The general practice law firm of Reboul, MacMurray, Hewitt, Maynard & Kristol is located at 45 Rockefeller Center in the heart of New York City. For a number of years, the firm had offices on several floors in the building, which made communication among the staff difficult. So, when the time came to consolidate on three contiguous floors, the firm needed a technological upgrade that would accommodate all of the computers, lap tops and the like that were used day-to-day. Despite these modern-day requirements, though, the firm did not want to sacrifice the aura of its Art Deco address.

Therefore, designers at Butler Rogers Baskett, New York, relied on a less-than-literal interpretation of Art Deco in choosing furnishings and finishes.

"The partners wanted to keep the elegance and sophistication that goes along with Rockefeller Center," explains Andrea Zinn, interior designer, Butler Rogers Baskett. "But we needed to provide practicality in the work space, as well. So the furnishings have a level of detail that echoes the building's Art Deco design, but are not exactly Art Deco. For example, the wall sconces in the corridors and light pendants in the board room are loose interpretations of those kinds of light fixtures seen throughout the building."

One element of Art Deco already in place was the terrazzo floor in the elevator lobbies. While some repair work was needed, including delicately removing linoleum that had been glued down to one spot, the terrazzo gave a note of authentic Art Deco where practicality was not required.

Also, the firm's art program, planned in conjunction with the Museum of Modern Art's art advisory service, pays respect to Art Deco. The program combines black and white photographs of some of the sculptures and architectural details around Rockefeller Center with works of modern art.

"In a way, the art program mimics the furniture in that both combine modern with Art Deco details," says Zinn.

Whth the addition of a new floor -- Reboul, MacMurray is on the ninth, 10th and 11th floors, with 11 being the new floor -- the designers needed to develop ways of linking the new and existing floors. For the conference center, which is a duplex located on 10 and 11, a gridded glass partition and staircase connect the two floors. On 11, the translucent glass forms one wall of the board room and separates the room from the staircase. On 10, the glass separates the staircase from a small break-out area located just outside the floor's two conference rooms. The glass wall also helps move natural light from the perimeter of the space into the core.

Bearing in mind the need to accommodate computer technology, custom tables with built-in data and power ports were designed for the board room and conference rooms. The board room table, which seats 24, has ports concealed within the table top. Conference room tables have ports along the apron.

Custom designed secretarial work stations incorporate paper management slots as well as a raised panel to conceal the work area. To provide maximum flexibility in the layout of equipment and greater user convenience, the work surface returns are 24 inches deep in order to fit keyboard trays on either side of the station. Non-glare light fixtures are located above the secretarial work stations.

According to Margaret Pook, interior designer, Butler Rogers Baskett, the existing office space had a dark color palette. This, along with the new space, was brightened with light colored carpet, walls and woods, including cherry, maple and Makore. Darker and more colorful accents appear on upholstered furnishings.

"Our decision to lighten the space also led us to the idea of the glass wall that unites the two floors of the conference center," Pook adds.

While some of the client's existing furniture was re-used, the designers tied new and used together using color and materials. New furniture standards were set for associates' offices, and partners were given the option of keeping their existing furniture, choosing new or combining both.

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