Sustainability Report

Callaghan Horiuchi explained that its material selections were guided by a balance of performance, aesthetics, and responsible manufacturing. 

• For flooring, the team specified modular carpet systems from Interface and Milliken. 
• Draperies were sourced from James Dunlop Textiles, using the Kumo Recycled textile woven from recycled PET bottles but designed to resemble a natural fibre. 
• Upholstery for the custom millwork combined Kvadrat’s Divina, a one-hundred-percent wool felt, with Maharam’s Mode, a US-made fabric containing eighty percent post-consumer recycled plastic and meeting REACH, GREENGUARD Gold, and Red List Free criteria. 
• For the sculptural acoustic elements, the designers selected FilzFelt’s Wing system, produced from one-hundred-percent wool felt that is free of harmful chemicals and fully biodegradable.

The team highlighted several handcrafted and domestically sourced elements that shaped the project’s environmental approach. 

• For the tiled surfaces, they selected Fireclay Tile’s Natural Press line, manufactured entirely in the United States and backed by robust green manufacturing practices and material certifications. 
• A custom wall covering by Jill Malek introduced a biophilic layer to the interiors: a bespoke “Flow” mural featuring two colours of hand-sewn dimensional felt.
• Acoustic treatments were drawn from Turf Design. The Tubular and Slat systems were used as low-profile wall coverings in meeting and conference rooms, while a Scanlines installation — carved with a custom image of a local scenic overlook — formed a calming backdrop in the Library. Curved Torrent Baffle elements were introduced in the Executive conference room to soften and brighten the space and the Arbor ceiling system was integrated with linear lighting in an Experimental presentation room. Turf’s products contain recycled content, carry air-quality and chemical-safety certifications, and are manufactured in the United States.
• All millwork was custom-designed by the studio and fabricated locally through a long-standing millwork partner.

Callaghan Horiuchi described its approach to biophilia as holistic and deeply human-centred, beginning with a willingness to question every inherited assumption of a conventional office. 

• Each environment was reconsidered from first principles — from spatial flow and lighting to the role of plants, materials, and furnishings — with the aim of creating spaces that feel nurturing and intuitive to occupy.
• Technology was embraced selectively, particularly where it could strengthen a connection to natural rhythms. The daylight-simulating skylights and windows introduced into fully enclosed rooms were highlighted as an important strategy, helping occupants maintain circadian awareness even without access to exterior light.
• Material choices balanced minimally processed natural elements, such as solid white oak, with manufactured finishes that offered organic patterns, textures, and visual cues drawn from the outdoors. This combination brought a sense of human scale and natural character into every zone.
• Planting was central to the concept. The team emphasised the value of bringing real greenery as close to occupants as possible and at a generous scale. In this project, that ambition culminated in more than 1,200 plants and a twelve-foot-high planted column, creating moments that feel almost like interior forest-bathing experiences.