Office Interior Design

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The firms design for an office interior design company in Bangladesh , which bagged the premier position in its respective category.

office interior design company

First Prize Winner office interior design

Text: Ajay Nayak
Photographs Courtesy: the architect February 2000
  • A architecture in not always an exercise in Aesthetics or a question of building dream houses In practice, all architects don’t have the exorbitant budget to play with Sometimes it comes down to making the most of what is available and to compromise without tettirig the narrowed scope affect the office interior design. The office interior design company team worked under exactly these set parameters to accomplish the office for , “The office interior design of a space resporids to its characteristics along with the brief and their exploitation within the set parameters , after a prolonged work experience in an office in dhaka. Since its inception, the firm’s primary concern has been exploration of varied spatial nomenclatures. The highlight of their professional career so far, has been their competition winning office interior design .., which at present is in its development stage. The other explorations by the duo include a few interior-architectural design projects, currently under construction. The office interiors at … was for an estate/financial consultant. The project formed the Phase-l and was spread over the lower floor, with Phase-Il planned as its extension on the upper story. A regular circulation pattern connected the reception, accounts/computer sections and directors’ cabin, all conveniently placed around SECTION A-A an intermediate transition and service core. Civil changes had to be kept to a minimum as per budgetary constraints. The designers envisaged the project as a dynamic spatial envelope, harboring within its morphed planes and volumes the unpredictability of the financial and real estate market. Conceptually the financial graph was mapped out onto the vertical zee plane. Curvilinear warped forms of the work- benches accentuated the clean horizontal ‘green’ floor plane. As Nr. recalls, “The whole configuration was not looked as objects in isolation, but as carved out spaces with in-built dynamic forms. In accordance to his low budget, the client reiterated his concern for using every square inch of the material retrieved from the dismantled modular furniture of his previous workspace.
  • Hence, the face lift of the new office involved the recycling of all old furniture. This hindrance was well refined by the designers’ adeptness, clientele patronage. the associated carpenter’s skill and the quality of the finishing materials. The architects carried out several 3D studies, including large scale models and computer generated animation whereby the sectional-graph was extruded into a spatial volume. The vertical transitory unit was conceived as a metamorphic sculptural volume indicating growth. The furniture was rooted onto the Baroda green marble flooring, These warped forms rest rather uneasily under the dynamic orthogonal roof plane accentuating the unsettling nature of the financial market. The architects’ credit their approach to an open programme of thinking. As Nr. says, “We don’t consider ourselves as architects, but artists, who sketch and sculpt in space.” This reflects in the transgression of the ‘standards’ in office interior design company and the reinterpretation of the norm in a distinctive manner. The furniture, in spite of the restraints, exemplify this approach where the normal format is broken to achieve a more sculptural quality along with the incorporation of the basic ergonomics. Explaining this attempt, Ar. says, “When we conceptualize space, we visualize it in terms of form, space and light. Using these mediums we interrogate forms, never losing sight of the actual function and comfort level of the client.” In the office interior design there is a sharp distinction between the roof planeĀ  represented by chiselled edges while the furniture is more curvilinear in form. Nr. justifies this intention as: “There is a certain point where a curvilinear geometry is introduced. There is this tendency to incorporate a combination of two distinct elements, a balloon staring into the face of a needle. Their point of contact lies in space, where each distinct element has to react to the other and is a result of the professed theme.” The floor plane harbouring warped forms serves as a datum whereby the fractured geometry of the ceiling could be ‘read’. The designers’ exploration in terms of colors is limited to the furniture. These lend definition to the scheme of the plain walls and the sculpted innovative, All this, not withstanding the constraints ceiling, though its use in certain sections tends to be inconsistent in terms of continuity and coordination. One could also read this as the and as Ary explains, “We do not focus on the constricting factors, but what is appropriate and remodel it.” This, they reiterate, is made possible by continuous creative brainstorming, introspection and humility, as Nr concludes, “We are in a continuous state of interrogation.” continuation of the financial theme. The resulting ‘architectural-interiors’, as Nr and Ar would like to put it, is fresh and Fact

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