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I Revolulia aculturald a amenajdrilor de birouri I prefald

I LAMA ARHITECTURA I TED'S COFFEE CO"

I STUDIO3PLUS I lmpact HUB

I DSBA I Renovare gi reabilitare birou de avocaturd

I AMA DESIGN I Johnson & Johnson RomAnia

I CORPORATE OFFICE SOLUTIONS I Accenture

I COLECTIVUL DE ARHITECTURA I UniCTedit BIS

I INTERMEDIO GENERAL GRUP I Showroomul Theta

I CORVIN CRISTIAN STUDIO lJazz Communication

I DELIA A. DIDEA I Workspace Studio

I MORPHOZA I Betfair Romania Development Office

IAMA DESIGN IVEEAM

I PIANO:TERRA I Lion Publishing

I TAG ARCHITECTURE I - | + x Offices

I CORVIN CRISTIAN STUDIO I lvatherm

I MORPHOZA I NTT Data Rom6nia

I CRISTIANA ZGRIPCEA I Primdverii Headquarters

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Revolulia aculturald a amenajdrilor de birouriThe Accultural Revolution of Office lnterior Design

Da, am ajuns gi aici. Adicd la al doilea volum dedicatinterioarelor de birouri.CAt mai pot, imiamintesc cu bund placere cum ardtaubirourile pe vremun. Pe vremuri, adicd in timpul luiancien r6gime gi imediat dupd, pdnd sd se apuceoamenii sd schimbe cdte ceva. Ce eleganld, ce rafi-nament, ce vremuri, ce oamenil Placajul furniruit erazeu. Lambriul imbrdca perelii pend la cote nebanuite,adesea ajungdnd chiar gi pe tavan. Doar in birouriledirectoriloI desigut cd doar lambriul nu era pentrutot prostul. ln rest, regula o fdcea vopseaua in uleiin culori pastelate - verde brotdcel, galben pigdliu,maro-cufureald despdrlita de huma superioard-iprintr-o dunga sublire, dar intensd. C6t despre mobiliel ce sd mai zici?l Masiv, sculptat, bogat decoratgi biroul musai cu sticla pe blat, ca sa nu se zgdriefurnirul poporului, pe de o parte a ugilor capitonate;melamind 9i metal fprelios, din 3 litere: ferJ, pe dealta, ca sd nu se dedea curul proletar la confort bur-ghez cd cine gtie ce idei ii mai vin. Sd nu uitem, cA totdin decor gi recuzitd fdcea parte, secretara coafatdnuplial care propunea cu o voce fals servild o cafeanaturald in cegcule de porlelan chinezesc. Astdzi rarmai gdsegti aga ceva, iar vestigiile meritd conservateqi, de ce nu?, muzeificate. Ele sunt oricum aur curatpentru coleclionarii de vintage cu barbd gi pantofiNB 9i scenografii noului val romdnesc de filme in-telectuale.Ei bine 9i slavd Domnului, astdzi am ldsat departe inurmd toate acestea, gi pilotdm cu toate viteza inaintenava designului interior de birouri. 0 minimd priviretransversald ne va lamuri fard echivoc cd intre celedouE lumi este o distanld la fel de maTe ca cea dintredrscursul sexual public din vremea bunicilor nogtri gicel de astdzi. lnhibitii si constrdngeri pe de o parte,llbertate, dezinvolturd, experiment pe de alta. Cdnd-r,'a. pe parcurs, o adevdratd revolulie (aJculturala se',: .i produs in amenajdrile interioare, iar rezultatelee s-.1 v'izibi e in noua ordine a interioarelor muncii.,::^ e -abuuri au cazut unul cdte unul, Dumnezeul,.:^ s-a prapddit $i el la un moment dat gi noua fi-- -: . slei'r ui inierior a iegit din crisalida-i cenugie gi,::,s.:. -: izdrdu-si liber aripile muiticolore 9i multi-,:':--:-3. :-rrCS SpUS. nU?,= .-:=* -: :s:iz. arCartea defatd nufacedecAt

Yes, we made it here too. That is to say, we made itto the second book dedicated to office interior design.While I still can, I fondly remembeT how offices lookedlike in the good old days. ln the good old days, that isto say, during the ancien 169ime and right after it, be-fore peopie began to make changes. What elegance,what refinement, what times, what peoplel Wood veneeT was god. Wainscot went up the walls to dizzyingheights, often even reaching the ceiling, though only inthe managers' offices, as wainscot wasn't for every av-erage Joe. As for the rest, the standard was oil paint inpastei tones - frog-green, piss-yellow and sh*t brown -divided from the clay ceiling by a thin, but intense stripeof paint. As for the furniture, what can you say? Sol-id, scuipted, richly decorated desks , with a manda-tory sheet of glass over the counteftop, in order notto scratch the People's veneeT - placed on one sideof the padded doors; melamine and metal (precious,four letters: ironJ, on the other srde, so that proletar-ian asses wouldn't crave bourgeois comfofts and getother, wrong ideas Let's not forget that an imporlantpaft of the d6cor and scenery was the secretary withfaux-bridal harr arrd a faux servile voice. in which sheoffered "organic" coffee, seryed in chtna cups actually made in China.Nowadays, this is a very rare sight, and the vestiges areworth being preserued, maybe even why not? - inmuseums. As a matter of fact, they are pure gold forthe bearded viniage collectors in NB shoes, and fortheset designers of the Romanian new wave of intellectu-al cinema.Well, thank God, today we finally left behind all this andwe are steering the ship of office interior design fullspeed ahead into the future. A quick transversal lookis enough to make it clear that between the two woridsthere is a distance as oreat as the one between theway our grandparents talked about sex tn public andthe way we talk about it nowadays Inhibitions and con-straints on one sjde, and freedom, openness and experiment on the other. Somewhere along the way, a true[ac]cultural revo ution of interior destgn took place, andits results are visible in the new order of workspace in-terors The old taboos fe I one by one, the old god alsodred a ong the way. and the new being of interior spacecanie out of its old, grey chrysalis and spread its multi

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sd ofere un rezumat notabil, sintetizend esenlafenomenului, este rezultatul concTet al aculturaliei,sau, cum spuneam, al revoluliei aculturale pusd inmigcare de forlele oculte ale societd!i liberale multilateral dezvoltate. N-am fi insd ceea ce suntem dacdnu am pdtrunde mai addnc, incercdnd sd deceldmmecanismele de generare din spatele formelonEi bine, ideea de baza, in jurul cdreia graviteazd,practic, tot edificiul, este cd munca, cel pulin cea debirou, nu mai trebuie sb fie ceva nasol. Adicd munca(de birou) e frumoase gi ffebuie sd ne placa. Vorbim aici de o masivd schimbare de paradigmS, pen-tru realizarea cdreia toate mijloacele disponibile aufost puse in migcare. Prima problemd care trebuiadepdgitd era problema pldcutului unui lucru obliga-toriu. Cam complicat, nu? Cum nu se poate totugischimba treaba cu obligativitatea, hai sd schimbdm,tiptil, celdlalt termen - muncd. Pdi cu ce? Pdi cu contrariul ei; gi care e antonimul activ al muncii? Joacd,nu-i asa? Ce-ar fi deci se nu mai venim la birou ca sdmuncim, ci dimpotrivd, sd ne jucdm? Respectiv, dacdpdnb acum veneam la birou gi incercam sA ne pre-facem cb muncim, jucAndu-ne de fapt ca orice omnormal, posesor de computer cu solitaire in dotare,acum venim la birou gi ne prefacem cb ne juc6m,muncind de fapt. Geniald gi perversd treaba, nu-i a9a,bazatd pe singura certitudine din c6mpul muncii: pusin fald obligativitelii, omul va c6uta sd facd exact con-trariull Acestea fiind spuse, iatd-ne ajungi la esen{anoului modus operandi al harnicei lumi contempo-rane: obligali sa se joace, oamenii se pun pe muncdlSd luam, deci, directivele in serios gi sd organizdmspafiile muncii noastre in consecin!5! Cdci pentrua face posibild geniala schimbare de paradigmd,decorul trebuie sd suslind gi el acest nou model, almuncii ca o joacd. Ca atare, spaliile noastre de lu-cru trebuie sd imprumute tot ce se poate imprumutade la cele rezervate, pdna nu demult, celor care seocupau in mod consecvent cu joaca, respectiv ceimai tineri dintre noi: copiii infantili (vorba unui geniu contemporanJ. lmagisticb gi culoare, materiale gitexturi, orice servegte idealul poate fi importat gi pusla treabd in noul ambient al muncii contemporane.Rezultatul? Spatii tot mai complexe, mai diverse,mai vesele, mai pulin convenlionale [oare ce maiinseamnd cuvdntul dsta astdzi?J, pline de referinleculturale gi de idei care pen6 nu demult nu puteau figdsite pe-aici. Foarte bine, foarte frumos gi, cel maiimporlant, oamenilor chiar le place, se pare. Sd fieSsta primul pas c6tre dragostea autenticd pentrumunc6? Sau poate o loviturd cu manta datd joculuicopiilor? Vd las pe voi sd decideli.

colored, multi-textured wings. Weil said, isn't it?What we are seeing today - and this book does nothincrbut offer a notable sumrxary, synthesizing the essenceof the phenomenon is the concrete result of the ac-culturation or. as said above, of the accultural revolutionengendered bythe occultforces of ihe multilaterally developed liberal society. Stiil, we wouldn't be what we aretoday if we didn't go deeper, trying to reveal the gener,ating mechanisms behind the forms.Well, the basic idea, around which the entire edificegravitates, is that work - office work, at least - doesn'thave to suck anymore Meaning, (officel work is nownice and we have to like it. We are talking here about amalor paradigm shift, for the purpose of which all of theavailable means were brought into play. The first problem that had to be overcome was that of liking some-thing that you are obligated to do. Complicated, isn't it?As it isn't possible to change the bit about obligation,let's work on the sly to change the meaning of the oth-er term "work". Change it into what? Well, into its op-posite. And what is the opposite of work? lt's play, isn'tit? So, what if we came to the office not to work, but toplay? That is, rf until now, we came to the office and trredto pletend that we were working, when in fact we wereplaying solitaire, like any normal person with computeraccess, now we are coming to the office and pretend-ing to play, when we are in fact working. A brilliant ands{ightly peruerse reversal, based on the only cerlitude inthe professional world: faced with something that theyare obligated to do, people will seek to do the exactopposite! This being said, here we are at the essenceof the new modus operandi of the busy contemporaryworld: forced to play, people will set to work!Let us, therefor-e, take the directives seriously and or-ganize our workspaces accordingly! For, in order to op-erate this brilliant paradigm shift, the d6cor must, in itsturn, sustain the new model of work as play. Therefore,our workspaces have to borrow all that can be borrowed from those who, until not so long ago, were theonly ones for whom play was a consistent occupation- that s, the youngest among us: infantile children (asa contemporary genius once called themJ lmagery andcolor, nraterals and textlies, any.lhing that seryes thedea can be mporled and used in the new workspaceenvironment. The result? lncreasingly complex, diverse,cheerful, and less conventional spaces fi/Vhat does"conventional" even mean nowadaysf , full of culturalreferences and deas that, until not so long ago, werecompletely foreign to our land Very good, very niceand, most importantly, very popular with people. Couldthis be the first step to the actual enloyment of work? Ora disguised b ow at childhood itself? l'll let you decide

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Un proiect coerent rezolvat in termeni de concept

9i esteticd poartd semndtura LAMA Arhitectura 9ia conturat birourile TED'S COFFEE C0., tot aici gd-sindu-gi loc gi o gcoald de barista. Cei 320 de metripdtrali ai unei hale industriale au fost utilizati pentru

aparilia a trei zone distincte unite de o scard careleagd spaliile asemenea unei panglici albe din olel.0 serie de corpuri de iluminat liniare cu leduri urcdin ritm cu treptele, spaliul rdmas gol fiind animat cumulte cabluri textile galbene la capdtul cdrora pa-harele de cafea to go TED'S se transformd in l6mpi.Parterului i-a fost alocatd func{iunea depozitarii 9i aanexelor gi tot aici a fost amenajata o micd receptie.Etajul intdi este spaliul propriu-zis dedicat birouri-lor, unde predomind varianta open. Delimit6rile s-aurealizat prin pereli din sticld 9i biblioteci din placajde pin al cbror spate este realizat din tabld expan-datd vopsitd galben. Aceeagi tabl6 este gi unuldintre straturile care invelegte piesa de rezisten!6a zonei de birouri * containerul TED'S, realizat dinleavd de olel. Cel de-al doilea strat al containeruluia fost realizat din baghete de placaj de pin. Fiindsemi-opac, containerul asigurd gi intimitate spaliuluide lucru. Ce mai poli face la birou c6nd iei o micdpauzd? 56 mergi in bucdtdrie gi sd iei loc la o imen-sd ,,masd a prieteniei" [7 mJ sau sd mai faci cdlivapagi p6nd la zona de relaxare, prevdzutd cu masdde ping-pong, fussball gi o bicicletd fixd. Delimiterilevitrate marcheazd o sald de conferinfe gi un birou incare troneazd un imens candelabru de corpuri deiluminat - pahare to go TED'S. Ultimul nivel este celal unei supante unde s-a conturat Ecoala de baris-ta. Aici predomind placajul de pin, un material caldcare aldturi de galbenul tablei indulcegte caracterulindustrial al amenajdrli.

Aesthetically and conceptually coherent, this pro-lect is signed by LAMA Arhitectura and includesthe headquarters of TED'S COFFEE CO., as well as abarista school. The 320 square meters of a reclaimed

industrial hall now house three distinct spaces, unit-ed by a staircase shaped like a white steel ribbon.Several linear LED light fixtures follow the rhythmof the steps. The empty spaces are filled with yel-low textile ropes, at the ends of which "to go" TED'Scoffee cups turn into light fixtures. The ground le-vel contains storage spaces and several annexes, aswell as a small reception area. The first floor is theoffice floor, defined by a predominantly open spacelayout. The demarcations consist in glass walls andpine tree plywood bookcases. The backs of thebookcases are made from expanded metal pain-ted yellow Expanded metal was also used to makeone of the layers that coat the key piece of the officefloor - the TED'S container. made from steel tubes.The second iayer of the container was made frompine tree plywood rods. The semi opaque conlainer ensuTes the privacy of the workspace. Duringtheir breaks, the employees can go to the kitchenand sit down at the immense, 7 meter long "tableof friendship", or walk to the relaxation area, whichcontains a ping-pong table, a foosball game ta-ble and an exercise bicycle. On the same floor theglass separating walls mark the place of a confe-rence hall and that of the managers office, withan immense chandelier made lrom TED S "to go'coffee cups. The topmost split level is occupied bythe barista school. The space is finished in pine treeplywood, a warm material that, together with the yellow sheet metal, sweetens lhe lndustrial line of thedesign project.

PROIECT / PROJECT: LAMA Arhitectura; arhitecli / archiiectsC6 i^ Raou, Dan Enacne. Alice on 1EFINALIZAT / DELIVERED: 20r 7

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