Curve-Offices

KÖ-Bogen

When designing characteristic and diverse spatial scenarios, it is always an advantage to be able to respond spatially to a historical or very typically shaped existing building. This was the case here, as it is an adaptation of part of the Düsseldorf Kö-Bogen by Daniel Libeskind, which is designed on a concave and convex curved floor plan. This iconic ensemble of buildings is part of the portfolio of the client Art-Invest Real Estate, which has now commissioned brandherm + krumrey to design its Düsseldorf location: an office covering 420 square metres with 18 stationary workstations was to be fitted behind the dynamically curving building façade, whereby the existing structure was remodelled into a flowing spatial landscape. The company’s typical qualities of content-related adaptability and process-related flexibility were to be able to operate effectively. A sense of responsibility was also felt with regard to the reuse of existing elements, so that the high-quality partition walls and the office line along the outer wall were retained and the new furnishings were sensitively integrated.

Zoning

The interior specialists chose an exciting mix of different manufacturers, materials and colours for this, as well as for the lighting, which was suitably complemented by lighting systems from XAL and Vibia. Major changes were made to the interior of the storey in the area facing the roof terrace: An elliptical room structure in the centre, which responds to the curved lines of the façade, bundles the various functions such as the work lounge, kitchenette and sanitary areas. A long desk runs along the outside as a flex-working area, while the inside offers a work lounge zone for team meetings or smaller conference groups. Towards the roof terrace is an employee lounge with options for communal meals, social events or spontaneous discussions. The colour palette is based on restrained, light grey and beige tones, with red or blue in the seating furniture and floral or abstract patterns in the accent wallpaper. The designers chose natural wood or textiles for the relevant surfaces. The targeted use of fabric coverings and special curtain fabrics optimise the room acoustics.

What do you think are the key qualities of a good workplace?
Susanne Brandherm: A good workplace is not necessarily anchored in just one place. From our point of view, it is important to know the needs of the company in order to react accordingly in terms of both space and corporate culture. Regardless of where the workplace is located, the aspects of light, acoustics and ergonomics are certainly of decisive importance, as is the “working atmosphere”.
Do you see any similarities in interior design for living and working?
Both are living spaces in which we spend a lot of time, but with different requirements. The well-being of the person, the user, is at the centre of both living and working. So yes, there are comparisons, but it is also good to differentiate. After all, well-being also means switching off and getting away from it all. If the two areas merge too intensively, we don’t think it makes sense for mental health.
Which functional aspects do you consider to be the most important for the future development of workspaces?
Positive guiding principles, free ideas as a source of inspiration, innovative realisations for everyday life, for the home office and the office. A lot is in the process and is changing, the future starts today. One concrete aspect among others: There needs to be as much outdoor space or outdoor views as possible. This is like an important, extended work, meeting and recreation space. You should be able to open the windows, as this has an extremely positive psychological effect. You have generous areas for dialogue and the best conditions for different working needs.