Scholz&Friends希望改進他們的協作工作方式。他們想象他們的傳統創意團隊集群，通常是在離散群體中指定的，演變成一個更靈活的組織，其中團隊成員可以自由地在開放的和未分配的座位之間自由移動，允許他們根據需要聚集在一起。這種方法之所以可行，原因很簡單，因為大多數員工都在筆記本電腦上工作，固定式工作站現在在他們的辦公室里很少見。Scholz & Friends wanted to evolve their collaborative approach to working. They imagined their traditional creative team clusters, typically designated in discrete groups, evolve to a more flexible organization wherein team members could move freely between open ended and unassigned seats, allowing them to gather in groups as needed. This approach was made possible by the simple fact that most of the employees worked on laptops, stationary workstations are now a rarity in their office.▼靈活多變的開放空間/Flexible and open space
KOS架構師認為，為了讓流暢和協作的工作環境發揮所有空間線索的作用，建議刪除分割和垂直層次結構，并用水平平等的空間結構取代；創意團隊的所有成員，從接待員、行政助理、設計師，平面設計師、客戶服務人員、文案和創意總監坐在一張桌子旁。KOS architects reasoned that in order for a fluid and collaborative work environment to function all spatial cues suggesting division and vertical hierarchy be removed and replaced with a horizontal egalitarian spatial configuration; one where all members of the creative team, from the receptionists, executive assistants, designers, graphic designers, client services personnel, copywriters, and creative directors, sat at one table.▼會議空間/Meeting space預期的結果是鼓勵高級職員與初級職員互動，同時迫使初級職員比傳統的開放式和封閉式辦公室布局更頻繁地與高級職員面對面，在這種布局中，主管人員坐在封閉式辦公室中，圍繞著支持人員在開放范圍內隔間。實際上，在新的Scholz＆Friends辦公室的情況下，辦公室的外圍被長條凳所取代，該長條凳鼓勵社區或單獨工作，并著眼于遠郊城市，最終解散了傳統的外圍辦公室并向所有人開放使用。當然，預期的效果是盡快打破工作場所的壁壘，使整個員工隊伍都可以從事為客戶開發創意內容的重要業務。The intended outcome was to encourage senior personnel to interact with juniors, while simultaneously forcing juniors to confront seniors more frequently than they would have in a traditional open and closed office layout, one wherein executives sit in closed offices around a perimeter of support staff in open cubicles. In fact, in the case of the new Scholz & Friends offices, the perimeter of the office was replaced with a long bench that encouraged communal or solo work with a view on to city beyond, ultimately dissolving the traditional perimeter office and opening it for all to use. The intended effect of course was to break workplace barriers as quickly as possible allowing the entire workforce to move on to the important business of developing creative content for their clients.▼被長條凳代替的外圍/Peripheral replaced by a long bench從結構上講，一張長長的公用桌子貫穿了整個團隊可以聚集并在“辦公桌”上工作的空間。桌子的形狀為大型團體會議和頭腦風暴會議創造了非正式的，類似于休息室的公共區域。大型的木箱形吊艙，配有經過隔音處理的舒適內飾，為2至6人的團隊更集中地工作提供了更安靜和更私人的條件。Architecturally, a long communal table wound its way through the space where teams could gather and work at a ‘desk’. The shape of the table created informal open lounge-like communal areas for larger group meeting and brain storming sessions. Large wood-crate-like pods, with comfortable acoustically treated interiors, provided quieter and more private conditions for teams of 2 to 6 people to work in a more concentrated manner.▼木箱形吊艙/Wooden box pod聲學是開放空間規劃中的主要問題。對于Scholz＆Friends辦公室，使用了噴涂泡沫的天花板和隔音板墻來減輕聲音的傳播并保持隔音的舒適性。與其使用通用的吸音天花板或隔板解決該問題，不如將聲學處理作為空間內部建筑的一部分進行集成。隔音墻板以條紋浮雕圖案布置，以給內墻飾面帶來鱗片感和節奏感，而隔音頂棚則以整體方式應用，在某些情況下覆蓋了所有機械設備，將它們變成懸掛式一般的吊頂系統通常會隱藏的抽象對象。隔音天花板本身就是受隔壁建筑的啟發。Acoustics is a major issue in open space planning. In the case of the Scholz & Friends offices spray foam ceilings and acoustic panel walls were used to mitigate sound transmission and maintain acoustic comfort. Instead of resolving this with generic acoustic ceiling tiles or baffles, the acoustic treatment was integrated as part of the interior architecture of the space. Acoustic wall panels were arranged in a striped relief pattern to provide a sense of scale and rhythm to the interior wall finishes, while the acoustic spray ceiling was applied in a monolithic manner, in some cases covering all of the mechanical equipment, turning them into suspended abstract objects that would have typically been concealed by a generic dropped ceiling system. The acoustic spray ceiling was itself inspired by the building next door, a remnant of early 1990’s ad hoc architecture, typical of the post 1989 laissez faire building boom in Poland.▼木箱形吊艙/Wooden box pod最后，在支持空間（例如打印機室，會議室，廚房等）中增加了色彩打孔。拆除了這些空間的門，以提供更大的對比感和構圖統一性。Finally, punches of color were added to the support spaces, such as printer rooms, conference rooms, kitchen, etc. Doors were removed to these spaces to provide a greater sense of contrast and compositional unity.
