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Kirsti Simpson responded to the building's sculptural forms and clever orchestration of vistas by allowing them to speak for themselves. The interior spaces at KPMG have a humanity and elegance devoid of tricked-up embellishments based on over-wrought metaphors.
The fit-out is designed to allow KPMG's increasing growth until 2010, but the firm is keen to extend their tenancy well beyond their current ten-year lease. The imperative of realative premanency and stability is reflected in the scrupulous briefing and planning processes which lasted eleven weeks (and included four weeks of intensive briefing consultation) and penetrated to 86% of staff. A robust committee - the Project Control Group - was organised to represent the concerns and desires of a number of sub-committees from across the organisation. Their 'Delivering the Future' brief focused on 'collaboration and teamwork'. What transpired was the staff's desire that the new premises be 'welcome and opening' as well as 'personal and professional'. In addition, it was clear that vibrancy was not to be reserved exclusively for front-of-house areas. Staff ownership of the project was paramount.
In line with the idea of welcome, the reception lobby in fact leans toward the domestic. The ubiquitous lounge chairs are replaced by an over-scaled dining table surrounded by Hans Wegner 'Wichbone' chairs. "People can come in early in the day and use it as a base, or feel free to spread a newspaper out", says Simpson. "The chairs are also suitable for many of the more elderly clients. It's a welcoming introduction." The area can also accommodate the 350-strong staff when required, or expand into the adjacent presentation rooms and accommodate 500. "It's future-proofed, with all removable furniture," Simpson notes. "With escalating real estate values, flexibitlity is always an issue."
The elegant restraint of HASSELL's palette begins on arrival from the elevators into the central entry axes on each floor. Long walls are clad in re-constructed Milkwood timber panelling, routed for texture to suggest horizontal VJ's. The walls are kept bare and uncluttered, and lead the eye down the long sweep of the corridor to the colour-coded and light-filled spaces at either end. The blue, red, green, and orange identifying colours of each staff floor are visible through laminated glass panels with gel interlays, and repeated in graphic designs on wall panels near entry points. Colour selection also derived from staff feedback and consideration of the corporate palette, and the desire to ramp up a previously bland environment was strong.
The staff break-out zone truly encapsulated the playful philosphy of eschewing the wood, wallpaper and Australian landscape trifecta well-visited in earlier times. Called the Bermuda Room (the result of an in-house naming etition where the winner said "it's where the staff keep disappearing"), the colour aqua here enjoys heightened status. Bentwood Thonet chairs and a long dining table are doused in the strong hue, and chuncky 1970s pottery in the similar tones adorns the tble. The floor can be readily re-configured to accommodate three ping-pong tables, which sometimes make an apperance for staff recreation.
Previously cramped conditions in the nearby Central Plaza 1 building have been freed up int hte new and more generous staff areas. Workstations are flexible and have an organic layout which removes the 'silo' mentality of the CP1 experience, and storage has been greatly enhanced. Anecdotal research so far points to greatly increased engagement between colleagues. Quiet rooms are fututre-proofed to allow for conversation into privated offices for an increase in partner numbers. Floor layouts follow a similar arrangement of work areas, tea points and break-out spaces to enhance a sense of continuity over the five levels.
While the less-is-more creed reigns in the fit-out, it is also marked by a stunning collection of artworks which extend troughout public and staff zones. Simpson commissioned Positive Solutions to source the works, and worked collaboratively with them to locate it and find a place for it in the hearts and minds of KPMG directors. The mix is decidedly contemporary in media and content. Emerging artists are supported in staff areas, where works are also rotated. The de-accessioning of a previous collection and investment in such vibrant and experimental works says much about the culture of KPMG. Margie Fresser
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