The wealth management field operates in an era of rapid change; financial planners must be able to communicate agility and “a feel for the future” to clients who at the same time want complete confidence that their money is secure.
Senses of security and agility work in contrast to each other though, and wealth management companies must find a way to balance the two – to attract both clients and talent.
Cambridge Associates, moving most of its Bay Area operation from a suburban campus to downtown San Francisco, sought to find this balance between security and agility in its new office. The company, with 40 strong years in the business, wanted a workplace that would attract young urban professionals and serve as a vital central hub for the firm.
Studio O+A, responsible for interiors, formed a design language for the new space around the concept of understated elegance, creating a “collegial balance between the new business world’s culture of informality and the traditional business world’s protocols of established practice.”
“At O+A, we very much hang on to the idea of starting with a concept, and of working from a concept,” says Mindi Weichman, Design Director at Studio O+A. “What is the story, what’s the narrative that will support the project from beginning to end.”
This concept of understated elegance carries down from workplace strategy through to materials and finishes. Studio O+A designed the new offices so that Cambridge leadership would be able to embrace modern, collaborative ways of working while still exuding the maturity that comes with 40 years of success.
Aesthetically, the concept of understated elegance helps the space move comfortably between Cambridge’s rich history and its aggressive talent-retention goals. The offices are spacious, light and modern, though grounded in timeless materials of wood, glass and steel – materials that O+A used for their use as architectural and financial symbols of permanence. Still, touches such as a polished concrete surface and a sculptured light fixture add modernity and catches the eye.
The new offices usher in a big break from the past in how Cambridge employees work. In the previous office, 75% of primary workspaces were private offices; now, virtually the entire staff works in an open office, in one of three workstation styles.
“This was a night and day difference between now and the previous office,” said Ms. Weichman. “We were definitely faced with resistance, and it took a lot of educating along the way and making sure we were meeting their requests. But we had the support of the leadership at Cambridge, so we felt it could be successful.”
Executives at the firm have the largest workstations, with wood panels for more privacy as well as a larger buffer zone of space around them. Studio O+A built in a high number of small meeting rooms and phone rooms so that employees working in any part of the floor plate have more than enough access to a quiet space if they need it.
Cambridge wanted to make sure the space supported entertaining, as they often host clients and outside groups.
“There’s a nice delineation of public-to-private space, but all of the space is usable,” said Ms. Weichman.
Leadership at Cambridge also chose to situate a large social gathering space in an area with prime views of the Bay Bridge and downtown, rather than have executive workstations take the views.
The building’s circular shape created challenges in the floor plan for Studio O+A. One notable success to come out of this challenge is a “library” space, containing a series of side by side booths with tables and chairs opposite, and open bookshelves.
“This building is known for having a dead zone in the center, where the interworkings of the elevator create an open space that is often only used for storage,” said Ms. Weichman. “It’s a narrow sliver of space, and difficult to make usable. But we chose to make it a library.”
O+A took chances by pushing for provocative design features, and those elements elevate the entire space. The main meeting room, dubbed the “jewel box” conference room, is enclosed in wood paneling in addition to whole sections of pivoting glass doors that can slide into pockets.
In a large, visible lounge, a light fixture by Apparatus is composed of wefts of horsehair combined with brass and etched glass.
“That one came with a lot of controversy,” noted Ms. Weichman. “It was expensive, and then some people were also iffy on the idea of horsehair. Some people were horrified by it, and some people found it really entertaining. When we’re presenting something risky, we arm them with a lot of helpful information so they can make an informed decision.”
Two-thirds of the way through the design process, Cambridge itself added a new challenge for Studio O+A, deciding they need to add headcount.
“Adding people was very challenging because the shape of the building didn’t lend itself well to that, but we made it work.
O+A found a great client in Cambridge for reasons other than a willingness to transform the way they work.
“This project was really refreshing because the client wasn’t as tied to technology, which we work with a lot in the Bay Area,” said Ms. Weichman. “They [Cambridge] weren’t as familiar with the design process, and we needed to walk them through that, which is a really nice change of pace. And this project was also great because Cambridge takes impeccable care of their space. That’s very rewarding for us to see.”
Youthfulness in the design process, and a sense of respect and affection for place, can in turn capture a designer’s respect.