ARPER CATIFA 53, CATIFA 80 & SAARI
The all-white New York office of bicoastal US production company Logan – it has one foot, as it were, in the Big Apple, the other in Los Angeles – resembles a stylish film set more than a workaday workplace. And more specifically Logan’s offices recall the set of a futuristic movie like the 1965, black and white sci-fi classic Alphaville or – by strange coincidence – Logan’s Run, the 1976 flick starring Jenny Agutter and Michael York, which featured pure white, spatially ambiguous, visually disorientating sets.
There are two major differences between Logan’s Run and its near-namesake Logan though. The former’s inhabitants barely had to work and were condemned to die at the age of 30. And, unlike Alphaville, the new office, where employees work in advertising, video games and feature films, is devoid of the 1960s movie’s clunky computer. But, aesthetically, both make a virtue of ghostly pallor.
Measuring 650sq m, the Logan office occupies the corner of a second-floor loft space in SoHo, and was designed by Brooklyn architects Solid Objectives – Idenburg Liu (SO-IL). Its crisply minimalist interior has mainly white walls, with floor-to-ceiling partitions fashioned out of stretched translucent, nylon sheets resembling film-projection screens. Stretched PVC covers the ceiling, which has been backlit to provide an eerily even lighting source.
Two long, identical rooms, split by one of the aforementioned diaphanous partitions, form the backbone of the office, which accommodates a maximum of 55 people. Both rooms are furnished with a 6m long, monolithic table, with glass partitions splicing the tables to create a smaller meeting room and private offices – acoustically sealed off, but still visible.