AHV couldn’t see how they could increase the number of staff in their space from 46 to 60, whilst improving the experience of coming to the office for both staff and clients. (Remember, this was pre-COVID)

We worked with staff, team leaders and the executive to map roles and responsibilities and to find out when and how staff would benefit from being in the office. (e.g. staff mostly on the road meeting tenants in their home could complete all paperwork remotely if provided with the right equipment. They could then come to the office 1 day / week to connect with colleagues). AHV committed to new IT systems to support remote and flexible working and we ran workshops and tours of other offices we had designed to help staff understand what it would be like to work in this way. 

By redesigning how they work we had helped AHV unlock some additional capacity and, unknowingly, set them up for a smooth transition when COVID hit 12 months later. 

The next step was to work with the constraints of the existing building to create the most efficient zoning and organisation for their office. Every centimetre was exploited.  We repurposed the smaller spaces along the western edge of the site for the Board room, staff kitchen and private offices, with minimal new structural openings to reduce costs. Within the larger volume - beautifully lit by the saw-tooth roof above - we created 4 zones: client; touchdown / breakout; focused work and support spaces. 

With the most efficient planning resolved we turned our attention to enhancing this beautiful brick building, creating coziness within the cathedral-like spaces and connecting to culture.

As a peak Aboriginal organisation, cultural safety and celebrating the resilience and excellence of the Aboriginal community was a priority. But what does this look like and how do you do it in a tight space with a modest budget?

Our design response, developed in collaboration with AHV’s Cultural Reference Group (comprising Aboriginal Staff and renowned artist Dr. Vicki Couzens) creates and celebrates connections: 

• ‘rivers and bloodlines,’ trade and travel routes that represent the interconnectedness of Aboriginal communities depicted in original art; 

• connecting custom tables that bring teams together and provide space for impromptu discussions; 

• salvaged hardwood timber pergolas that connect one space to another; 

• prominent display of art and artefacts that connect AHV’s work today to the history of Aboriginal activism; 

• Wurrundjeri language that connects all staff and visitors, Aboriginal and non-Aboriginal to Country and its custodians. 

But in order to connect - with others, with history, with culture - we need first to be comfortable. Within the cathedral-like factory space we needed to create cosiness. Spaces to retreat. Spaces to meet and share. We adapted an existing lightwell to create an intimate but uplifting meeting space flooded with natural light. We selected high-backed furniture to create nooks for quiet work or discussion and squeezed one-person booths into every extra square metre we found. Finally - we did away with every ubiquitous bit of office paraphernalia we could to reduce anxiety and perceived barriers to belonging. Nothing that screams ‘white-collar worker’ - the white laminate desks, the primary colour scheme, the pictures of forests - belongs in this place. This is a place for mob and their allies, the first ‘professional’ workplace for many. It is a place to belong, to connect to community and Country.

Clients seeking support in person at AHV’s office can sometimes be distressed and disruptive. The aim of creating a culturally safe, welcoming space for clients seemed in conflict with the need to ensure the safety of staff and to minimise disruptions to their work. 

We drew on our extensive experience designing for people experiencing distress and proposed:

• we let clients catch a glimpse of how many people are working hard to help them

• use the breakout spaces as a ‘buffer’ between client spaces and quiet, focused work spaces

• we avoid every material and system that says ‘I think you’re going to attack me’ (like bullet-proof glass) and instead use secure but less intimidating materials (like steel mesh with plants growing over it)

We tested four iterations of the lobby, reception and secure client room with leaders who have a duty of care to staff as well as with the Cultural Reference Group who were charged with enhancing cultural safety. Ultimately, we found a solution that met all requirements and was then further enhanced by Vicki Couzens site-specific artwork and Judy Nicholson’s Welcome to Country.