corrs, indesign, may 2014

Cultural ConversationA rAdicAl new building chAllenged A lArge lAw firm to Adopt A rAdicAl new workplAce culture

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architect Bates smartlocation sydney | aUsProJect corrs chamBers Westgarth

Words PaUl mcgillickPhotograPhy shannon mcgrath

open plan, activity-based working, agile working, flexible working – it is easy to lose sight of the wood for the trees when all we need be concerned about is: Is it an

appropriate workplace?That requires genuinely evidence-based design

which, in turn, involves answering a few simple questions: Who are we, what do we do and how can our work environment facilitate that as well as possible?

Workplace culture is inseparable from the physical work environment, but a new physical workplace can certainly facilitate cultural change – the way people work. Historically, accountants and lawyers have long epitomised this, mainly for the wrong reasons, because when we think of them, we tend to have a Dickensian vision of dark, defensive and cluttered offices filled with columns of paper files in no discernible order. But even accountants and lawyers, spurred on by the liberating benefits of digital technology, have recently begun to explore new ways of working.

Corrs Chambers Westgarth is a large legal practice which has bit the bullet and taken up the challenge of driving a new workplace culture, assisted in no small measure by the remarkable new building at 8 Chifley Square in Sydney which, by its form – highly transparent, north-facing, 790 square metre, U-shaped floorplates stacked as seven ‘villages’ oriented around two, three or four-storey atria – effectively demands a new way of working.

Cultural Conversation

left aBove The Level 18 café and wintergardenright aBove The connecting stairs, here linking the Level 17 client arrival floor with Level 16 and its breakout area, library and work areas

Corrs was moving from one of Sydney’s already established premium grade offices which was a traditional legal workplace – “highly cellularised”, as Brenton Smith (who headed up the design of the new workplace) describes it. Enclosed offices, lots of paper, a lack of purpose-built rooms and limited opportunity for the staff to socialise, but still one of the city’s pre-eminent buildings, which was a lot to compete with.

The aim was to completely change the culture with a strategy to encourage more collaboration, teamwork, knowledge sharing and transparency. The transparency concerned the way the company worked internally, but also the way it engaged with clients. Now, when clients visit the company, they feel a part of it because of the transparency of the building and the fit-out – they can see people working, see front and back of house. It is an experience which begins at reception on the client floor (Level 17) and ideally culminates over a glass of wine on Level 18 in the classy café and wintergarden.

A further strategic objective was to position Corrs as an international player, not simply a localised Australian practice. “That,” says Brenton Smith, “resonates with the choice of building. It’s an international building, so you have to create a space that reflects an international standard.”

The result of all this strategising is a conversation between the fit-out and the building, because the building encourages a certain way of working. As Robert Regan, partner in charge of the Corrs Sydney office Corrs) comments: “Corrs is the first large Australian law firm to take serious steps toward the workplace of the future. 8 Chifley is a brand new building, with great amenity, which supports Corrs’ strategy. It allows us to leverage our strengths through collaboration, and have the flexibility to choose the space that is most conducive to achieving the best outcomes. Working collaboratively is about greater connectivity and using the space to promote interaction. The move provides us with a workplace of the future that benefits our people and our clients.”

Bates Smart, who won a design competition for the job, recognised that this was a landmark building, beautifully articulated with its exterior cross-bracing and grand six-storey entry space at ground level. Hence, the aim was to design an interior which celebrated the architecture. As a result, wherever you are, you have views – sometimes just dramatic glimpses or, more often, sweeping views of the city and out towards the Harbour – through to the outside and the bracing. This is supported by subtle references inside such as the timber panelling and the floor tiling on the client floor which hint at the angularity of the external bracing.

Beyond that, says Brenton Smith, another objective was “creating a space which had a degree of elegance and sophistication without being overtly opulent…this was about elegant restraint”.

This restrained elegance, expressed through a light, soft palette and a considered choice of loose furnishings and rugs also works as a calming contrast to the base building – which, for all its drama, is a powerfully muscular statement. This reassuring ambience is announced on arrival at Level 17 reception where the splendid view is counterpointed by a quietly expansive client waiting area. This level also provides a variety of client meeting spaces including a set of four on the eastern side which can be combined to accommodate 150 people. On the opposite side of the atrium is a large meeting room screened by a series of directional blades which provide privacy, but still draw light in and avoid the clumsiness of filmed glass.

The client/arrival floor is one of four making up the central ‘village’ for Corrs. These levels are linked by an internal stairway which has its own, softer character to contrast with the robustness of the base building. The stairs have a curved profile with glass balustrading and are painted marine blue on the underside. The glazing ensures that the view is never obstructed, while the curved form and marine blue have a nautical overtone, making the link to the Harbour.

The marine blue underpainting also has another function – looking upwards from the atrium base, it punctuates the potentially overwhelming experience of the void. The solution creates breakout spaces

aBove The client arrival arearight Detail of client arrival reception deskfar right Client arrival area looking towards training and function rooms

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pAUL mCgILLICk

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available to all on either side of the atrium base. In this way, people also get to share the light and the views equally. The space is also anchored by the circular library pod and by an open frame over the central breakout area which provides a reassuring sense of enclosure and some human scale.

managing the change from an enclosed office culture to an open and collaborative culture invariably entails a trade-off. To give up the privacy of their offices, staff need to feel they have gained something. At Corrs the gain is in the form of quality communal space, both in the atrium base, and particularly with the Level 18 café, wintergarden and the wrap-around outdoor terrace with its phenomenal sense of being high up at the heart of the city. On this level, the mood is less corporate and more high-end hospitality. post-occupancy feedback shows that Corrs’ staff not only enjoy this space enormously, but also take considerable pride in it.

Complementing this are the workstations. Work floors are fully flexible and a single type of customised workstation is used. Designed and manufactured by Unifor, the workstations present more as a beautiful piece of joinery than a functional unit. With a ratio of 1:18 per square metre they occupy a large – which is to say, comfortable – footprint, offering personal storage space while their rounded, leather-capped tops provide a sense of private space without seeming overbearing or isolated.

All up there are 48 workstations per floor, plus 20 on each of the three atrium bases.

Corrs represents an outstanding example of base building and interior environment working together to facilitate a major cultural change in a profession many thought would never abandon its cosy closets.

Paul�McGillick�is�Editorial��Director�of�Indesign media.

left toP The atrium base on Level 16 showing the breakout arealeft Bottom The connecting stairway and a work area with the custom -ised Unifor workstationsleft aBove The boardroom on the client arrival floor

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SOmE pERSpECTIvES fROm THE INSIDE ON THE CORRS WORkpLACE in focUs

The Corrs project was about responding to how the next generation of partners want to

work. It’s not about the partner of today it’s about the partner of tomorrow. There were some very clear business and cultural objectives that were identified in the Corrs 2015 business strategy and these underpin the design. These objectives included, transparency, greater intimacy with clients, cross pollination, collaboration, equality and projecting Corrs as an international legal practice.

The design objectives were equally as important when designing in an iconic landmark building that has a strong external architectural presence.

Akey driver for our move was our strategy. We wanted an innovative workplace of

the future to support our commitment to collaborative working and a high quality environment.

Our focus was to occupy light and modern spaces. The use of new technologies allow our people and our clients to work more closely and effectively together.

The firm has stepped away from the traditional office to an open and flexible design. We have literally removed barriers to greater collaboration. This is intended to support our objective.

Robert Regan, partner

in Charge, Sydney Office

at Corrs Chambers

Westgarth speaks about

what inspired the move

to 8 Chifley.

Brenton Smith, Studio

Director on the fit-out,

discusses Bates Smart’s

approach to the project.

It was our intention to complement the architecture and create an interior language that has a dialogue with the building. Subtle references to the external cross-bracing can be seen in floor patterns and timber wall cladding as well as the planning.

Successful planning of the levels 9-18 was crucial in providing clear intuitive navigation as well as ensuring maximum visibility to the exterior frame work of the building.

A typical village is comprised of a side core with three U-shaped mezzanine floor plates arranged around a large central void linked by interconnecting stairs. Level 18 has access to a terrace which determined our planning rational of locating hospitality on level 18 and reception on level 17 with an interconnecting stair.

The typical floor plates work well for this purpose because they are relatively small spaces giving an intimate feeling as there are only 48 people per floor or 24 a side. This outcome helped alleviate fears of expansive open plan floors that often come to mind when talking to clients about open plan environments.

The work station design and quality was an important part of the “bargain” with the staff. Taking partners out of an office can be a very sensitive and emotional process so the quality and design of the workstation formed a critical part of workstation brief. from the initial competition we had described the new workstation as referencing an Etihad first class cabin. flexibility, easy access to files

and technology is achieved whilst maintaining a quality of material and detail that is more akin to a highly crafted piece of furniture.

Of equal importance are the hospitality spaces, support spaces to typical floors and variety of meeting room opportunities.

We created a central breakout space on each atrium base to encourage vertical travel and greater collaboration between business groups within each village. This space is designed to enable alternative work settings by integrating technology.

On level 18 we have combined the boardroom/private dining, cafe, and the terrace space to offer a high-end hospitality environment that enables staff and clients to mix. The design has intentionally overlayed our hospitality design to create a relaxed, comfortable and casual atmosphere.

I believe the success of this project has in large part come from strong leadership and the client’s commitment to deliver an environment that meets all of its cultural and business objectives. That’s certainly the result we’ve found with really successful jobs. If you have strong leadership and you have a clear vision, the outcome will result in a good product.

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corrsarchitect Bates Smartdesign team Simon Swaney, Julian Anderson, Brenton Smith, Hayden Crawford, Tommy Sutanto, Megan Fox, Martine Bonich, Polly Gee, Rachael McCarthy, Tamara YoungBUilder MirvacProJect manager CittastrUctUral engineer Arupservices engineer Medland Metropolis

time to comPlete 2 yearstotal floor area 8,000m2

Bates smart(61 2) 8354 5100 | batessmart.com

fUrnitUreWorkstations by Unifor, task chairs, ‘On Chair’ from Wilkhahn. In Meeting Rooms, Herman Miller Eames Aluminium chairs from Work Arena, Thinking Ergonomics ‘Eona’ table from Corporate Culture. In Breakout Areas, Kettal ‘MAIA’ dining chairs from dedece. In Reception Areas, Maxalto ‘Clio’ chairs, ‘Febo’ sofa and B&B Italia ‘Fat Fat’ table from Space Furniture, Minotti ‘Van Dyck’ round table from dedece. In Level 18 Boardroom, table from Unifor.

lightingIn Ground Floor Reception, Louis Poulsen ‘LP-AJ-F’ lamp from Corporate Culture. In Bar/Café, Oluce pendant from Euroluce.

finishesIn Meeting Rooms, broadloom carpet from Rugs, Carpets & Design. In Level 17 and 18 Reception, custom rugs from Designer Rugs. Throughout Workstations, upholstery from Kvadrat Maharam, South Pacific Fabrics, NSW Leather Co. and Pelle Leathers, tinted glass provided by Viridian. Generally throughout, zinc wall cladding from VMZINC, paint from Dulux, protective metal coating from Interpon, floor joinery by Laminex Group, timber veneer finishing from Fethers, wallpaper from Unique Fabrics. In Client Waiting Rooms, DuPont Corian solid surfaces from CASF. On Level 17 and 18, ‘Shima Chiaro’ stone slab from Skheme, and Calcutta marble from Euro Marble

CASF 1300 795 044 casf.com.au Corporate Culture (61 2) 9690 0077 corporateculture.com.au Dedece (61 2) 9360 2722 dedece.com Designer Rugs (61 2) 9550 9933 designerrugs.com.au Dulux 13 25 25 dulux.com.au Euro Marble (61 2) 8585 2999 euromarble.com.au Euroluce (61 2) 9356 9900 euroluce.com.au Fethers (61 3) 8562 0888 fethers.com Interpon 1800 630 516 interpon.com.au Kvadrat Maharam (61 2) 9212 4277 kvadratmaharam.com Laminex Group 132 136 thelaminexgroup.com.au NSW Leather Co (61 2) 9319 2900 leatherco.com.au Pelle Leathers (61 2) 9460 9222 pelleleathers.com.au Rugs, Carpets & Design (61 3) 9428 6223 rc-d.com.au Skheme (61 2) 8755 2300 skheme.com South Pacific Fabrics (61 7) 3254 0663 southpacificfabrics.com Space Furniture (61 2) 8339 7508 spacefurniture.com.au Unifor (61 2) 9552 9552 uniforaust.com Unique Fabrics (61 2) 9331 3086 uniquefabrics.com Viridian 1800 810 403 viridianglass.com VMZINC (61 2) 9358 6100 vmzinc.com.au Wilkhahn (61 2) 9087 7214 wilkhahn.com.au Work Arena (61 2) 8570 5700 workarena.com.au

aBove The cafe on Level 18

O ne of Australia’s preeminent law firms, Corrs Chambers Westgarth, recently settled

in to their new practices in the Richard Rogers designed 8 Chifley tower, in Sydney Australia.

With tenancies designed as a series of “vertical villages”, the firm enjoys a two-storeyed atrium linking those floors that house the centralised hospitality, meeting and reception facilities.

Custom designing the feature rugs for levels 17 and 18 allowed us to imbue the space with more of a hospitality quality and by way of textural contrast, the rugs serve to soften the expansive use of stone, glass and the city-scape beyond.

In collaboration with Designer Rugs we established a palette that pulled in subtle references to the base building colours as well as the hues of Sydney Harbour, visible outside.

Our intent was to allow the rugs to provide a layer of softness, as well as establish more intimate, informal meeting and waiting zones within the open-plan space. By selecting particular hues and tailoring the actual yarn and composition of the rugs, we were able to complement the textures and luxe ambience of our furnishings and their finishes. Neutral tones were referenced also from the veining in the stone floor; warm contrasts to the cool blues and sea foam colours present in the loose furniture.

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... tailoring the actual yarnand composition of the rugs,we were able to complementthe textures and luxeambience of our furnishings.

At Designer Rugs we are passionate about finding unique and tailored solutions for your commercial and

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Hayden Crawford & Brenton Smith Bates Smart