the new man as one who “creates joy from giving and \nsharing, not out of hoarding and the exploitation of others.” Have we developed from \n“having” into “being?” Is the sharing movement a step forward, the end of “tangible slavery” \nor “object-colonization?”\nIt is obvious that sharing systems are a clever way to dodge the need for humans to dominate. \nCurrently this is reflected in society as a desirable form of altruism. Whether these trends are \ndue to a new starry-eyed idealism or as a result of not identifying with the things we use, \nremains to be seen.\n",69,{"image":288,"text":289,"number":290},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.70.png","70\nWORKSPIRIT\nAuthor: Mirna Funk \n�\n�\n4\nSharing Brings Profits\nAs a logical consequence, the achievements and developments of the last few decades suggest \na modernization and flexibility of working conditions. The Internet has freed us from being \nbound to a specific place. The economic and demographic changes – especially in Northern \nand Western Europe – call for a re-evaluation of the relationship between employees and \nemployers.\nThe old model of linear biographies and the lifelong employee not only needs to have the dust \nblown off it, but it stands in the way of creativity. Employers realized long ago that the 60-\nhour work week and imprisonment in the office results in a type of operational blindness, \nundermining the potential of the company. A worker, who takes the rules and style of the firm \nto heart too seriously, can be closed to new possibilities, risking the success of the company.2\nEmployers not only profit from the experiences and various activities of the employee, but at \nthe same time they prevent an inner emigration through which a deep-seated dissatisfaction \ncould be triggered.\nThe fear that freedom for employees could damage the employer is refuted by several studies. \nMuch more dangerous is the practice of “employment by command,” which impedes the \ncreative processes. The division of work hours and the work force to different employers \nbenefits both the businesses and the employee.\nThe fact that the sharing economy is no longer a niche, shows a further development, for \nexample, crowd sourcing, which includes crowd funding and co-working. The post-\nmaterialist trend towards collaborative working to find faster and better solutions is especially \ntaken for granted by younger audiences. The times in which every action and object must \nhave copyright to define its worth are over. A generation, which has grown up on and profited \nfrom crowd sourcing platforms such as Wikipedia or OpenStreetMap, understands that \ncollaborative working isn’t hallmarked by the ego.\nOf course, sharing is nothing new. The technical advances have only reinforced its potential. \nWhereas earlier an entire village worked together on a non-profit project, today the entire web \ncommunity is involved. This is exceptionally visible through crowd funding. On platforms \nsuch as Startnext or Pling, projects large and small can be financed from a collective or single \nsource. A huge win not only for the project creator: ultimately, thanks to the funds, new jobs\n��������������������������������������������������������\n��Friebe, Holm and Sascha Lobo: Wir nennen es Arbeit, Heyne, Munich 2006, p.57.�\n",70,{"image":292,"text":293,"number":294},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.71.png","ESSAY\nAuthor: Mirna Funk \n�\n�\n5\nare created. The so-called “co-consume” says goodbye to old standards that are stale and \noutdated and values such as community, sustainability and creativity are brought into focus. \nA Future with Perspective \nI now work part-time for a forward-thinking company. This helps me incorporate my \nknowledge and experiences in all areas directly into my work. When I’m not there the \nfreelancer responsible for social media uses the desk, which would otherwise remain empty \ntwo days a week.\nI no longer feel that I am the property of a company, and it is possible that as a result I have \nthe space to no longer be possessive. In the end I don’t have to “ransom” myself. Maybe this \nbacklash against turbo-capitalism really is the beginning of a new period, in which \n“egomaniacal owning” yields to “collaborative sharing.” \n",71,{"image":296,"text":297,"number":298},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.72.png","72\nWORKSPIRIT\n72\nWORKSPIRIT\n",72,{"image":300,"text":301,"number":302},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.73.png","SEVIL PEACH\nSEVIL PEACH\n“It is really important to plan \naccidental social interactions.”\nTurkey-born and London-based interior architect Sevil Peach gained in-\nternational notice when working for Vitra, radically rethinking workplace \ngeography and dynamics at their Weil am Rhein Headquarters.\nShe took Vitra’s workers out of their cubicles, introduced social areas and \nwalkways and, through design, encouraged ﬂ ow and motion. She also \nadded air and space, taking out a false ceiling to expose concrete and duct-\ning, and broke down accepted hierarchies and privileges, denying managers \nthe kudos of window seats and instead created an interior open-to-all \n“street” with views. Her innovations at Vitra have been hugely inﬂ uential \nbut Peach has continued to challenge and push forward thinking about \nworkplace design, with sustainability and effective use of space and re-\nsources as key concerns. \nNC \n \nThere seems to have been a spate of research recently that questions the importance of collaboration and “brain storming” in the workplace, \n \n \nemphasizing the need for private space. Is this possible in the contemporary open-plan ofﬁ ce?\n \n \nSP   Of course it is. As a designer, your reference point is yourself and the people that you deal \nwith. All we have to do is observe these people’s needs. Of course these can change according to the type of \npeople and business, as there is no one way, no right or wrong way. Whilst open plan is a must in terms of \nteamwork and communication, we go through different moods which can be either personal, “I don‘t feel very \nsociable today,” or for business needs, “I have to ﬁ nish this report.” In an open plan ofﬁ ce it is a fact that you \ncan be exposed to interruptions. I think it is about understanding these needs and creating as much variable \nspaces as you can to balance them and to ﬁ nd different ways of providing private spaces. We are constantly \nexperimenting. We ﬁ nd that the needs from one company to another are slightly different, buildings are dif-\nferent, countries are different and cultures are different. When we were making refurbishments to Vitra’s \nofﬁ ces after 10 years, I interviewed people to ﬁ nd out what they felt was still missing. They wanted somewhere \nquiet to go to, a retreat but not necessarily somewhere to lock themselves away. This demonstrated a workforce \nthat was comfortable in an open plan and knew how to handle it. \nINTERVIEW BY NICK COMPTON\n",73,{"image":304,"text":305,"number":306},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.74.png","74\nWORKSPIRIT\n74\nWORKSPIRIT\nMost of our clients require enclosed concentration rooms, they ask for a door that you can shut. For Vitra it \nwas easy, we just had a curtain to signify “Do Not Disturb.” In our ofﬁ ce we can put on hats that we bought \nin Uzbekistan if we don‘t want to be disturbed, or to demonstrate the need for quiet.\nNC \nA lot of companies would consider that a real luxury – to offer people two or three different spaces to work, often it is just “Here is your desk, \nget on with it.”\n \nSP   That’s another story. The only way you can really offer that freedom is for people to let go \nof their individual desks, in order to open up space for more varied work environments. I think it is just really \nimportant to plan accidental social interactions, particularly for introverts who have a lot to contribute, but \nwho can hide themselves away in large ofﬁ ces. You have to think horizontally as well as vertically and create \nspaces where people naturally meet other people for the cross-fertilisation of ideas. The problem is that de-\nsigners are creating separated speciﬁ c zones. This area is where you are going to hang out, this area is where \nyou are going to relax, this area is where you are allowed to talk, prescribed spaces and then the rest is the \nfactory zone, the rows and rows and rows of desks, the soulless furniture graveyard. \nNC  \n \nDo you think there is a danger that people will resent an ofﬁ ce environment that presumes to be a something like home, or even apes the \n \n \n“third space” faux domesticity of coffee shops? \n \n \nSP   To us, it is about a human space that equally supports and makes sense to the individual and \nthe organisation. It’s an environment that allows the individual to work within an understandable scale and \nlandscape, as well as being light, airy, organised and variable. One that offers a variety of possibilities. \nBut creating a human workplace isn’t a cynical thing to keep people in the ofﬁ ce. Often, longer hours don’t mean \nthat you are more productive. You don’t have to get locked into the 9-5 thing and being at your desk all the time \nto prove you are being productive. It is much more about creating a human landscape. Just think of those Amer-\nican ofﬁ ces, just rows and rows of desks, where even the ﬂ owers wither as they enter the space.\n",74,{"image":308,"text":309,"number":310},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.75.png","SEVIL PEACH\nSEVIL PEACH\nNC \n \nI sometimes wonder though whether we over-complicate things. Many “creative” ofﬁ ces have pretty similar arrangements: open plan space \n \n \nin and old warehouse building with wooden ﬂ oors and high ceilings with windows that open and a communal table for meetings and hanging \n \n \nout, perhaps a ping-pong table and people can bring their dogs in. If you break it down its pretty simple: natural light, natural materials, space \n \n \nand air and the domestic touches of the communal table and the kitchen and the dogs. Do we need to think much beyond that?\n \n \nSP   Yes, of course but you can see it as a starting point. One is now talking about companies that \nhave over 1000 people. So the art is in creating the inspirational and personable spaces for these large numbers. \nArchitecturally space over your head is really important. If it’s a developer’s building they are just going to \ncrush it down to gain more ﬂ oors. Architects and developers really do have to think harder about their offerings \nas we increasingly have a more demanding, educated workforce, who expect more from their workplaces. The \nability to control their environment is one of them, such as fresh air. It is very noisy in our ofﬁ ce in the summer \nbecause we have the windows open, but we would much rather have that than air-conditioning. \nNC \n \nIn some ways technology has rooted us to the desk because of e-mails. \n \n \nSP   Nothing says that you have to open up your computer and look at your e-mails and reply \ninstantly. It has invaded our work and private lives and we haven’t got any societal rules to deal with it. One of \n",75,{"image":312,"text":313,"number":314},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.76.png","76\nWORKSPIRIT\n76\nWORKSPIRIT\nthe improvements that Vitra often talks about in their workplace is reduction of e-mails to one another. This is \ndue to the open vistas and the success of a collaborative environment. There are a lot of opportunities to inter-\nact ﬂ uidly.\nNC \n \nInitially, where were you getting these ideas about how spaces or interactions might work differently?\n \n \nSP   Honestly, from our personal experience. At the time we didn’t do a lot of academic research. \nIn my previous life, before we set up on our own company, we worked in a very corporate architects ofﬁ ce and \nwith a lot of corporate clients who just wanted cubical ofﬁ ces, luckily I was tasked to do other projects such as \nhotels. But I just thought, “Good god, if I have to do an ofﬁ ce, what would that be like, what would I do differ-\nently?” And of course the ﬁ rst job we got once we set up our own company was an ofﬁ ce! This was my oppor-\ntunity to challenge and think about what work is and what it could be. At the time we were working from home \nand we brought that ﬁ rsthand experience physically, emotionally and mentally to the design of the workplace. \nWe had an amazing client, Barclays Property Holdings, who went along with us, it was a great success and was \nabsolutely groundbreaking at the time. It’s only now that companies and designers are engaged in what we were \ndoing in 1994.\nNC \n \nWith Vitra you have had the opportunity to go back and overhaul – how was that experience?\n \n \nSP   Vitra was the second client after Barclays, so that’s 1997. Vitra Chairman Rolf Fehlbaum asked \nus to do a “Breathing Ofﬁ ce.” I’m not sure we knew \nexactly what he meant, or if he knew exactly what he \nmeant. What we did manage to do was create an ofﬁ ce \nthat was expandable and contractible, in short ﬂ exible. \nIt’s withstood the test of the time and is a platform for \nchange.\nThey can test new furniture, new work concepts but \nthe basic spaces that hold it together are simple and \ntimeless. They can go on like that for many more years. \nTwo years ago, Vitra asked us if we could do some re-\nfurbishments to the existing space. I was surprised, as \neverything appeared to be ﬁ ne with the exception of \ntheir old range of furniture. Of course, the issues had \npartly to do with technological changes, they did not \nneed the post boxes, space for archiving, the four pho-\ntocopy and printer zones were no longer necessary — \nthe whole ofﬁ ce was now using only one printer. There \nwas a need for a video conferencing room. They wanted \nmore non-territorial as well as retreat spaces. We used \nthe opportunity to check if there are any more needs \nand did our ﬁ rst main intervention after 13 years res-\nulting in “Citizen Ofﬁ ce.” \n",76,{"image":316,"text":317,"number":318},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.77.png","SEVIL PEACH\nSEVIL PEACH\nNC \n \nTell to me about this idea of the street in the ofﬁ ce.\n \n \nSP   It’s an easy analogy. For us it lies in the urban planning of a large space. At Vitra, they \nhad desks up to the window, surrounded by screens, which created a hierarchy, but we wanted a democratic \napproach to the views. The raised platform we introduced was set back to create a street along the window \nand everything that happened along the edge had to be communal support facilities: the post, the café, in-\nformal meeting areas, print and copy and non-territorial desks which allowed every one to work with a view. \nBut yes, in that sense it is creating a street life along the edge. It was easy to call it a street because people \nunderstood it. We introduced gardens at the deep end of the building to allow for light, fresh air and as a \nplace to work in good weather. We hung plain canvas panels to break up the vista. There are also quiet, in-\ntimate boxes that you can work or meet in that really take you out of the open plan.\nNC \n \nDo you go out and see “hot ofﬁ ces” of the moment?\n \n \nSP   Yes, as much as I can. I think their approaches are mostly retail or image driven. I don’t \nthink ofﬁ ces are about style and stylistic interventions. For me, they are a tool to help support you in doing \nyour work efﬁ ciently, they need to work well and still be pleasurable. We are not designing shops on Bond \nStreet and we need to control our designer egos. I was looking at some private work cubicles with images of \ntrees, I think it was Google, however much I love forests, I think these gimmicks are not sustainable. You \nwould be bloody bored with it in a few years time. But best to ask the users!\n",77,{"image":320,"text":321,"number":322},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.78.png","78\nWORKSPIRIT\n78\nWORKSPIRIT\nNC \nIs there a space for theatre and playfulness in an ofﬁ ce?\n \n \nSP   Well, it depends what you mean \nby that – a slide? I prefer meaningful architecture \nor architectural interventions, for me an unexpected \nskylight is playful, and can be dramatic, but I do not \nlike the ofﬁ ce to be designed as a theatre prop with \ntransient elements. It is important not to make ofﬁ ces \nso precious that it threatens people. If people can \nonly admire but can’t relax, then we missed the \npoint. It’s like having white carpets. But yes, you \nshould have the choice to play, if this becomes \na request from the users and if there is the appro-\npriate space. We are working in China and ping-pong \nis a big thing there, so the users have requested this \nfacility. And you know, no one is productive for \neight hours a day, so they may as well play; it is \ngood for the spirit. \nNC \nDo you ever look at other sorts of spaces – schools, \nhotels, colleges – whatever, just to see how they work \nand if they bring some sort of fresh insight?\n \n \nSP   We have never done a school, \nbut would love to and hospitals, my god, \nhospitals are in a desperate state. You need to \nthink of them as workplaces for the medical staff \nand the patients as clients and create healing places. \nLibraries are lovely spaces, however digital we may \nhave become. I was giving a talk yesterday and said, \n“What has happened to us?” At school, we worked in \nthe library, we worked in the canteen, we worked in the \ngarden, you sat on a wall and worked, you worked at \nhome, we were so ﬂ exible and still managed to write \nour dissertations and gained degrees.\nThen you go to work and suddenly you are like “I have \nto have my own desk,” and your career progression is \nmarked by getting a bigger desk, or the window, or \nyour own ofﬁ ce. That youthful attitude goes out the \nwindow and we get old! When you remind people they \nsay, “Yeah, my best times were at university.” So why \ndon’t we do it like that again then?\nNC \n \nAre schools are ﬂ exible because the furniture is relatively  \n \n \ncheap and you can move the desks around?\n \n \nSP   I don’t really believe in the uncon-\ntrolled ﬂ exibility of furniture; that would be chaos. \nI believe more in the ﬂ exibility of people. We should \nbe moving around rather then using partitions and \n furniture. The whole idea of furniture with wheels, \nthat didn’t really go anywhere.\nYou know children sit on the ﬂ oor in their classrooms. \nI sometimes give this example to my clients. What is \n",78,{"image":324,"text":325,"number":326},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.79.png","SEVIL PEACH\nSEVIL PEACH\nstopping them from sitting on the ﬂ oor to work, as long as \nyou have a laptop, what’s the problem? \nNC \n Over the last ﬁ ve years or so a sort of cult around craft and artis-\nanship has developed, people want to use their hands, get them dirty, \nfrom the kitchen to the workshop. I think a lot of people stuck in \nfront of a screen fantasize about that kind of work and life. Is there \na way of satisfying that urge in the ofﬁ ce environment?\n \n \nSP  Our solution is for people to get up and do \nthings as often as they can, I always tell this story when I \ngive talks: We started with Vitra where we provided one \nrubbish bin for every 15-20 people. All hell broke loose. \nI said, “Ok, give it one month.” I explained the reason why \nwe were doing this: Firstly, for your health, your back and \nyour vision, it’s a reason to get up and change you posture \nand rest your eyes. Secondly, as a means of communication: \nit’s like creating a village pump, you meet people and talk. \nA month went by, and it was no longer a problem. Twelve \nyears later and it still isn’t a problem. They now recommend \nthis approach to their clients.\nNC \n \nIn very simple terms a nice ofﬁ ce its about scale, isn’t it? \n \n \nSP   You know what we do? Every ofﬁ ce we \ndesign is based on the size of this ofﬁ ce of about 15-20 people. \nWe take this footprint to create a similar human scale on \nlarger ofﬁ ce ﬂ oor. We try to develop ways to break up the \nlarger spaces into smaller zones. It’s a really important point. \nYou know, design is really simple; it’s persuading people that \nis the hard part!\nNC \n Is the non-territorial ofﬁ ce an ideal? Aren’t we by nature territorial? \nAren’t we uncomfortable when that instinct is denied?\n \n \nSP   Some people are really territorial, others, \nless so. What I don’t understand is why you would have \na picture of George Clooney on your desk. What is the mes-\nsage we are trying to give by that? There was an ofﬁ ce we \ndesigned where there was a guy who worked in the corner, \nhe had pictures of George Clooney everywhere, every single \nsurface, horizontal and vertical was covered. His chair was \npositioned on a little oriental carpet. Another lady at another \nofﬁ ce had pictures of dogs absolutely everywhere, including \nthe windows. I ﬁ nd that really offensive. How can you impose \n",79,{"image":328,"text":329,"number":330},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.80.png","80\nWORKSPIRIT\n80\nWORKSPIRIT\nthat on others? What must the person next to you feel \nlike? In our ofﬁ ce, we have personal things but things that \nwe can all relate to, they are not alienating, you are not \ncreating a territory. \nWe have worked with Microsoft and they chose to work \n100 percent non-territorially. Nobody has a desk, nobody \nhas an ofﬁ ce, not even senior management, so they are all \nmoving around the building to work in places that suit \nthem. As belonging to your team and personalisation can \nbe an issue, there are zones allocated to teams. Within \nthose zones there are pin-up boards, trophies, silly toys, \nbut they are all shared, communal objects of choice.\nNC \n \nDon’t you spend all day trying to ﬁ nd people?\n \n \nSP   They can tag each other, so they know \nexactly where everybody is. Microsoft’s program assists \nthem in this type of work. They are happy, it suits their \nbusiness. They have 1,000 people a week coming to see \nhow they do it.\nNC \n \nBut you have the same amount of people using the same \n \n \namount of space, so what is the beneﬁ t to them?\n \n \nSP   There is a lot of activity, \n communication and transparency. There is no \n perceived hierarchy. The staff love working there, it \nhas been awarded as “The Best Workplace in Europe” \nfor the fourth consecutive year. \nIf we want to reduce the number of new buildings \n– and there are so many reasons why we should – we \nhave to learn how to work in similar ways. If your \ndirectors have cellular ofﬁ ces and you take on more \ndirectors, suddenly you need more ofﬁ ces and before \nyou know it you are going to need a new building. \nThat does not strike me as a sustainable approach.\nI think ofﬁ ces are going to get much smaller in the \nfuture. They are just going to be hubs for interaction, \nNOVARTIS CAMPUS, AMSTERDAM\nMEXX DESIGN CENTER, AMSTERDAM\n",80,{"image":332,"text":333,"number":334},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.81.png","SEVIL PEACH\nSEVIL PEACH\nto meet your colleagues and to go off and do your \nwork in other places. This may not be possible for \neveryone, but for a lot of businesses it will be the \nway. We are working with Rattan Chadha on his \n“Spaces” concept for this type of co-working and \nthey are really successful. Currently we are \ndesigning the third Spaces in an unusual listed build-\ning in The Hague. \nBesides speciﬁ c co-working projects like Spaces, we \nshould all look to see how we can share resources if \noccupying the same building, such as printing rooms, \nlibraries, kitchen and eating facilities, cleaners – or \nam I talking Utopia!\nMICROSOFT HEADQUARTER, AMSTERDAM\nMEXX DESIGN CENTER, AMSTERDAM\nMICROSOFT HEADQUARTER, AMSTERDAM\n",81,{"image":336,"text":337,"number":338},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.82.png","82\nWORKSPIRIT\nMY DREAMWORKPLACE \nBY EDWARD BARBER & JAY OSGERBY\nILLUSTRATION KARINA EIBATOVA\nJAY: It has to be somewhere outside. It has to be the wooden \nshed in a ﬁeld over looking the sea. With Wi-Fi. You know, like \nbird watching in a really beautiful landscape. But the sea has to \nbe in view. And you have a really good espresso bar nearby.\nWe have just come back from two weeks in Southern Italy. You \ncan walk out of your house and have lunch while you are walk-\ning because you can eat the almonds and the apples and Italy is \njust like going shopping but with no checkout. \nEDWARD: Ultimately, to be at your most creative, you need to \nhave an amazing view, have lots of natural daylight and to be \nnear water. That’s well documented that being near water helps \ncreativity. And that’s totally true. If you can be near the sea or \nmaybe a lake. Not a river.\nJAY: No, rivers are too stressful. We could do a lot of our work \nnot somewhere else. We could be away three days a week, or a \nweek a month. And I think we probably will do that actually. \nYeah, because you just need the space, otherwise you can’t think. \nLots of designers work that way.\n",82,{"image":340,"text":341,"number":342},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.83.png","LEADERSHIP\nPHOTO:\nPETER FISCHLI \u002F DAVID WEISS\nHow to work better, 1991-2000\nScreenprint on paper\n69,8 x 49,8 cm (unframed)\n75,5 x 55,5 cm (framed)\nEdition of 36\nCOURTESY SPRÜTH MAGERS BERLIN LONDON, \nMATTHEW MARKS GALLERY NEW YORK, \nGALERIE EVA PRESENHUBER ZÜRICH\n",83,{"image":344,"text":345,"number":346},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.84.png","84\nWORKSPIRIT\nThe office of tomorrow will \nbe a space that offers open \nstructure and transparency, \nflexibility and comfort. The \nvitality of a company is \nrevealed visually thorough \ncolour and material choices, \nand the people within that \noffice are offered social \nplaces to come together, \ncommunicate and create. \nTemporary work places are \njust as important as fixed \ndesks, and the opportunity \nto retreat is valued as much \nas collaboration. The office \nof tomorrow is an office \nin motion.\n",84,{"image":348,"text":349,"number":350},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.85.png","LEADERSHIP\nALCOVE CABIN\nThe Alcove Cabin by Ronan & Erwan \nBouroullec integrates three side panels \nto create a convenient private room, \nwhich acoustically and optically shelters \n����������������������������������������\nof extra high sides makes even further \n�������������������\n",85,{"image":352,"text":353,"number":354},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.86.png","86\nWORKSPIRIT\n",86,{"image":356,"text":23,"number":357},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.87.png",87,{"image":359,"text":360,"number":361},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.88.png","88\nWORKSPIRIT\nWORKBAYS\nWorkbays by Ronan & Erwan Bour-\noullec offer the chance to choose \nyour environment based on the task \n�������������������������������������-\nence call or directed research, these \norganically designed systems offer \n��������� ������ ����������� ���� ���-\nibility of function, without putting \n��������������������������\n",88,{"image":363,"text":23,"number":364},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.89.png",89,{"image":366,"text":367,"number":368},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.90.png","90\nWORKSPIRIT\n",90,{"image":370,"text":23,"number":371},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.91.png",91,{"image":373,"text":374,"number":375},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.92.png","92\nWORKSPIRIT\n",92,{"image":377,"text":23,"number":378},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.93.png",93,{"image":380,"text":381,"number":382},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.94.png","94\nWORKSPIRIT\nCORK TABLE\n�������������������������������������\n����������������������������������Cork \nTable designed by Ronan & Erwan \nBouroullec proves the architecture of \nopen spaces can be achieved in smal-\n��������������������������������������\ncan seat multiple workers, and facilit-\nates collaborative or private work \nthrough a series of vertical panels, \nwhich slide up, down and even tilt to \nthe side, offering numerous options \n������������������������������������\npeople sitting across from each other \ncan have a face-to-face, while their \n����������� ����� ��� ��������� ���� ��-\nterial of the Cork Table brings a \nwarm, friendly aesthetic to spaces of \nintense focus, not to mention it ab-\nsorbs sound and is a naturally grown, \n����������������������\n",94,{"image":384,"text":23,"number":385},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.95.png",95,{"image":387,"text":388,"number":389},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.96.png","96\nWORKSPIRIT\nEXECUTIVE WORKING\nThe heart of an organization is re-\nvealed the moment someone walks \n���������������������������������������\n������������������������������������\nof furniture speaks volumes about \n��������������������������������������\n������������������������\nAD HOC EXECUTIVE\nDesigned by Antonio Citterio with \nexecutives in mind, the Ad Hoc Ex-\necutive is a subtle statement of \n���������������� ����������� ��� ���-\nminium, wood and leather, with me-\nticulous attention to detail, the \nlarge central table functions as \n������������������������������������\nA recessed sliding panel conceals \noutlets for multi-media power cords \nand sideboards offer generous room \nfor private documents and personal \n�������\nAC 4\nThe AC 4 is celebrating its comeback \nwith a new design by Antonio Cit-\n�����������������������������������\nchair to tilt comfortably forward and \nthe back is divided into three ergo-\nnomic zones offering greater sup-\nport for the lower and upper back \n����\n����\n�����������\n����������\nhealthy posture and improved circu-\nlation, the AC 4 is more dynamic \n�����������\n",96,{"image":391,"text":23,"number":392},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.97.png",97,{"image":394,"text":395,"number":396},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.98.png","98\nWORKSPIRIT\n����������������\nDARK CHROME \nThe Aluminium Group Dark Chrome \nis a variation on the timeless form \nof the Aluminium Chair designed by \n���������������������������������\nclassic lines of dark chrome with \na supple padded leather seat, back \nand arm rests, this stationary swivel \nchair will reawaken appreciation for \n��������������������������������������\n������� ����� ���� ������ ����������\nTables it is an unembellished state-\n��������������������\n",98,{"image":398,"text":23,"number":399},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.99.png",99,{"image":401,"text":402,"number":403},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.100.png","100\nWORKSPIRIT\n",100,{"image":405,"text":23,"number":406},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.101.png",101,{"image":408,"text":409,"number":410},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.102.png","102\nWORKSPIRIT\nTYDE MEETING TABLE\nEquipped \nwith \nan \nexceptionally \nquiet motor, Tyde is part of a new \nfamily of height-adjustable tables \nand can be raised or lowered for op-\ntimum individualisation. Grouped in \nclusters with other tables it can be \nused for collaborative work, or \nplaced alone for solitary efforts. It’s \n������������������������������������\nand \nthe \ninconspicuous \ndesign \nmeans Tyde is compatible with a \n�����������������������������������\n",102,{"image":412,"text":23,"number":413},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.103.png",103,{"image":415,"text":416,"number":417},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.104.png","104\nWORKSPIRIT\nHIGH WORK\nThe advantages of working while \nstanding are numerous – standing \nduring collaborative work has been \nshown to not only improve commu-\nnications, but also leads to shorter, \noutcome-oriented meetings, making \nlong drawn out discussions a thing \nof the past. Not only that, but ex-\nperts agree that we should spend \n40 percent of our time standing and \n60 percent sitting for our health. \nThe High Work family of furniture \n�������� �������� ������������� ������\nenvironments.\nAD HOC HIGH WORK\nAd Hoc is a breakthrough in the \n�������������������������������������\nsystems and the innovative Ad Hoc \nHigh Work supports physical well \nbeing by enabling work while stand-\ning. The modular tables can be con-\n������� ��� ������� ���� �� �������� ���\nneeds, with individual work places \n��������������������������������Ad Hoc \ncan be placed in a normal height, or \nas high tables with the Ad Hoc High \nWork.\nPIVOT \nDesigned by Antonio Citterio to be \nused with a raised work table, the \nPivot is approx. 32 cm higher than \n���� �������� ������ ������� ���������\nusers \nto \ndecide \nspontaneously \nwhether they want to stand or sit. In \naccordance with the latest studies in \nhealthy \nergonomics, \nthis \nswivel \nchair facilitates free movement as a \nstool or as a stable device to lean \nagainst while working.\nFOLLOW ME 2\nAn effective workspace needs more \nthan an ergonomic chair and com-\nfortable table – there’s also all those \nother little things: computer char-\n�������������������������������������\n������� ���������� ��� ���� ������� ����\nFollow Me 2 designed by Antonio \n��������� ������� ��� ��������� ��������\nspace for these day-to-day objects \nand can tag along with users to any \n����� ��� ���� ������� ������ ���� ����\nworkplace or home, the Follow Me 2 \nhas a closing shutter to protect your \nbelongings, and a practical orange \nstrap enabling it to be pulled along \nsilently on soft wheels. With interior \noptions for drawers, shelves or \nfolders, this practical lightweight \n�������� ���� ��� ���������� ���� ����-\nvidual needs.\n",104,{"image":419,"text":23,"number":420},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.105.png",105,{"image":422,"text":423,"number":424},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.106.png","106\nWORKSPIRIT\n",106,{"image":426,"text":427,"number":428},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.107.png","The Aluminium Group chairs have long been considered one of \nthe greatest design achievements of the 20th century. They \nwere originally created in 1958 for a private residence in Indi-\nana, USA, with a light, stable construction unifying material \nwith aesthetics. At the time Charles and Ray Eames rethought \nthe hard seat of tradition chair construction, electing instead to \nstretch robust but soft cloth or leather between stabile alu-\nminium frames. Every element of the chair communicates the \nhighest quality of craftsmanship and material. The unmistak-\nable silhouette of the Aluminium Group chairs is simple, unob-\ntrusive and utterly classic. \nThe Aluminium Group Dark Chrome chair is a contemporary \nupdate to the polished metal of what is already a design clas-\nsic. Quietly sophisticated, the subtly darkened chrome is a re-\n������������������������������������������������������������\nThe angles of the slim but stabile leather-padded armrests of-\nfer support. Every element of the Dark Chrome chair is metic-\nulously considered, from the frame to the materials, making it \nas timeless as its predecessor. \n“WE’VE ALWAYS BEEN AWARE \nOF NOT EVEN ATTEMPTING TO \nSOLVE THE PROBLEM OF HOW \nPEOPLE SHOULD SIT, BUT OF \nRATHER ARBITRARILY AC-\nCEPTING THE WAY PEOPLE DO \nSIT AND OF OPERATING \nWITHIN THAT FRAMEWORK.”\nCHARLES EAMES\nPhotos by Florian Böhm\nALUMINIUM CHAIR DARK CHROME\n",107,{"image":430,"text":431,"number":432},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.108.png","108\nWORKSPIRIT\n“UNDERSTANDING HOW TO BEHAVE IN SOCIAL  \nMEDIA IS EASY: BE NICE OR LEAVE.” \nFARIS YAKOB, STRATEGIST\n",108,{"image":434,"text":435,"number":436},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.109.png","SWING SOFA\n����������������������������������������������������Swing Sofa designed by Werner Aisslinger invites employees to \nunwind. The comfortably cushioned sofa is suspended from a secure A-frame structure, and durable internal mech-\nanisms absorb motion while preventing the swing from overly enthusiastic pushes. This is a place for retreat, cre-\native one-on-ones and leisurely thought. \n",109,{"image":438,"text":439,"number":440},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.110.png","110\nWORKSPIRIT\n“WE BECOME WHAT WE BEHOLD. WE SHAPE OUR TOOLS, \nAND THEREAFTER OUR TOOLS SHAPE US.” \nMARSHALL MCLUHAN\n",110,{"image":442,"text":443,"number":444},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.111.png","����� ������� ���� ������ ���� ��������������� ���� ����������\na quiet space for concentration is vital. The ID Trim Cap de-\n������� ��� �������� ��������� ��� �� ������������ ������ ������� ������\nupdated for the open workplace, enabling individuals to retreat \nwithout leaving their workspace. Individually adjustable, the \nchair combines the classic aesthetics of modular design, light-\nness and transparency with modern ergonomics. A slim integ-\nrated backrest offers lumbar support for proper posture with a \nhigh back for neck support. The hood shields employees both \nacoustically and visually, enabling greater concentration in ener-\ngetic environments.\nID TRIM CAP\n",111,{"image":446,"text":447,"number":448},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.112.png","U-TURN\nMichel Charlot, 2012  |  www.belux.com\u002Fu-turn\nACCENT LIGHTING WITH A TWIST.\nLED\n",112,{"image":450,"text":451,"number":452},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.113.png","This is an era in which our shoes and bracelets can \ncount our every step, connected to an ever-growing \nnumber of health and ﬁtness apps that keep us moving \nand motivated. With all due respect to these helpful \ngadgets – things could be much easier. Stand up for  \na moment and the logical solution to the question of \nhow to lead a healthier lifestyle becomes clear. While \nwe have developed amazing tools and machines to help \nto make our lives more liveable, joyful and productive, \nour anatomy is still more or less the same as our pre-\nhistoric ancestors. Humans are especially well adapted \nfor active and varied tasks – we are persevering, reac-\ntive and especially agile. The explorer in us welcomes  \na complex assortment of stimuli, and we degenerate \nwith monotonous tasks. If our mental capacities have \nevolved faster than the evolution of our bodies, does \nthis mean that Homo sapiens are not built for  \nmodern life? \nIt does not take a scientist to know that being seden-\ntary in the ofﬁce for eight hours a day, or 55,000 hours \nin a lifetime, is bad for your health – and exercise alone \nis not the perfect antidote to sitting. Much more con-\nsequential is to start reducing the time you spend \nglued to a chair – as we all know, when the computer \nabsorbs our attention, we tend to forget everything \nwe’ve learned about maintaining a naturally correct \nposture. \nThe simplest ways to avoid occupational and ofﬁce dis-\norders caused by monotonous sitting involve move-\nment. But physical movement in the ofﬁce means \nmore than the occasional walk to the photocopier, cof-\nfee maker or cafeteria. From the mouths of experts: we \nshould spend at least 40 percent of the workday stand-\ning and 60 percent sitting. Meaning that sitting in the \nvery best ofﬁce chair, designed according to the latest \nergonomic insights and ﬁtted with all manner of tech-\nnical wonders, should still be alternated with periods \nof standing. It improves circulation and breathing, aids \nmetabolism and the absorption of nutrition, and it \nkeeps your leg muscles looking long and lean. You \nwouldn’t be alone either, some of histories’ great minds \nhave preferred “High Work”, including: Vladimir \nNabokov, Thomas Wolfe, Winston Churchill, Thomas \nJefferson and programmers at tech companies in Sili-\ncone Valley, who are once again ahead of the curve – \nmany choose to work while standing. \nChange your habits, and in the end your body and your \ncompany will thank you. Why? Because physical activ-\nity, combined with varied working positions, promotes \nconcentration levels and increases productivity. Meet-\nings held while standing are shown to be signiﬁcantly \nshorter and more result-oriented than those held sitting \ndown. In short, the option of sitting down for some tasks \nand standing up for others offers substantial beneﬁts \nboth for employees and for companies. When you start \nstanding up more often, your company can reckon on  \na more productive workforce – get out of the chair, stand \nup and “High Work”.\nIT PAYS TO STAND UP FOR YOUR WORK.\nILLUSTRATION BY ELISABETH D.\n",113,{"image":454,"text":455,"number":456},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.114.png","\nLounge Chair produced by Vitra since 1956, Design: Charles & Ray Eames\nGo to www.vitra.com to ﬁnd Vitra retail partners in your area. \nwww.vitra.com\u002Floungechair\n",114,{"image":458,"text":459,"number":460},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.115.png","A TIME FOR TEAMWORK\nHW \nThousands of offices around the world are equipped with your furniture – how does your own office look?\nRB \nHonestly – I don’t like offices, and I spend as little time as possible in them.  \nHW \nBut you still have one. How can we picture the Bouroullec office?\n \nEB  \nOur studio in Belleville has a cellar and two floors, which receive lots of light \nthrough a large northern window. On the ground floor are desks and computers, papers and \nglue, which we share between our collaborators, Ronan and myself. The first floor is for a bit of \nadministration and a large empty place to visualize projects and store assorted mock-ups, pro-\ntotypes and sketches. Usually it’s pretty chaotic. Finally the cellar: it’s full of dust and chips, \nbecause that’s where our woodworking machines and do-it-yourself tools are. It’s where I work \non our prototypes. \nHW \nThat doesn’t sound so big. \n \nEB  \nIt doesn’t have to be; we’re a small team of seven people plus an intern or \ntwo. Considering this, 350 square metres are plenty. On the other hand, we work on numerous \nprojects at the same time, so our studio is always full of multiple blueprints and models from \ndifferent projects. Interestingly, this is quite advantageous.\nThe history of office furnishings knows two eras: before and after the Bouroullecs. In \nrecent years the two brothers from Brittany have brought humanity and teamwork into \nthe office – precisely because office furniture isn’t Ronan and Erwan Bouroullec‘s par-\nticular area of interest. \nINTERVIEW BY HARALD WILLENBROCK\nRONAN & ERWAN BOUROULLEC\n",115,{"image":462,"text":463,"number":464},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.116.png","116\nWORKSPIRIT\nHW \nWhen you say that offices have reached \n \na standstill: how could this be changed? \n \nEB  \nWith furniture. Furniture \ncan determine the architecture of the work \nenvironment. It can be arranged to form a \nvisual separation, almost like a wall. In prin-\nciple, one hour later, or a year or a decade, \nwhen you’re not happy with the arrange-\nment anymore, it can be repositioned. \nHW \nFurniture alone doesn’t create a dynamic; \n \nit depends on what you do with it. \n \nEB  \nTrue, and one of the keys \nbehind my thoughts is an analogy to bio di-\nversity. Imagine a forest: Apart from the damp \nand the cold, it’s actually the ideal office. In \nthe forest there is wide-open area with natural \nlight, or on the opposite – small bushes, hidden \ncorners – all of the distractions that our body \nrequires to work well. We humans are much \nmore complex than computers and machines. \nTherefore, for me, it’s incomprehensible that \nwe ascribe our bodies to a single table, a single \nwork configuration – like machines. \nHW \nAs an administrative official your father spent his whole life working at a desk. What have you learned from \nhim about office life?\nEB  \nA lot, because my father often talked about his office. Once he told a story \nabout employees that had complained to him because the cleaning staff wouldn’t clean their \ndesks. Of course, my father’s opinion was that this wasn’t a job for the cleaning ladies; rather it \nwas the responsibility of each employee. This question of “taking responsibility for yourself” \nwas a central issue for us as well.  My father is still appalled when he visits our studio. He takes \nthe disorder as a sign of wasted money and a lack of accountability. He has some difficulties to \nunderstand the mess as a creative organization. \nHW \nWhat would your dream office look like?\n \nRB \nI have a small house in Brittany. Through the windows I enjoy a free view over \nthe land and sea. To work I need a horizon, a free perspective, and in Brittany, I have that.\n \nEB  \nThe location doesn’t really make a difference to me. I love machines, so my \nworkplace would have not only a chair and a desk, but also tools and machines that I can create \nmodels and prototypes with. In my dreams there are never enough machines in our office. My \ndream office would be similar to a workshop-sized as a factory. \n",116,{"image":466,"text":467,"number":468},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.117.png","HW \nDo you have any evidence that better office \nfurniture and environments, like the ones you \ndesign, lead to an improved results and motiv-\nated employees?\n \nRB  \nI don’t think you need evi-\ndence, common sense is enough. It’s like with \nthe Blackberry and iPhone: Both are objects \nwith similar functions, but the latter leads to \na different approach to working. Did you know \nthat an office table, like the one we’re sitting \nat, should have no 90° angles? Because of the \nrisk of injury – that’s absurd.\nHW \nAfter travelling around the world, have you no-\nticed some differences in office culture? For \nexample that U.S. workplaces differ from Ja-\npanese, German or French? \n \n����\n����������������������������-\nsion, and to me the greatest differences come \ndown to the question of hierarchy versus team-\nwork. I feel that the idea that everything be-\nlongs to everyone and that as a team you can \n����������������������������������������������\ncantly more common in Northern Europe, \nSwitzerland and Germany than in Southern \nEurope. As always, the pre-revolutionary mon-\narchy especially exists in French companies. In \nJapan there is an extreme sense of hierarchy \nand order. However, this is not so relevant for \nus, because we don’t follow different ap-\nproaches for the various markets.\nHW \nWhat do you mean by that?\n \nEB  \nFor \nexample, \nour \nJoyn \nTable for Vitra is not a worktable; rather, it \nis first and foremost a table. We leave the \npaper as blank as possible, so to speak, so \nthat it offers the user maximum possibili-\nties. One shouldn’t forget that the office \nworld is changing, and that the furniture will \nbe there longer than many office concepts. \nIt must take part in this evolution, not stand \nin the way of it.\nHW \nDo you think that within this evolution the \nconcept of teamwork will automatically \ncontinue to develop – or in the future will \ndifferent office cultures with varying levels \nof hierarchy co-exist?\nEB  \nTo reach better decisions \nin a connected world, you need more know-\nledge, more eyes and more experience at the \ntable. Therefore, in the long run, the French \nand Japanese will discover the benefits of \nteamwork for themselves. \nRONAN & ERWAN BOUROULLEC\n",117,{"image":470,"text":471,"number":472},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.118.png","HW \nStudies show that today two-thirds of office workers are either temporarily or permanently on the go and \nconnect to work online. If the office of today can be anywhere – why do we  even need physical offices?\nEB  \nIt’s like a family that lives in a house, even if each member of the family goes \ntheir own way. In this sense, office workers also need a common space. The office generates \na lot of hidden information that is only possible as a sensory experience and can’t be digitalized. \nFor example, the old prototypes and papers in our space contain information that can only be \nrealised in our studio. Don’t forget, we are still animals. \nHW \nWhat do you mean by that?\nEB  \nWe need a den, a room, where we can feel safe and free. Even the modern of-\nfice nomads crave shelter where they can settle and relax. \nHW \n… and thus, even in the most modern office two human needs collide: the desire to belong and to communi-\ncate and the need for privacy. \n \nEB  \nNot when the office enables both. The open office is like a public road that \ncan’t be privatized. On this particular road, I carry a photo of my daughter and other personal \nitems with me on my iPhone – I don’t need my own desk to set them on. But the public road of-\nfers me a real freedom to decide whether to sit or stand, to hide or cooperate, et cetera. \nHW \nIs this to say that the individual workplace is \n \ndisappearing?\nEB  \nYes, in the old definition of a \nlong-term single office for a single person. Cre-\nativity means movement, and literally offices \nmust allow movement – from the desk to short \ndiscussions on the go, from the meeting table \nto the coffee machine, in the gym or think \ntanks. If you move, you see other things. If you \nsee other things, you think differently and ar-\nrive at other solutions. I mean, Steve Jobs def-\ninitely didn’t come up with his ideas by only \nsitting at a single desk with a piece of paper in \nfront of him!\nHW \nSix years ago, with the Alcove you brought \na bit of privacy back into the office. One critic wrote that \nwith your high-backed sofa you turned the entire  logic of \noffice design on its head.\nEB  \nThe Alcove had a similar ef-\nfect as the emergence of Rock n’ Roll: Before \none danced to clearly defined rules, then sud-\ndenly the music started. A sofa is thought to be \nWORKSPIRIT\n118\nRONAN ...\n",118,{"image":474,"text":475,"number":476},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.119.png","the greatest antithesis to traditional notions of \nwork – on a sofa one sits, relaxes and falls \nasleep. Alcove changed everything, which, \namong other things, explains why today there \nare dozens of copies on the market. But don’t \nget us wrong: We’re not for total openness. We \nprefer to offer a mix of services and experi-\nences for office workers throughout the day. \nAnd it’s the job of management to generously \nprovide them with these options.\nHW  \nWhat has changed in the workplace for Gener-\nation Y, who grew up on Facebook and con-\nstant networking?\n \nEB  \nThe good thing is that new \ntechnology is lighter and less complicated than \nin the past. In the past computer monitors \nneeded a special, exceptionally deep table. No \none needs this with modern computers and \ntablets. We will therefore return to archaic fur-\nniture typologies, which no longer distinguish \nbetween the office and the home. \nRB \nThe office world of yesterday had \nits own boring colours and textures, which \nwere completely different than that of \na home. I’ve never understood the distinc-\ntion; in the end – a table is a table, and a \nstool is a stool, here or there. I hope that \ncolour, texture and sensuality will continue \nto improve in the future.\nHW \nHow much time do you spend in your office? \nHalf your time? Thirty percent? Less?\nRB \nNo, no, it’s much more. \nWe try not to travel if possible. And because \nwe work for a few, longstanding clients, with \nwhom we have an ongoing collaboration, we \ndon’t even have to travel that much. I hate \nmeetings and I love working. As a result I’ve \ncreated a sort of “firewall” around our work-\nplace and ourselves, which enables my con-\ncentrated work. I estimate that 70 percent \nof my time is spent in our studio in Belleville, \n20 percent at home in Brittany or in a house \noutside of Paris, and only the last 10 percent \ntravelling or in meetings.\nHW \nThe architect Ben van Berkel believes that \nin the future it is possible that traditional \noffices will disappear entirely in favour of \na few creative agencies, which will meet \nonly once a week for project work. \nEB  \nThe interesting question \nwill be how Facebook and digital networking \nwill change the office. Will we still want to \nmeet in person? Will we still want to physi-\ncally touch prototypes or will it be enough to \nsee them digitally? I don’t know. I only hope \nthat the office of the future will be simpler. \nThis is something we can learn from Apple \nand the iPhone. Why is this incredible object \nso simple? Because Apple spent years ana-\nlyzing it and eliminating everything that was \nsuperfluous. \n... & ERWAN BOURROULLEC INTERVIEWED IN THE ALCOVE CABIN.\nRONAN & ERWAN BOUROULLEC\n",119,{"image":478,"text":479,"number":480},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.120.png","120\nWORKSPIRIT\nWORKSPIRIT\n120\ndesks by the dozen, since, in the end, this is the \nmost effective way to gain space. Sadly, it \nmakes me think of huge chicken farms. We al-\nways had in mind that the space you gain \nthrough bench desks should be occupied by dif-\nferent workspace typologies that allow a mixed \nlandscape. \nHW \nWhere you do find all the knowledge about of- \n \nfice organization and structure that you need  \n \nfor your design work?\n \nRB \nWe don’t know much. I’ve \nnever worked for anyone but myself, so I was \nnever going to an office regularly. But, the of-\nfices I have seen were almost all awful. \nHW \nWhat was so terrible about them?\nRB \nNot so much the aesthetics, \nrather the atmosphere and the way people \ntreat each other in the office. Maybe you know \nthe film Playtime, where Jacques Tati is search-\ning for Monsieur Girard and gets lost in an of-\nfice full of marketing people? Many of the of-\nfices I’ve seen are like the one in the film. \nUnfortunately.\nHW \nIs Le Bureau, the French version of The Office \n \na source of inspiration for you?\nRB\nLe Bureau? It’s pretty funny. \nI like the series and the lead actor Francois \nBerléand. But he lacks some of the absurdity of \nRicky Gervais, the leading actor in the English \nversion. In England The Office is even crazier \nthan it is here. \n \nRB \nI mean, there are so many things in this world that are organized terribly. I’m \nvery curious to see how we will look back on this idiotic era in 20 years. \nHW \nWhat do you mean? The economic crisis? The ecological problems? Or simply the madness of everyday life?\n \nRB  \nEverything. One example is the way we work together, although sometimes \nI also feel I am guilty of this.  \nHW \nWhy is that? Your furniture design clearly emerges from a democratic collaboration. \nRB \nThat was the idea, for example, behind the Joyn: A table where everyone can \ncome together. But now I see bigger and bigger offices that have been furnished with bench \nIllustrations by Ronan & Erwan Bouroullec\n",120,{"image":482,"text":483,"number":484},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.121.png","RONAN & ERWAN BOUROULLEC\ngood actor, who not only plays the same role, \nrather with his passion offers solutions for \ndifferent contexts. Specialized knowledge is \nthe enemy of passion.\nHW \nAlberto Alessi said that if there were a pill for \nexperience, he would take it. \n \nRB  \nYes, but there is no such pill. \nThat’s my problem. I don’t like systems, \nmethodologies and repetition. I hate the world \nof specialists. I want to explore new paths eve-\nry time – but that’s not easy when you’ve been \ndown umpteen paths.\nHW \nIf we were to meet again in 20 years, how \nwould offices look? \nEB  \nIn 20 years video conferen-\ncing will probably prevail. Today they feel as \nstrange as it did a few years ago to buy a train \nticket from a touch screen. But we’ll get used \nto it, and that’s a good thing, because it spares \ntime and energy.  \n \nRB \nI hope there will be a kind of \n“reset” for our world in the future. That would \nbe a welcome result of this crisis: that it goes \nso deep that we fundamentally examine what \nwe do and how we do it. In one sentence: I’m \nhoping for the return of common sense.  \nHW \nYou probably get detailed briefings from your customers before you start with your work.\n \nRB  \nNo. There are certainly different ways to reach solutions as a designer. One \nway is to collect a lot of information, to conduct interviews and to analyze. Our way is\ndifferent. \nWe function best in tasks where we don’t know a lot. We simply start out naively, which could \nbe good for the situation. \nHW \nAnd that works?\nRB \nWe are not specialists and don’t want to be. For us a good design is like a \n",121,{"image":486,"text":487,"number":488},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.122.png","122\nWORKSPIRIT\n",122,{"image":490,"text":491,"number":492},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.123.png","TYDE\n",123,{"image":494,"text":495,"number":496},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.124.png","124\nWORKSPIRIT\n",124,{"image":498,"text":491,"number":499},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.125.png",125,{"image":501,"text":502,"number":503},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.126.png","126\nWORKSPIRIT\nThe Tyde workstation designed by Ronan & Erwan Bouroullec offers optimum individualisation. Equipped with an exceptionally quiet\n�����������������������������������������������������������������������������������������������������������������������Tyde can be used \n����������������������������������������������������������������������������������������������������������������������������������������������\n��������������������������������������������������������������������������������������������������������������������������������������\n��������������������������������������������������������������������������������������\n",126,{"image":505,"text":491,"number":506},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.127.png",127,{"image":508,"text":509,"number":510},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.128.png","128\nWORKSPIRIT\n“I LIKE WORK: IT FASCINATES ME. I CAN SIT AND LOOK AT IT FOR HOURS.”  \nJEROME K. JEROME\n",128,{"image":512,"text":513,"number":514},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.129.png","VISAVIS 3\nIt’s been said that it’s not what’s on the table that matters, \nrather who´s in the chair. The Visavis 3 designed by \nAntonio Citterio takes a backseat, letting the focal point be \nthe ideas in the air, making it the ideal chair for meetings of \n���� ����� ���� ��������������������������� ������ ��� ��������\nversion of the Visavis, the chair merges streamlined optics \nwith comfort and affordability. The durable plastic seat and \nback have a complementary optics to the ID Chair with \nPlastic Back, and are available with four legs or as \na cantilever seat in a lively range of colours. \n",129,{"image":516,"text":517,"number":518},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.130.png","Flexibility in the office is key.\nPhysix’ sophisticated frame con-\nstruction efficiently uses the po-\ntential \nprovided \nby \nmodern \nplastics technology. Much like a \nflexible hinge the plastic side \nbeams are bendable, following \nthe movement of the body and \nallowing for great adaptability \nand performance. The organic-\nally formed seating shell is made \nof a single piece of translucent \nknitted fabric, offering superior \nlumbar support in both upright \nand back leaning positions. The \nversatility of the Physix chair, \ndesigned by Alberto Meda, doesn’t \nstop there – with elements of \nwork, meeting, and studio chairs \nand a light unobtrusive design it \nblends harmoniously with any \nroom in the office.\n130\nWORKSPIRIT\n",130,{"image":520,"text":71,"number":521},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.131.png",131,{"image":523,"text":71,"number":524},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.132.png",132,{"image":526,"text":71,"number":527},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.133.png",133,{"image":529,"text":530,"number":531},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.134.png","134\nWORKSPIRIT\n",134,{"image":533,"text":534,"number":535},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.135.png","PHYSIX\n",135,{"image":537,"text":71,"number":538},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.136.png",136,{"image":540,"text":534,"number":541},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.137.png",137,{"image":543,"text":71,"number":544},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.138.png",138,{"image":546,"text":534,"number":547},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.139.png",139,{"image":549,"text":550,"number":551},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.140.png","VERTO\nNaoto Fukasawa, 2012  |  www.belux.com\u002Fverto\nLED\n",140,{"image":553,"text":534,"number":554},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.141.png",141,{"image":556,"text":557,"number":558},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.142.png","142\nWORKSPIRIT\n�I LOVE TO HAVE A VIEW TO THE OUTSIDE. \nWITHOUT A VIEW I’D GO INSANE.”\nCB \nAs a lover of architecture, is it important for you to \nlive and work in exceptional architecture? \n \nFB        It’s been important that I don’t \nhave to live in a cellar. So far it’s been a number of \nlucky breaks, which, of course, have an impact on \nthe production of the magazine.  \nNew York-based Felix Burrichter has managed to combine his two \ngreatest passions into one successful project. As the editor of the in-\ndependent PIN-UP���������������������������������������������������\ncombines the ease of a modern lifestyle magazine with his own idio-\nsyncratic, intellectually sharp aesthetic, currently making it one of the \nmost interesting publications on contemporary culture. Over \na Skype interview he told us why he couldn’t live permanently in L.A. \n�������������������������������������������������������������������\n���\n��������������������������������������������������������������������������������������������\n�\n�������\n�������������������������������������������������������������������������������������\n����������������������������������������������������������������������������������������������������������\ndon’t feel like constantly having to make a new business card. My third workplace is in the unloved airport \n����������������������������������������������������������������������������������������������������������������\n���� ���������� ��������� ������� ����� �������� ���������� ��� ������ ��� ���� ������ ���� ������� �������� ������ ����\n��������������������������������������������������������������������������������������������������������������\n�����������������������������������������������������������������������������������������������������������\n���������������������������������������������������������������������������������������������������������������\n����������������������������������������������������������������������������������������������������������������\n��������������������������������������������������������������������������������������������������������������\nto produce an issue there. \nCB \nWhere can you absolutely not work?\n \nFB           Simply put: wherever there is no \nInternet. It is a prerequisite for my work. A small \nprinter is also very important. We’re a paper \nmagazine. And to be honest, I also need a proper \n������� ��� �������� ���� ����� ���������� ��� ���� ������\nwhere you can, with time, accumulate everything you \nneed. Therefore a change of location, with a reason-\n�������������������������������������������������\nCB \nHow many days a year are you travelling?  \n \nFB          To put it in percents: Around 55 \n�������������������������������������������������������\n�������������������������������������������������������\nmy fourth workplace.  \n�������������������������������\n",142,{"image":560,"text":561,"number":562},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.143.png","PIN-UP NO. 9\nTHE L.A. SPECIAL\nPIN-UP NO. 12\nBERLIN SPECIAL\nPHOTO BY JEREMY LIEBMAN\nTHIRD WORKPLACE\n",143,{"image":564,"text":565,"number":566},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.144.png","144\nWORKSPIRIT\nCB \nIn what way has it had an impact on the issues? \n \nFB  \nBy design the Berlin issue was \nsomewhat unpolished, rawer and anarchic. L.A. was \na bit gentle and broken up. In L.A. you’re usually at \nhome or in a car, you really live in a bubble.\nCB \nThere’s a nine-hour time difference between L.A. \nand Europe. How do you cope with that?  \n \nFB  \nI realized how much I still need \nto be close to Europe. My family lives there, and \nmany of my employees, the printer, photographers \nand European advertising customers are there as \nwell. After a prolonged stay in L.A. it became clear \nto me that I could only live on the East Coast for \nextended periods of time.\nCB \nAnd other than a table, chair, Internet and a printer, \nwhat do you need in your personal environment?\n \nFB  \nI love to have a view to the out-\nside. Without a view I’d go insane.\n���\n�������������������������������������������������\n�\n����\n������� ��� ������� ����� ����� ����\na private home with a beautiful view. I leave no stone \nunturned. I also search for the perfect place on Airbnb. \nYet, I prefer when the recommendations come from \nfriends. Naturally, it’s not easy when you have to send \na whole team.\nCB \nTo date, how have your workplaces been geographically \ndifferent? Were there any favourites? \n \nFB  \nL.A. and Berlin could not have been \nmore different. We were in Berlin from February to May. \nIt was extremely cold and dark – that’s just Berlin in the \nwinter. We were in L.A. in mid-summer – in \na pool house with views over the hills of Hollywood – an \nabsolute contrast. And I hope that this had an impact on \neach of the issues. If it didn’t than we could have done \nthe same work from New York.\n���\n��� ���� ���� ��� ���� ��� ��������� ��� ����� ����� �����\nyou’re travelling?\n \nFB  \nBecause of our expansion it’s \n�������������������������������������������������������\nAnd I’m constantly learning what it is to be \na good boss. And not only as my own boss. Ensuring \neverything‘s right — that comes with time.\nCB \nWould you like to work for you? \n \nFB  \nSure, based on the atmosphere \n����������������\nALL IMAGES PIN-UP MAGANE\n",144,{"image":568,"text":569,"number":570},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.145.png","THIRD WORKPLACE\nCB \nIs PIN-UP a one-man show or are you in constant communication with your team? \n \nFB  \nWith PIN-UP there are two peak periods when the whole team comes together and pro-\nduces the issue, that’s just the way it is. For the rest of the year I’m collecting mushrooms in the forest, bring-\ning them home and cooking them together with the team.\nCB \nYou founded the magazine in 2006. How has your working approach changed since then, for example through technological \ndevelopments? How do you see your work today in comparison to the beginning?\n \nFB  \nWe are still a little old school. For example, we still don’t have a proper Internet presence. \nBut the pressure to constantly Tweet, to post on Instagram and Facebook is still there. But it’s hard for me to \ncompromise the quality of my work and to shorten the process of a good article. If we were to create an Inter-\nnet presence, it would have to be as good as the magazine. \nCB \nDo you think the pressure to constantly be present, to always \nhave something to say, is new?\n \nFB  \nYes, but so far I’ve simply resisted it.\nCB \nWhat would your dream workplace look like? \n�\n����\n����������� ��� �� ������� ������ ���� �����\n����������������������������������������������������������������\n������ ���� ���������� ������� ����� ����� ��� ����� ������ ���� ��-\nchange as much as they want, but I also need my quiet time.\nCB \nHow was PIN-UP created? \n \nFB  \nI studied architecture but have always maintained a passion for magazines. In between \nI just got tired of architecture. First I had an internship with Fabian Baron and wanted to do design, but I quickly \nrealized how much more I cared for architecture. I completed my Master’s and subsequently worked as an ar-\nchitect in N.Y. I was a bit unhappy, because the reality of the architecture business has very little to do with what \nI learned in my studies. Too much design, too few ideas. At that time there was no architecture magazine that \ncould really inspire me, in contrast to fashion or other titles, and the idea of starting my own magazine was born. \nI never dreamed that one day this would be my full-time job.\n",145,{"image":572,"text":71,"number":573},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.146.png",146,{"image":575,"text":576,"number":577},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.147.png","HAL\nThe multifunctional shell chairs HAL and HAL Ply by Jasper Morrison combine contemporary \n�������������������������������������������������������������������������������������������������\n���������������������������������������������������������������������������������������������\n�������������������������HAL with a moulded plastic seat, or, as HAL Ply, in plywood, comes \n�������������������������\n",147,{"image":579,"text":580,"number":581},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.148.png","�THERE IS NO GAP BETWEEN WORK AND LEISURE ANYMORE”\nNC\nHOTELS ARE INCREASINGLY \nPLACES WHERE YOU BRING \nYOUR WORK WITH YOU  —\nWHETHER IT’S A BUSINESS \nHOTEL OR NOT. VERY FEW \nOF US CAN COMPLETELY \nLEAVE WORK BEHIND. IS IT \nPOSSIBLE TO CREATE HO-\nTELS THAT ALLOW YOU TO \nESCAPE AND WORK?\nRC\nWell, I think the idea here \nwas to create something \ntransformational. I’ve thought\nof every room as a suite, that \nis why the lobby looks the \nway it does. I never sat in a \nlobby to read the newspaper \nin a traditional hotel. I sit by \nmyself in my room – and 80 \npercent of people who travel \nfor business travel by them-\nselves – I am scared to go \ndown and sit in the lobby. Or \nI have to go and sit in the \nrestaurant and have lunch or \nbreakfast.\nThat was really at the basis \nof the concept; giving people \na place to hang out, network \nand work. There are spaces \ndownstairs for meetings, to \nwork with your laptop – that \nis what is transformational. \nAnd that is why we are put-\nting a lot of effort into the \nlobbies and workspaces. This \nis a working hotel. There is \nno gap between work and \nleisure anymore.\nWe just want to challenge \nevery single thing about nor-\nmal hotels. Go to most hotels \nand ask for a bottle of water \nand it can take 40 minutes. \nOr if you want a coffee the \nconcierge has to drive you \nto a coffee shop. It’s such \na hassle, all of it. We just \nstarted with a list of things \nthat we didn’t like about \nhotels, \nthere \nwere \nabout \na hundred of them, and said \nwe weren’t going to do them. \nWe built a business model \naround \ndoing \nsomething \nelse. That is why there is free \nWi-Fi, Skype rate phone calls, \nlots of free TV content, U.K., \nU.S. and European outlets, \na USB charger at every work-\nstation in every room and a \n24-hour canteen where you \ncan get sandwiches, sushi or \na cup of coffee. There is an \n�������� ����� ��� ����� ������\nyou can just walk in, do your \nthing and walk out.\nBorn in Delhi but based in Holland since the early 1970s, Rattan Chadha founded the fashion \n����������������������������������������������������������������������������������������\nconcept in hotels. The chain – there are branches in Amsterdam, Glasgow and London, with \n������������������������������������������������������������������������������������������������\n�������������������������������������������������������������������������������������������������\nfree Wi-Fi, iMac-equipped workstations and sofa-and-plasma-screen chill-out areas. Making his \nvision a reality, Chadha has worked closely with Vitra in developing a unique look for the chain. \n�������������������������������������������������������������������������������������\n��������������������������������������������������������������������������������������������\n������������������������������������������������������������������������������\nINTERVIEW BY NICK COMPTON\nNC\nA LOT OF HOTELS SEEM \nTO OFFER TOO MUCH SER-\nVICE, WHICH MOST PEOPLE \nAREN’T \nTHAT \nCOMFORT-\nABLE WITH OR ARE TOO IM-\nPATIENT TO BE BOTHERED. \nHOTELS DON’T ALLOW FOR \nSELF-SUFFICIENCY. \nULTI-\nMATELY, TOO MUCH SER-\nVICE CAN FEEL STIFLING.\nRC\nExactly, so the focus here was \non a great bed, great shower, \ngreat \nentertainment, \nfree \nWi-Fi and a fan tastic place \nto network downstairs. We \ndon’t want you to be in your \nroom. We don’t want you \nstanding in queues to check-\nin, and the same for check \nout. We don’t have nine but-\nlers waiting around to starch \nyour shirt because a lot of \npeople don’t want that.\nNC\nMOST HOTEL LOBBIES ARE \nTHESE VAST SPACES THAT \nNOBODY REALLY USES EX-\nCEPT TO WAIT FOR THE \nRAIN TO STOP. \nML\nAnd the restaurant is used \nfour hours a day and the rest \nof the time is a dark empty \nhole. You come to a hotel \nfor an experience and you \ncome for warmth, otherwise \nit doesn’t stick. The environ-\nment we create is on a very \nhuman scale. \nNC\nWHAT DID YOU LOOK AT \nIN TERMS OF A MODEL FOR \nHOW THE LOBBY WORKS?\nRC\nI think with the lobby we \nwere really thinking about \na living room, about the \nthings that you do when \nyou go home. You dump \nyour stuff, you have a quick \nshower, and you go to your \nstudy or to your living room. \nIt is the same here, you grab \nsomething to eat and go and \nwatch some TV in the chill \nout area – there are remote \ncontrols down there – or you \nsit down and do some work. \nSo it really was built around \nthe idea of what people do in \ntheir home environment.\nIt is designed to encourage \ninteraction. There are long \nbenches at the cafe.\n148\nWORKSPIRIT\n",148,{"image":583,"text":584,"number":585},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.149.png","THIRD WORKPLACE\n",149,{"image":587,"text":588,"number":589},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.150.png","WORKSPIRIT\n150\n",150,{"image":591,"text":592,"number":593},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.151.png","THIRD WORKPLACE\nNC\nACTUALLY, WHEN I WALKED \nIN I WAS A BIT STARTLED. \nI WAS FACED WITH THE \nKITCHEN \nRATHER \nTHAN \nA BANK OF PEOPLE IN SUITS \nAT THE CHECK-IN. DOES IT \nTAKE A WHILE FOR PEOPLE \nTO GET USED TO IT?\nML\nI think people are instantly \nrelaxed and pleasantly sur-\n����������������������������-\ning a barrier and there isn’t \none here. We don’t feel that \nwe have to do everything for \nthe guest because you are \nquite capable and happy to \ndo things for yourself and \nprefer it.\nRC\nThe idea is that it is edited \nbut very considered. \nNC\nWHO IS THE IDEAL GUEST?\nNC\nTELL ME ABOUT WORKING \nWITH VITRA ON THE DEVEL-\nOPMENT OF CITIZENM. \nML\nVitra is a very high quality \nproduct. It’s a wow. It cre-\nates a real environment. And \nwe wanted to work with \nthem to create living envi-\nronments \nthat \nwere \nalso \nworking environments.\nRC\nWell we call them “Mobile \n��������� ��� ���� �������� ���\n���������\n��������\n���������\naround them, people who are \ntravelling for work and for \nleisure. \nThey \ncould \nbe \nmusicians or businessmen or \nlawyers but they are young \nat heart. They are looking for \na bit of predictability, be-\ncause they are short on time. \nOne of the things I said was \nthat if go to Dakar, Hong \nKong or Bangalore, I want \nthe room to be the same. If \nI’m going on holiday, I will \nspend more time thinking \nabout the room, but for work \nI am looking for location and \npredictability.\nThe customer is value-driven, \nstyle-driven. They appreciate\ndesign –  hassle-free design. \nIt’s for the people who want \na home in every city, which is \nwhy we are only concentrat-\ning on the big  cities: New \nYork, London, Paris, Hong \nKong, Shanghai and Istan-\nbul. And we are only going to \nbe in the big cities but have \nlots of hotels in those cities.\nML\nAnd you don’t have over \nobedient service but we train \nanticipation so if people are \nin a rush, we see that they \nare in a rush.  \nThere \nis \na \nvery heavy emphasis on the \ncommunal. \nI \nthink \nthat \npeople are looking to connect \nwhen they travel, that is part \n���������������������������\nNC\nARE THERE LESSONS TO BE \nLEARNED FROM WHAT YOU \nARE DOING HERE IN TERMS \nOF \nHOW \nOFFICES \nAND \nWORKSPACES \nCOULD \nBE \nRUN, DESIGNED AND OPER-\nATED? CAN SIMILAR AP-\nPROACHES \nBE \nAPPLIED \nTHERE?\nRC\nWe \nhave \napplied \nthem \nalready. We have a brand \ncalled Spaces, and there are \nalready four in Holland. They \nare a huge success. It is a \nnew way of working. \nThey are whole buildings, \n100,000-150,000 square foot \nbuildings. Upstairs there are \n�������� �������� ���� ���� �����\n�� ����� ��� �� ������ ����� ����\nwe have clients like Face-\nbook. They want “innovation \nboxes” where 20-30 people \ncould work away from the \n������������������������������\nyou can just be an individual \nmonthly member if you are \na freelancer or  entrepreneur. \nAnd there are one or two \n������ ����������� ����� ����\ncommunal spaces with meet-\ning rooms, libraries, individ-\nual work places, long tables, \nhangout areas, a brasse rie \nand a bar. We have music stu-\ndios in there, casting agen-\ncies – and individuals.\nPeople come to us and say \nwe need 500 square metres \nbecause we have this many \npeople. And we say, no you \ndon’t, you need 300 square \nmetres. Because you don’t \n����� ��� ������ �������� ����\nyou don’t need break areas \nand coffee points. We have \nall that here. And you don’t \nneed a boardroom or a meet-\ning rooms because we can \nprovide that by the hour. And \nagain they are great environ-\nments. Again, it is transfor-\nmational.\nML\n���� ��� ����� ���������� ���\nbrings like-mind people to-\ngether. It is by convergence \nthat things happen, not in \nisolation.\nRC\nIf you are starting a new \nbusiness, you need that com-\nmunity, you need help. You \ncan get recommendations for \na great accountant, lawyer, \ngraphic designer, art director \nor photographer. There is \nsuch value in that. Or they \ncan post requests amongst \nmembers like “I need a Span-\nish translator.” I want to \nbuild these work communi-\nties where people help each \nother.\nLet’s face it, there are lots of \njobs in Europe that aren’t go-\ning to come back. So there \nare going to be many more \nindependent workers doing \ntheir own thing, working on \ntheir own, being consultants \nand not having the tradi-\ntional working day or need-\n���������������������������\nI only want to do things that \nare transformational. I really \nbelieve that the world is \nchanging and we are not \nchanging fast enough. Often \nwe don’t know what we want \nor need until we see it. \n",151,{"image":595,"text":596,"number":597},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.152.png","TEN COLOUR \nCooking Recipes        \nby Hella Jongerius\n4.\nA COLOUR SYSTEM THAT CARRIES \nTHE RECOGNISABLE SIGNATURE OF THE ARTIST \nOR THE DESIGNER BRINGS ABOUT A PALETTE OF \nCOLOURS WITH A CHARACTER. RIGID COLOUR \nTABLES CAN ONLY OFFER RIGID COLOUR \nCOMBINATIONS.\n2.\nONE COLOUR IS NO COLOUR. \nONLY WHEN COLOURS ARE SEEN IN \nRELATION TO EACH OTHER DOES THE REAL \nQUALITY OF EACH COLOUR SURFACE. SMALL \nCHANGES CAN HAVE DRAMATIC \nEFFECTS.\n3.\nA COLOUR \nCOLLECTION IS AN \nENSEMBLE OF COLOUR, \nMATERIAL AND SIZE. WHETHER \nA SURFACE IS SHINY OR MATT, \nLARGE OR SMALL DETERMINES \nHOW LOUDLY SOMETHING \nSHOUTS OR HOW SOFTLY \nIT WHISPERS.\n1.\nWe open our eyes and \nall we see are colours – a palette of \ncolours in which we subsequently recognise \nimages, people and objects.\n5.\nA colour composed of \nlayers keeps a colour\nfascinating. You have to blink twice. \nIs that surface red? Or is it grey? It does \nnot look the same in the morning as it \ndoes in the evening, or in winter \nand summer.\n",152,{"image":599,"text":600,"number":601},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.153.png","TEN COLOUR COOKING RECIPES\n6.\nCOLOURS ARE VERY \nPOWERFUL ORGANISERS IN \nA SPACE, AND THEY CAN HAVE A STRONG \nPSYCHOLOGICAL INFLUENCE. JUST SOME \nOF THE MOODS THEY CAN CREATE ARE: \nRELAXATION, ENERGY, IMAGINATION, \nFOCUS, HARMONY, HAPPINESS.\n8.\nThe size of a colour patch or \n������������������������������������������������\nstart by choosing the colour of the sofa in \n������������������������������������������������������\nof other furniture and objects will follow in a \nnatural way – the smaller an object, the \nmore accentuated the colour.\n9.\nWarm and cold \ngreys cover a wide range of \ntones from off-white, sand or clay \nto chocolate, aubergine or black. \nTogether with red and green tones, \nthey are the constant colours for \nthe interior – over time and in \ndifferent cultures.\n10.\nCOLOURS ARE \nPERSONAL. THERE ARE \nNO MISTAKES, JUST WAYS \nOF PERSONAL EXPRESSION. \nA GOOD COLOUR LIBRARY \nHELPS, THOUGH. JUST \nTRY IT OUT!\n7.\n����������������������\nTAINS MANY OPTIONS. THERE IS NOT ONE \nTRUTH. THERE IS NO GREEN BUT GREENS, NO RED \nBUT REDS. MOREOVER, ONE RED CONTAINS YELLOW, \nBROWN, EVEN BLUE. GREY CONTAINS A SHADE \nOF GREEN, AN AFTERIMAGE OF BLUE, THE \nMEMORY OF RED.\n",153,{"image":603,"text":604,"number":605},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.154.png","\nEames Plastic Chair produced by Vitra since 1950, Design: Charles & Ray Eames\nGo to www.vitra.com to ﬁnd Vitra retail partners in your area. \nwww.vitra.com\u002Fepc\n",154,{"image":607,"text":608,"number":609},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.155.png","BIOMECHANIC\n“You do not need to leave your room. Remain sitting at your table and listen. \nDo not even listen, simply wait, be quiet, still and solitary. The world will \nfreely offer itself to you to be unmasked, it has no choice, it will roll in ecstasy \nat your feet.”\nFRANZ KAFKA\nIn the early 1960s researchers at ETH Zurich (The \nSwiss Federal Institute of Technology)  began to con-\ncentrate on our everyday movement and sitting habits. \nThese studies examined motion and strain in an at-\ntempt to merge biological needs with physical com-\nforts. In 1961 a study adressing these issues, entitled \n“Investigation of the Mechanics of Human Move-\nment,” was published by the Institute for Biomechan-\nics at the ETH in Zurich and is considered a corner-\nstone for understanding the physical structure and \nmovement of human beings.  \nThe chair, long considered by Vitra to be a design object \nwith almost endless potential, is the most important \npiece of furniture in an ofﬁce. At about the same time the \nETH was releasing their studies, Vitra began their own \ninnovative research in ergonomics, experimenting with \nmaterials and technology. The right chair impacts pro-\nductivity and health, it can be used to deﬁne an indi-\nvidual’s space, and can help keep your thoughts creative \nand engaged. For over 25 years renowned Italian de-\nsigner Antonio Citterio has been developing ideas, re-\nthinking the way we use ofﬁces. In 2010, Vitra and Ant-\nonio Citterio developed an essential piece of furniture, \nreleasing the ID Chair Concept. In the assessment of new \nchair mechanisms, Vitra starts collaborating with the In-\nstitute for Biomechanics. The Institute performed a sci-\nentiﬁc study on the ID Chair Concept and the FlowMo-\ntion mechanism in summer 2010.\nBecause many of us sit in ofﬁces for hours a day, neck \nand back pain are common problems. Essentially – sit-\nting can be surprisingly hard on the body. At the ETH \nbiomechanical researchers continue to study the hu-\nman body from the microscopic (cellular) to the macro-\nscopic (whole-body) levels. Speciﬁc points of move-\nment and force on the body and spine during various \nseated positions were examined and recorded. \nAfter teaming with Vitra, it was found that forward \nleaning movements activate the abdominal muscles, \nand the muscles from the erector spinae. This is a sign \nof stabilization of the spine. \nWe naturally want to move, and when a chair offers a \ncomplete range of motion, it’s been shown that users \ntake advantage of it – engaging in dynamic sitting by \nleaning back and tilting forward. And thus, FlowMo-\ntion mechanics were born. Fitted with an adjustment \nscrew, FlowMotion is integrated into ID Chairs. The \nlatest development is ProMatic, a mechanism that \nautomatically adjust the movement to the user’s \nweight. \nThis much is clear, dynamic sitting and alternating \nbetween sitting and standing are two of the best things \nyou can do for your body during the workday. But in \nthe end, it’s not about the chair – whether it’s in solitude \nor with a group, we all have those particular places \nwhere we can relax and forget our physical selves, and \nonly focus on our minds. What would be possible if \nthat was the place you sat every day? \nwww.biomech.ethz.ch\nThe Science Behind the Seat\nFlowMotion\n",155,{"image":611,"text":612,"number":613},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.156.png","156\nWORKSPIRIT\n",156,{"image":615,"text":616,"number":617},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.157.png","ID-AIR\n",157,{"image":619,"text":620,"number":621},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.158.png","158\nWORKSPIRIT\n",158,{"image":623,"text":624,"number":625},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.159.png","ID-AIR\nVersatility and compatibility are essential to a healthy exchange of ideas, and the ID Air by \nAntonio Citterio brings these qualities in the form of a chair. Ideal for individual workspaces, \nshared desks, conferences or meetings, the backrest’s patented design enables air circulation \nand is combined with the comfort of a padded seat. When the ID Air was in development the \n��������������������������������������������������������������������������������������������������\nswivel chair, complimentary to the Visavis 3. \n",159,{"image":627,"text":628,"number":629},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.160.png","Grand Repos developed by Vitra in Switzerland, Design: Antonio Citterio \nGo to www.vitra.com to ﬁnd Vitra retail partners in your area.\n",160,{"image":631,"text":632,"number":633},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.161.png","www.vitra.com\u002Fgrandrepos\n\n",161,{"image":635,"text":636,"number":637},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.162.png","162\nWORKSPIRIT\nthis page from top to bottom: VITRAHAUS BY HERZOG & DE MEURON, bottom left: FIRE STATION BY ZAHA HADID, bottom right: CONFERENCE PAVILION BY TADAO ANDO, right page: VITRA DESIGN MUSEUM BY FRANK GEHRY\nPhotos from top to bottom, from left to right: JULIEN LANOO \u002F JULIEN LANOO \u002F JULIEN LANOO \u002F THOMAS DIX\n",162,{"image":639,"text":640,"number":641},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.163.png","������������������������������������������������������������������-\nniture would be inaccurate. So much more than design, the Vitra \nCampus is physical manifestation of their philosophy. Here iconic \narchitecture is a declaration of authenticity: simple, sleek and es-\nsential. About ten minutes from Basel, in Weil am Rhein, Germany, \nthe Vitra Campus blends architecture with functionality, design \nwith simplicity, and creativity with production. It has been meth-\n���������������������������������������������������������������-\nra´s factory buildings, some dating back to 1955. Over the last \nthree decades the campus has grown to include some of the most \nillustrious names in the world of art, design and architecture, in-\ncluding SANAA, Herzog & de Meuron, Álvaro Siza, Richard Buck-\nminster Fuller, Jean Prouvé, Jasper Morrison, Claes Oldenburg and \nCoosje van Bruggen. Over the years chairman Rolf Fehlbaum has \n������������������������������������������������������������������\n������������������������������������������������������������������-\n�����������������������������������������������������\nVITRA CAMPUS\n",163,{"image":643,"text":644,"number":645},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.164.png","Minutes from the convergence of Germany, France and Switzer-\nland, the Vitra Campus is an environment where cultures, lan-\nguages and perspectives merge. The grounds are dotted with \ncherry trees, and expansive views across the surrounding coun-\ntryside spread out in every direction. It’s the kind of place locals \ndrop by during the week for lunch or on the weekends to roam the \ngrounds and enjoy a ice cream from the polished 1960s Airstream \ncaravan kiosk. \nVitra Campus has grown out of the visions of individualists stand-\n���������������������������������������������������������������-\nment; it’s for the ages. The architecture doesn’t compete for at-\ntention, rather it creates a harmonious discourse: From Nicholas \n�����������������������������������������������������������������-\n������������������������������������������������������������������\n������� ������������� ��� ������ ��������� ��� ������� �� ��� ���������\n2010 Vitra House and Lounge Chair Atelier. The campus under-\nscores the essence of the company: to create design objects and \nfurniture that recognize need while avoiding stylistic excess.\n",164,{"image":647,"text":648,"number":649},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.165.png","left page: PRODUCTION OF THE ALUMINIUM CHAIR, DESIGNED BY CHARLES AND RAY EAMES, this page from top to bottom: VITRA CAMPUS FROM ABOVE, bottom left: VITRA TRUCK LEAVING THE CAMPUS, bottom right: ALUMINIUM CHAIR BASESES\nPhotos from top to bottom, from left to right: FLORIAN BÖHM \u002F PAOLA DE PIETRI \u002F FLORIAN BÖHM \u002F FLORIAN BÖHM\nVITRA CAMPUS\n",165,{"image":651,"text":652,"number":653},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.166.png","166\nWORKSPIRIT\nthis page from top to bottom: FINAL ASSEMBLY LINE OF THE ALUMINIUM CHAIR, bottom left: FACTORY BUILDING BY ÁLVARO SIZA, FACTORY BUILDING BY NICHOLAS GRIMSHAW, FIRE STATION BY ZAHA HADID, bottom right: BALANCING TOOLS BY CLAES \nOLDENBURG AND COOSJE VAN BRUGGEN \u002F Right Page: SHIPPING; Photos from top to bottom, from left to right: FLORIAN BÖHM \u002F JULIEN LANOO \u002F JULIEN LANOO \u002F FLORIAN BÖHM\n",166,{"image":655,"text":656,"number":657},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.167.png","When you arrive at the campus, you’ll pass Claes Oldenburg and \nCoosje van Bruggen’s Balancing Tools (1984). It was the couple’s \n����������������������������������������������������������������\nto their father on the occasion of Willi Fehlbaum’s 70th birthday. In \nprimary colours, towering pliers and a screwdriver appear to have \nbeen thrust into the earth, a hammer lying across them like a lin-\ntel. Acting as a deconstructivist backdrop to the precarious balan-\ncing act of the sculpture is the Vitra Design Museum (1989). The \nVitra Design Museum ranks among the most important museums \nof design worldwide. It is housed in a remarkable building by the \nCalifornia architect Frank O. Gehry where the museum stages two \nto three exhibitions each year on historical and current develop-\nments in design. These exhibitions provide visitors with insights \n�������������������������������������������������������������������\nthe inspirations, background information and processes of design \n��������������������������������������������������������������������\nother cultures. Outside, a perpendicular path leads away from the \nmuseum to Tadao Ando’s sublime Conference Pavilion, shielded \nfrom sight by unadorned concrete walls guiding visitors into the \nbuilding’s serene interior. \n",167,{"image":659,"text":660,"number":661},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.168.png","At the end of the road, past Álvaro Siza’s unembellished brick Fac-\ntory Building (1994), you arrive at Zaha Hadid’s Fire Station \n(1993). Yet, it is Herzog & de Meuron’s Vitra House and Lounge \nChair Atelier that enraptures visitors. On grounds dotted with wild-\n���������������������������������������������������������������\nstacked atop each other, like matchsticks that have tumbled from \ntheir box. Serving as a showroom, visitors can watch as an Eames \nLounge Chair is fabricated, meander through showrooms and or-\nder furniture in this arresting structure. It doesn’t stop there, by \nthe end of 2012 Japanese architecture duo SANAA will open their \npioneering Production Hall. Here two semi-circular concrete shells, \n������� ��������� �������� ������ ����� ����� ��������� �������� ���\na space for production and logistics. \nThe space encourages mind and body to roam, to explore, to be \ncreative. It’s not an attempt to showcase rising stars or the \nlatest fashion in architecture and they’re not afraid to return to \narchitects they’ve used in the past. The architects they’ve chosen \nspeak through their buildings as the designers speak through \ntheir objects. Although this is an industrial park with the func-\ntional objective of manufacturing and displaying furniture, it is \nalso a cultural destination for lovers of architecture and \na reflection of Vitra’s commitment to forward thinking, collabo-\nration and sensibility.\n",168,{"image":663,"text":664,"number":665},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.169.png","VITRA CAMPUS\nthis page from top to bottom, top: ASSEMBLY OF THE SOFTSHELL CHAIR BY RONAN & ERWAN BOUROULLEC, bottom left: WAVER CHAIRS BY KONSTANTIN GRCIC, bottom right: FACTORY BUILDING BY NICHOLAS GRIMSHAW, \nleft page: SCULPTURE AT THE «�����������������» BY DIETER THIEL; Photos from top to bottom, from left to right: JULIEN LANOO \u002F FLORIAN BÖHM \u002F JULIEN LANOO \u002F GABRIELE BASILICO\n",169,{"image":667,"text":668,"number":669},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.170.png","170\nLouis Kahn and scientist Jonas Salk in front of a model for the City Tower, Philadelphia, 1958\n© SUE ANN KAHN\n170\nWORKSPIRIT\n",170,{"image":671,"text":672,"number":673},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.171.png","The American architect Louis Kahn (1901-1974) is considered one of the great architects of the 20th \ncentury. With complex spatial compositions, elemental uses of form and a masterful choreography \nof light, Kahn created buildings of timeless beauty and universal symbolism. His major works in-\nclude the Salk Institute in La Jolla, California (1959-65), the Kimbell Art Museum in Fort Worth, \nTexas (1966-72), the Indian Institute of Management Ahmedabad (1962-74) and the Parliament of \nBangladesh, Dhaka (1962-83). Among experts, Louis Kahn has long been named in the same breath \nas other architects of the last century such as Le Corbusier, Frank Lloyd Wright and Ludwig Mies van \nder Rohe. However, among these contemporaries Kahn is the great unknown. While Le Corbusier \nwas known as an inexhaustible publication machine, Mies van der Rohe invented the elegance of the \ninternational style and Frank Lloyd Wright reconciled modernity with ornament and craft, Kahn’s \nwork can not be so easily reduced to a code. It is bulky, hermetic, isolated from its own time – and \nperhaps this is why, even today, it is eminently important. \nLOUIS \nKAHN\nTHE \nREDISCOVERY \nOF \nAN \nARCHITECT\nAlfred Newton Richards Medical Research and Biology Building in Philadelphia, 1957–65\n© LOUIS I. KAHN COLLECTION, UNIVERSITY OF PENNSYLVANIA AND THE PENNSYLVANIA HISTORICAL \nAND MUSEUM COMMISSION. PHOTO: MALCOLM SMITH\nVITRA DESIGN MUSEUM\n",171,{"image":675,"text":676,"number":677},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.172.png","172\nLouis Kahn at work at the Fisher House, 1961 \n© LOUIS I. KAHN COLLECTION, UNIVERSITY OF PENNSYLVANIA AND \nTHE PENNSYLVANIA HISTORICAL AND MUSEUM COMMISSION\nNational Assembly Building in Dhaka, Bangladesh, 1962 – 83\n© RAYMOND MEIER\nNational Assembly Building in Dhaka, Bangladesh, 1962–83\n© RAYMOND MEIER\n172\nWORKSPIRIT\n",172,{"image":679,"text":680,"number":681},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.173.png","To appreciate the meaning of Kahn’s work, and to make it accessible to a wider audience, in the spring \nof 2013 the Vitra Design Museum will open the long-awaited retrospective, “Louise Kahn. The Power of \nArchitecture.” Here, numerous discoveries are brought to light: in Kahn’s travel sketches, for the urban \nplanning of Philadelphia, in respect to his collaboration with renowned engineers, and especially the \nvital role of nature in his work, both in terms of design and embedding his architecture in the land-\nscape. The exhibition is not limited to fresh historical developments in Kahn’s work. Countless inter-\nviews with contemporary architects were conducted, to capture Kahn’s reception and its historical \n����������������������������������������������������������������������������������������������������\nincluding Renzo Piano, Mario Botta and Peter Zumthor, but also younger players such as Sou Fujimoto \nand Alejandro Aravena.\n“LOUIS KAHN - THE POWER OF ARCHITECTURE” WILL BE SHOWN FROM 8 SEPTEMBER 2012 TO 6 JANUARY 2013 IN THE NETHERLANDS ARCHITEC-\nTURE INSTITUTE IN ROTTERDAM. FROM THE 23 FEBRUARY TO 11 AUGUST 2013, IT WILL BE OPEN AT THE VITRA DESIGN MUSEUM, AND FINALLY \nAT SELECT INTERNATIONAL MUSEUMS. ALONG WITH THE EXHIBITION A CATALOGUE HAS BEEN PUBLISHED INCLUDING, AMONG OTHERS, \nAUTHORS STANISLAUS VON MOOS, NEIL LEVINE AND WILLIAM J.R. CURTIS. THE CATALOGUE IS AVAILABLE AT WWW.DESIGN-MUSEUM.COM OR IN \nBOOKSTORES. MORE INFORMATION ABOUT THE EXHIBITION AND CATALOGUE CAN BE FOUND AT WWW.DESIGN-MUSEUM.DE.\nSalk Institute for Biological Studies in La Jolla, USA, 1959 – 65\n© THE ARCHITECTURAL ARCHIVES, UNIVERSITY OF PENNSYLVANIA, \nPHOTO: JOHN NICOLAIS\nVITRA DESIGN MUSEUM\n",173,{"image":683,"text":684,"number":685},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.174.png","174\nWORKSPIRIT\n�WHEN IT COMES TO THE FUTURE, THERE ARE THREE KINDS OF PEOPLE: \nTHOSE WHO LET IT HAPPEN, THOSE WHO MAKE IT HAPPEN, \nAND THOSE WHO WONDER WHAT HAPPENED.”\nJohn M. Richardson\n",174,{"image":687,"text":688,"number":689},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.175.png","SPHERE TABLE\n�����������������������������������������������������������������������������������������������������������������������������������Sphere Table ad-\ndresses these problems by providing simple individual locations for concentrated work in busy areas – from shared spaces to airport lounges. Incorpo-\nrating a warm wooden table and an opaque half-globe, which can be attached to any leg of the table, the Sphere Table shields the user from pesky \naudio and visual distractions, while allowing light in. The simple, yet futuristic, design facilitates privacy without full retreat.\n",175,{"image":691,"text":692,"number":693},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.176.png","176\nWORKSPIRIT\n",176,{"image":695,"text":696,"number":697},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.177.png","SPHERE TABLE\n",177,{"image":699,"text":700,"number":701},"\u002Fmedia\u002Fimages\u002Fa7\u002F060120fd7ce3844569dc90bbc478eb.178.png","\nPanton Chair Classic \ndeveloped by Vitra in Switzerland, Design: Verner Panton\nGo to www.vitra.com to ﬁnd Vitra retail partners in your area. \nwww.vitra.com\u002Fpantonchairclassic\n",178,[],0,false,true,{"success":705,"data":707,"meta":915,"count":916,"next":917,"previous":918,"results":950,"brand_chips":1011},[708,721,730,739,748,757,766,776,786,797,809,822,831,844,856,866,876,885,894,906],{"id":709,"title":710,"slug":711,"image":712,"source":713,"brand_name":714,"brand":715,"brand_slug":716,"file_size":717,"pages":718,"pages_count":719,"matched_pages":720,"match_count":703,"two_pages":704,"show_text":705},26607,"Working 2026","leds-c4-working-2026","\u002Fmedia\u002Fimages\u002F3a\u002F295e58aee952a0d50352f22925106a-29704a6e39.1.png","\u002Fprivate\u002Ffiles\u002Fad\u002F06804e7560a395bf4a98c17bd40b17-29704a6af8.pdf","Leds C4",2502,"leds-c4","106.7 MB",[],1218,[],{"id":722,"title":723,"slug":724,"image":725,"source":726,"brand_name":714,"brand":715,"brand_slug":716,"file_size":727,"pages":728,"pages_count":286,"matched_pages":729,"match_count":703,"two_pages":704,"show_text":705},26606,"Architectural Systems  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