Architecture New Zealand, November/December 2003

Some things are just meant to be. A tale of creativity, cosmology and art: Chow:Hill's Executive Suite for Saatchi & Saatchi Worldwide.

Saatchi & Saatchi Worldwide's new premises in the Strand building, Parnel, comprise the offices of the executive and creative directors and their supporting team. The client wanted the design to reflect whom Saatchi & Saatchi Worldwide is in a simple and effective manner. The premises also needed to reflect the client's position - at the cutting edge of its business - at the same time as being a comfortable, creative space.

The design was initiated in a unique manner. The result is a novel designed environment that nurtures the experience of work - a place-where-one works, rather than a working-place.

Based on his experience in contemporary sacred architecture (he has recently completed a Masters Degree in Sacred Architecture & Design), Paris-trained architect Philippe Campays proposed an innovative approach based on an Eastern design philosophy. The intention was that the subtle use of this Indian design discipline would harmonise the interior design cosmologically and give orientation and meaning to the place.

One of the other key considerations in the design brief was to showcase artworks provided by Jane Sutherland, some specially commissioned. The integration of modern Western art with ancient Eastern sacred principles in one space was a unique and engaging process, says Campays. The result is an interplay of Western pragmatism with spiritual Indian design philosophy (Vatsu Shastra).

The design was inspired by a Vastupurusamandala (a mandalic symbol of the cosmos) which generated a grid specifically aligned to the sun's path and provides specific qualities to different architectural spaces in the designed plan. (see illustration describing the floorplan the overlaid Vastupurusamandala on page 40).

The main design concept may be described as an arrangement of walls and volumes aligned to a specific cosmographic grid and intersecting with a second grid of glass and doors, aligned to the existing structure. Differences in heights and treatments have produced walls broken with glass and solid volumes that are seemingly detached from any structure.

Exposed service ducts, pipes and air-conditioning interact with the new walls and glass and a punctuating effect is added by the building's old timber pillars and beams. These metallic industrial elements find analogues in aluminium door hardware and furniture elements. Desking is large and curved, as are the edges of the substantial glass doors., all of which challenges the strictness of edge found in the walls and volumes.

Two large crafted metal doors mark the threshold between the building's atrium and Saatchi & Saatchi Worldwide's new premises. (a far plainer doorway bearing a plaque that reads "Stairway to Kevin" denotes access from Saatchi & Saatchi Auckland's offices on the floor above.) At the entry, a feeling of peach and tranquillity fills the space. Two large, dark sculptures occupy the floor in the middle of this space in contrast to the white surrounding walls.

The various pieces of art were placed intuitively. The designer only later revealed the specific cosmological qualities that were attributed to the different spaces. Intriguingly, the chosen art had apparently and unknowingly been placed to respond exactly to the qualities Vastu Shastra imparted to specific areas.

At the entrance the space's cosmological attributes of "courage", "strength", "eternity" and "power" are represented by Ring of Fire a striking work in neon by Peter Roche. On the right hand side of the entrance lounge a white wall-sculpture curves behind a timber post; this is an Anton Parsons sculpture, Every Fish will have its Day, a poem in giant braille. This wall is, according to the cosmological scheme, about "touch".

In the area defined as the "quality of ocean", a Brett Graham sculpture (To Pasifika) shaped like two seeds conveys a sensual aspect and has to do with migration. It is also about the "soul of the heart" and is placed on the floor, on the cosmological line "heart-to-head".

In the areas where circles and discs are recommended, artworks in the form of discs by Robert Jahnke are on display. In the cosmological "wall of strength", a sculpture by Elizabeth Thomson (Goodbye Mum) represents endurance and courage. There are many other instances of this synergy.

According to the designer, the interpretation of this Eastern approach to design has helped facilitate the well-being of the occupants and brings awareness of the specific qualities attributed to the different areas of the work environment. That the placement of artwork has also apparently followed this specific arrangement of qualities suggests there may well be more truth to such arcane theories than might be supposed.