Our task was designing the interiors of the Metrostav HQ in the new building designed by Josef Pleskot.
An institution as one of the essential themes of works by Josef Pleskot. Ever since his early works, I have been aware what he has been getting at; he has been striving to de-Kafkacise institution.
In the case of the MTS headquarters, he succeeded in reflecting the inner corporate structure consisting of autonomous departments in separate towering volumes connected on the ground floor and penthouse levels.
As interior architects we set up the goal to round Pleskot’s innovative architecture off by revising traditional space planning – an office wing along the façade cut from the service core by a continuous corridor with endless rows of doors. Our ambition can be called de-Kubrickisation (Stanley Kubrick became famous by movie shots composed focusing on a perfect deep central perspective of grim spaces, among others).
We applied a hexagonal raster on floor plans of towers defined as triangles. Hexagonal geometry introduced in an additional direction compared with the orthogonal system, and thus completely different spatial relations and possibilities. The result is a fancier spatial structure, a richer range and hierarchy of spaces, softer borders between them, and smoother transitions. A more stimulating livelier environment.
It was easier to freely situate the back-of-house rooms, the cores, and the nodes while following logical positions of offices along the façade. The hexagonal raster allowed us to alter circulation areas, usually hemming an office block, arranging them into a branching and converging system. A system allowing people to meet in spaces of a diametrically different character and proportions than a standard corridor. A corridor does not in fact exist here and it is replaced by a system of receptions, lobbies, lounges, consulting rooms, open staff workrooms, vestibules, coordination rooms, etc.  A feeling of solidarity and fellowship is created by naturally converging circulation areas from individual workplaces to informal ganglions.  This geometrical concept was thus reflected not only on the aesthetic, but also particularly on the sociological level. The interior became a tool for defining professional relations, the method, and possibility of communication.
Variability of the hexagonal system allowed us to furnish different floors in compliance with demands of different departments. Thus, even though we used standardized FF&E, the interior is not stereotypical, people can identify themselves with the environment, elements do not repeat, and rooms are not monotonous.
The nonstandard partitioning was nevertheless achieved by a casual system of glazed office partitions with possibility to control view through by louvered blinds and standard lamella suspended ceilings. Fixed solid walls and partitions are either coloured or finished by material identifying any particular department (copper, brass, galvanizing, trapezium sheet metal, colour lacquer, etc.).  Characteristic colours are part of the building orientation and communication system.
Selected walls at visual nodal points are dedicated to vertical gardens with fresh vegetation. Together with natural light penetrating deep inside through glass partitions, these green walls are an additional distinguished link to the natural world.