off-the-shelf shelving

off-the-shelf shelving

windham hill office space treehouse

windham hill office space treehouse

office campus

office campus

bumble & bumble welcome robot

bumble & bumble welcome robot

shredder entry: letting you know you’re entering somewhere new.

shredder entry: letting you know you’re entering somewhere new.

anderson architects roof deck.  from august.

anderson architects roof deck.  from august.

anderson architects roof deck.  at our former office.  we used to take breaks on our roof deck… throw the occasional party.  this became the place that we came together to watch the world trade center on that day.

anderson architects roof deck.  at our former office.  we used to take breaks on our roof deck… throw the occasional party.  this became the place that we came together to watch the world trade center on that day.

anderson architects.  a place to contemplate.

anderson architects.  a place to contemplate.

our downstairs conference room. bone dry after the hurricane.

our downstairs conference room.

bone dry after the hurricane.

office pendants

office pendants

the office after we all go home

the office after we all go home

Bumble and bumble University In the heart of New York’s meat-packing district, the cutting-edge hair product company and salon, Bumbleand bumble wanted to make a new home for their company that addressed all facets of their business.  With a tri-fold program spread out over seven floors, the project presented a unique challenge to accommodate disparate programmatic elements (salon, corporate headquarters, and training facility), while creating a unified environment for the company. The gateway to the space is the 8th floor, where an open plan and double-height windows offer expansive views of the city and the Hudson River beneath a large scale custom chandelier, welcoming clients to the salon while serving as a neighborhood destination in itself.  Salon clients check in at the long anodized aluminum reception desk.  Visitors can browse the retail area, designed with interchangeable components to accommodate the ever-changing product line, or have lunch at the café. Salon clients are escorted through the glowing fiberglass and steel surround, down to the main salon facilities on the 7th floor via the open wood and white-painted steel stair.  Clients are cut and styled in free-standing, rotating chairs which do not face mirrors but large windows, encouraging serenity and trust in stylists.  Hair coloring occurs in a separate ‘box’, where clients sit communally around a large library table with dryers mounted overhead.  The material palette of the salon is neutral to create a calm, luxurious environment where the client ‘is’ the color as well as to support the work of the colorists; and New York is the wallpaper.   The salon is a modern minimalist space with maximalist views and light. Salon training facilities, including classrooms and an auditorium, are provided on the 3rd and 6th floors.  The school is designed to parallel the salon experience as much as possible. Student styling stations run along a long, lab top counter with storage below, where individual mirrors with gaps between allow colleagues to share work and views out of the floor-to-ceiling windows.  All materials were selected and detailed to withstand the strong chemicals and extensive use of equipment and hair dyes.  The 3rd floor also contains public spaces, including a library and an art gallery illustrating the company history that weaves between the enclosed training rooms.  The changing and evolving gallery is largely housed within niches excavated from the thickened outer layer of the auditorium wall.  Lined with a/c plywood, these walls have a feel of the experimental, mirroring and showcasing the company’s position at the leading edge of hair design. The corporate offices inhabit the 4th and 5th floors.  Free-standing offices are located around a common meeting area or office ‘green’ while branches of workstations in alternating color palettes reach toward the windows.  Clean lines of strip lighting fly over the rows of workstations, while corkscrew clad lights hover within the private offices.  The palette of materials is adapted to form more specialized spaces such as the product development lab and the editing lab.  Throughout the space, elements reappear to unite the floors.  The existing concrete slab was maintained throughout, sealed to uphold the finish against traffic and stains from hair dyes.  Services for each floor are located behind floor-to-ceiling cement board walls, which bracket the space; the material was chosen for both its aesthetic appeal as well as its ability to age well in a variety of applications.  

Bumble and bumble University

In the heart of New York’s meat-packing district, the cutting-edge hair product company and salon, Bumbleand bumble wanted to make a new home for their company that addressed all facets of their business.  With a tri-fold program spread out over seven floors, the project presented a unique challenge to accommodate disparate programmatic elements (salon, corporate headquarters, and training facility), while creating a unified environment for the company.

The gateway to the space is the 8th floor, where an open plan and double-height windows offer expansive views of the city and the Hudson River beneath a large scale custom chandelier, welcoming clients to the salon while serving as a neighborhood destination in itself.  Salon clients check in at the long anodized aluminum reception desk.  Visitors can browse the retail area, designed with interchangeable components to accommodate the ever-changing product line, or have lunch at the café.

Salon clients are escorted through the glowing fiberglass and steel surround, down to the main salon facilities on the 7th floor via the open wood and white-painted steel stair.  Clients are cut and styled in free-standing, rotating chairs which do not face mirrors but large windows, encouraging serenity and trust in stylists.  Hair coloring occurs in a separate ‘box’, where clients sit communally around a large library table with dryers mounted overhead.  The material palette of the salon is neutral to create a calm, luxurious environment where the client ‘is’ the color as well as to support the work of the colorists; and New York is the wallpaper.   The salon is a modern minimalist space with maximalist views and light.

Salon training facilities, including classrooms and an auditorium, are provided on the 3rd and 6th floors.  The school is designed to parallel the salon experience as much as possible. Student styling stations run along a long, lab top counter with storage below, where individual mirrors with gaps between allow colleagues to share work and views out of the floor-to-ceiling windows.  All materials were selected and detailed to withstand the strong chemicals and extensive use of equipment and hair dyes.  The 3rd floor also contains public spaces, including a library and an art gallery illustrating the company history that weaves between the enclosed training rooms.  The changing and evolving gallery is largely housed within niches excavated from the thickened outer layer of the auditorium wall.  Lined with a/c plywood, these walls have a feel of the experimental, mirroring and showcasing the company’s position at the leading edge of hair design.

The corporate offices inhabit the 4th and 5th floors.  Free-standing offices are located around a common meeting area or office ‘green’ while branches of workstations in alternating color palettes reach toward the windows.  Clean lines of strip lighting fly over the rows of workstations, while corkscrew clad lights hover within the private offices.  The palette of materials is adapted to form more specialized spaces such as the product development lab and the editing lab. 

Throughout the space, elements reappear to unite the floors.  The existing concrete slab was maintained throughout, sealed to uphold the finish against traffic and stains from hair dyes.  Services for each floor are located behind floor-to-ceiling cement board walls, which bracket the space; the material was chosen for both its aesthetic appeal as well as its ability to age well in a variety of applications.  

Bumble & bumble On April Fool’s day 1995, an electrical fire swept through Bumble & bumble completely gutting the 19th Century former carriage house.  Instructed by the owner to make it “fabulous” and give it a unity of a “single enterprise”, the salon’s formerly two stories were expanded to occupy the entire building. Architecture with a “loose-fit” was employed as a means of organizing and signifying the different architectural spaces.  The spatial strategy was to create open areas within which specific architectural and programmatic elements could be inserted,  and sometimes moved.  Bumble could be thought of as a series of linked places that share materials, a quality of light, a sense of movement.  A floor-by-floor approach was employed with certain architectural gestures common to the entire interior, but with each area acquiring a distinct identity and presence.  Flexibility within a tautly organized plan address the diverse and articulate program. The floors are distinguished by program: the basement houses support/storage spaces; the ground floor consists of the main entry, cutting salon and the cafe; offices are on the second floor; the color salon, with its own reception and make-up studio, are on the third floor; the executive offices are on the mezzanine.  From the street, the building’s interior reveals itself.  A robotic device in the window serves as an indicator of what is within.  Animated and mysterious in nature, it greets you as you enter.  While displaying information with still photographs and customized video monitors, it stands on metal feet and attaches itself to the window with industrial suction cups.  Immediately upon leaving the street, there is a sense of dislocation.  The salon places you on display while you simultaneously view others creating an ambiguous experience of looking and being looked upon.  Transparency, translucency, opacity; spaces and objects are linked and revealed through materials and shapes creating a feeling of anticipation and curiosity. The ground floor salon is a blue plaster box with a poured acrylic cement floor. Smaller, discreet structures were inserted into the larger space where they serve as both signs and directional devices which lead one through the salon.  They are buildings along a route: reception, product/store, salon, cafe. The reception box, visible from the street, glows like a lantern after dark.  A galvanized metal-paneled wall contains storage, computers, graphic display and a cafe as well as an entry to the stair tower which accesses the rest of the salon. The cafe, clad in maple and chalkboard swallow light while softly glowing.  The cutting stations are assembled from poured concrete counters, lights and mirrors supported by aluminum brackets supporting, and fiberglass panels mounted over a steel frames.  They provide a dynamic mix of privacy and exposure.  The last component of the ground floor are the dressing rooms and adjacent shampoo area defined by a continuous bolt of fabric tautly woven around steel pipes, private enclosures for changing are formed. The lighting in the salon is a combination of incandescent and fluorescent fixtures establishing flattering light levels and color balance. The floors are linked by a stairwell with specific lighting, sound and material characteristics.  A two-story tower made of steel angles clad and metal grating rises within the space, housing lighting and sound equipment.  Greenish plaster walls and floors mixed with the steel give the space an “aquatic feel”.  The structure pins the program together as clients move from floor to floor. Translucent fiberglass and acrylic screens form the reception and transitional spaces from the stair tower to the color/third floor.  Giving partial privacy while transmitting light, this combination of materials is found throughout the project.  Against a blackboard backdrop, the second reception desk receives the visitor.  Below the mezzanine, the maple and stainless steel color dispensary and its galvanized work table are available for scrutiny.   Out from under the maple soffit of the mezzanine, the color stations plug-in to a power grid in the stained plywood floor, which is based on a drawing by Brice Marden.  The painted floor addresses the inevitability of stains with additional drips and splatters accumulated over time helping to complete the drawing. The color stations or “steamer trunks” of maple plywood and blackened steel frames, fold up and roll away for photo shoots and seminars.  Equipment fits inside, and each unit contains lighting and storage.  They are hinged and lockable, offering the users complete adaptability as well as the ability to reconfigure the space. The maple ceiling bends and folds over the double height space with clear industrial globe lights dripping from the ceiling and scattered above the work area.  Natural light pours in through three giant galvanized light scoops.  Along the north side of the double height space a fiberglass, acrylic and poplar “billboard’ is hinged to the mezzanine and leans out over the space, a screen with light and silhouettes animating the color floor below. A green plaster wall reaches up to the mezzanine level to anchor the glowing acrylic and steel grating bridge which leads to the mezzanine.  One wall of the space is actually the ‘billboard’ through which the executive offices have an over view of the studio’s frantic pace below. With unexpected combinations and assemblages of architectural elements, reiterated materials with depth and texture connections and dichotomies are formed creating the coherent feel and function of the salon.  Quiet and private, public and noisy, our task was to make it a destination.  Clients coming to participate in their own transformation also participate in ours.

Bumble & bumble

On April Fool’s day 1995, an electrical fire swept through Bumble & bumble completely gutting the 19th Century former carriage house.  Instructed by the owner to make it “fabulous” and give it a unity of a “single enterprise”, the salon’s formerly two stories were expanded to occupy the entire building.

Architecture with a “loose-fit” was employed as a means of organizing and signifying the different architectural spaces.  The spatial strategy was to create open areas within which specific architectural and programmatic elements could be inserted,  and sometimes moved.  Bumble could be thought of as a series of linked places that share materials, a quality of light, a sense of movement.  A floor-by-floor approach was employed with certain architectural gestures common to the entire interior, but with each area acquiring a distinct identity and presence.  Flexibility within a tautly organized plan address the diverse and articulate program.

The floors are distinguished by program: the basement houses support/storage spaces; the ground floor consists of the main entry, cutting salon and the cafe; offices are on the second floor; the color salon, with its own reception and make-up studio, are on the third floor; the executive offices are on the mezzanine. 

From the street, the building’s interior reveals itself.  A robotic device in the window serves as an indicator of what is within.  Animated and mysterious in nature, it greets you as you enter.  While displaying information with still photographs and customized video monitors, it stands on metal feet and attaches itself to the window with industrial suction cups.  Immediately upon leaving the street, there is a sense of dislocation.  The salon places you on display while you simultaneously view others creating an ambiguous experience of looking and being looked upon.  Transparency, translucency, opacity; spaces and objects are linked and revealed through materials and shapes creating a feeling of anticipation and curiosity.

The ground floor salon is a blue plaster box with a poured acrylic cement floor. Smaller, discreet structures were inserted into the larger space where they serve as both signs and directional devices which lead one through the salon.  They are buildings along a route: reception, product/store, salon, cafe. The reception box, visible from the street, glows like a lantern after dark.  A galvanized metal-paneled wall contains storage, computers, graphic display and a cafe as well as an entry to the stair tower which accesses the rest of the salon. The cafe, clad in maple and chalkboard swallow light while softly glowing.  The cutting stations are assembled from poured concrete counters, lights and mirrors supported by aluminum brackets supporting, and fiberglass panels mounted over a steel frames.  They provide a dynamic mix of privacy and exposure.  The last component of the ground floor are the dressing rooms and adjacent shampoo area defined by a continuous bolt of fabric tautly woven around steel pipes, private enclosures for changing are formed. The lighting in the salon is a combination of incandescent and fluorescent fixtures establishing flattering light levels and color balance.

The floors are linked by a stairwell with specific lighting, sound and material characteristics.  A two-story tower made of steel angles clad and metal grating rises within the space, housing lighting and sound equipment.  Greenish plaster walls and floors mixed with the steel give the space an “aquatic feel”.  The structure pins the program together as clients move from floor to floor.

Translucent fiberglass and acrylic screens form the reception and transitional spaces from the stair tower to the color/third floor.  Giving partial privacy while transmitting light, this combination of materials is found throughout the project.  Against a blackboard backdrop, the second reception desk receives the visitor.  Below the mezzanine, the maple and stainless steel color dispensary and its galvanized work table are available for scrutiny.   Out from under the maple soffit of the mezzanine, the color stations plug-in to a power grid in the stained plywood floor, which is based on a drawing by Brice Marden.  The painted floor addresses the inevitability of stains with additional drips and splatters accumulated over time helping to complete the drawing. The color stations or “steamer trunks” of maple plywood and blackened steel frames, fold up and roll away for photo shoots and seminars.  Equipment fits inside, and each unit contains lighting and storage.  They are hinged and lockable, offering the users complete adaptability as well as the ability to reconfigure the space.

The maple ceiling bends and folds over the double height space with clear industrial globe lights dripping from the ceiling and scattered above the work area.  Natural light pours in through three giant galvanized light scoops.  Along the north side of the double height space a fiberglass, acrylic and poplar “billboard’ is hinged to the mezzanine and leans out over the space, a screen with light and silhouettes animating the color floor below.

A green plaster wall reaches up to the mezzanine level to anchor the glowing acrylic and steel grating bridge which leads to the mezzanine.  One wall of the space is actually the ‘billboard’ through which the executive offices have an over view of the studio’s frantic pace below.

With unexpected combinations and assemblages of architectural elements, reiterated materials with depth and texture connections and dichotomies are formed creating the coherent feel and function of the salon.  Quiet and private, public and noisy, our task was to make it a destination.  Clients coming to participate in their own transformation also participate in ours.

kpe offices As with any young, fast growing technology based company, required new office space for its growing number of employees, and an image presentable to their high profile clients.  In a 11,000 s.f. full floor open loft space above union square, the intention was to build as little as possible within the long narrow l-shaped space to allow the natural light to reach all points yet still provide workspaces for developers, programmers and others.  With three walls of windows and a long demising wall with none, the blank wall was a prominent element.  The solution used the long wall as both an organizer, lumps of offices were stuck to it with simple work surfaces in between office blocks, and as a reflective surface, a light greenish painted plaster reflected the natural light as a strange green murmur felt throughout the space. Along the blank wall, the office blocks were constructed of light gauge steel studs, the simplest of structural systems, with applied panels of varying translucencies to allow light to penetrate into the offices.  Clear green acrylic gave glimpses of the exterior and let light in making these small spaces much ;larger as they participated in the entire space visually.  From the exterior the materials glowed under both natural light from skylights above and artificial lights at night.  The glow of the boxes fills adjacent workareas with an even light 24/7.  Simple materials were used to create modular workspaces between office blocks.  P-lam, brushed aluminum, translucent plastis, etc. At the head of the long blank wall, windows above union square provide light and views of both the farmers market below and sky above.  A glazed wall with operable panels seperates the conference room from the open loft-like attitude of the lounge and entry and the technology laden conference room.  The mirror glazing reflects the windows and dark tint subdues the intense affects they provide.  plycem paneled walls, the only floor to ceiling walls within the space, enclose the room on the three remaining sides.  A cabinet containing the computer and av systems powering the room opposes the dark tinted wall.

kpe offices

As with any young, fast growing technology based company, required new office space for its growing number of employees, and an image presentable to their high profile clients.  In a 11,000 s.f. full floor open loft space above union square, the intention was to build as little as possible within the long narrow l-shaped space to allow the natural light to reach all points yet still provide workspaces for developers, programmers and others. 

With three walls of windows and a long demising wall with none, the blank wall was a prominent element.  The solution used the long wall as both an organizer, lumps of offices were stuck to it with simple work surfaces in between office blocks, and as a reflective surface, a light greenish painted plaster reflected the natural light as a strange green murmur felt throughout the space. Along the blank wall, the office blocks were constructed of light gauge steel studs, the simplest of structural systems, with applied panels of varying translucencies to allow light to penetrate into the offices.  

Clear green acrylic gave glimpses of the exterior and let light in making these small spaces much ;larger as they participated in the entire space visually.  From the exterior the materials glowed under both natural light from skylights above and artificial lights at night.  The glow of the boxes fills adjacent workareas with an even light 24/7. 

Simple materials were used to create modular workspaces between office blocks.  P-lam, brushed aluminum, translucent plastis, etc. At the head of the long blank wall, windows above union square provide light and views of both the farmers market below and sky above.  A glazed wall with operable panels seperates the conference room from the open loft-like attitude of the lounge and entry and the technology laden conference room.  

The mirror glazing reflects the windows and dark tint subdues the intense affects they provide.  plycem paneled walls, the only floor to ceiling walls within the space, enclose the room on the three remaining sides.  A cabinet containing the computer and av systems powering the room opposes the dark tinted wall.

sma video A loose-fit approach to the planning allows clients to work in fully wired interstitial spaces as well as in the enclosed and controlled environments.  By consolidating the support facilities,  the significant components of the program are organized around a “canyon” and a “bunker”.  The faceted “canyon” walls are of tinted plaster that orient one to views of lower Manhattan.  Behind the south canyon wall are the sound stage and shops; behind the north are the machine room and mechanical equipment. The private offices and art department form an articulated “bunker” that bends around existing columns and provides a layer of privacy for the workstations.  The “bunker” is clad with MDF panels on a sliding modular grid allowing cubic Lexan window boxes to extrude through the wall. The  sheet metal-clad machine room slides out from behind the canyon walls and forms a point of detachment for the discreet volumes of the digital-editing facilities.  Accessed from a perimeter “street”, these rooms have been acoustically “shaped” while meeting specific  equipment requirements and user sight-lines.  Finish materials include maple and cherry boards, perforated stainless steel panels, linoleum and maple flooring and stone. By pulling all volumes away for the windows, we were able to create a buffer from light, noise and vibration transmission while creating a continuous perimeter promenade and a democratic allocation of the windows.  All non-programmatic space is viewed as an “asset”.  Delineated by surface treatment, it creates a “common” or internal landscape of dedicated open space, organizing the various elements of the program.  Communal spaces are marked with painted “puddles” on the ceiling.  Controlled views, shafts of reflected light and discreet program blocks all recall the distorted grid of the city. From first moment of arrival in the heavy timbered, steel mesh-wrapped, “bombproof” reception cage, custom lighting, artful duct and conduit placement and reflective planes of varied materials,  invite clients and employees to stroll in the perpetual twilight.

sma video

A loose-fit approach to the planning allows clients to work in fully wired interstitial spaces as well as in the enclosed and controlled environments.  By consolidating the support facilities,  the significant components of the program are organized around a “canyon” and a “bunker”.  The faceted “canyon” walls are of tinted plaster that orient one to views of lower Manhattan.  Behind the south canyon wall are the sound stage and shops; behind the north are the machine room and mechanical equipment.

The private offices and art department form an articulated “bunker” that bends around existing columns and provides a layer of privacy for the workstations.  The “bunker” is clad with MDF panels on a sliding modular grid allowing cubic Lexan window boxes to extrude through the wall.

The  sheet metal-clad machine room slides out from behind the canyon walls and forms a point of detachment for the discreet volumes of the digital-editing facilities.  Accessed from a perimeter “street”, these rooms have been acoustically “shaped” while meeting specific  equipment requirements and user sight-lines.  Finish materials include maple and cherry boards, perforated stainless steel panels, linoleum and maple flooring and stone.

By pulling all volumes away for the windows, we were able to create a buffer from light, noise and vibration transmission while creating a continuous perimeter promenade and a democratic allocation of the windows.  All non-programmatic space is viewed as an “asset”.  Delineated by surface treatment, it creates a “common” or internal landscape of dedicated open space, organizing the various elements of the program.  Communal spaces are marked with painted “puddles” on the ceiling.  Controlled views, shafts of reflected light and discreet program blocks all recall the distorted grid of the city.

From first moment of arrival in the heavy timbered, steel mesh-wrapped, “bombproof” reception cage, custom lighting, artful duct and conduit placement and reflective planes of varied materials,  invite clients and employees to stroll in the perpetual twilight.