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Fish & Richardson’s new workspace delivers a forward-looking legal environment that balances privacy, flexibility, and employee wellbeing. Situated in one of Munich’s most architecturally distinct towers, Gensler’s design brings warmth and openness to reflect the ethos of Fish’s culture and redefine what a law firm can feel like in the modern era.

Fish & Richardson’s new Munich office space embraces collaboration, flexibility, and openness, while maintaining the private work environments essential to legal practice. Housed in Munich’s second-largest office tower, just outside the city centre, the law firm faced a unique architectural challenge: how to create a space that would support modern ways of working and reflect their growing, global practice within a floorplate more than 50% narrower than typical commercial offices. With only a central corridor and offices on either side due to structural, mechanical, and fire-life-safety constraints, the design team reimagined circulation and introduced moments of light, openness, and variety to transform the journey through the workplace.

Gensler worked closely with the firm to test a variety of buildings and layouts, but the view, prominence, and location of the tower kept drawing them back – despite its limitations. With just 1,150 square meters to work with on the top floor, the aim was to create an attractive, future-facing workspace that would enable more connection and collaboration without compromising privacy.

Designing against the grain
The building itself is striking – an architectural Helmut Jahn icon, defined by sharp steel and glass geometry. But while visually bold, it was also cold and sterile, lacking the comfort and character the team craved. The new design embraces contrast. Rounded geometry, warm materials, and textural detail were introduced to soften the space and create moments of warmth and welcome. Curves were used deliberately throughout – to break up the hard architectural lines and create a journey through the space, from one light-filled end to the other.

From the outset, the team focused on unlocking the potential of the floorplate. By opening up the ends of the plan and creating clear destinations – café spaces, lounge zones, and informal meeting areas – the design eliminates the central dark corridor typical to many floors in the tower. The result is a series of open, connected spaces that feel more expansive, communal, and intuitive to navigate.

A progressive move for a traditional profession
The final layout is part of an intentional design evolution for Fish & Richardson’s global offices. While the cellular structure remains – reflecting the confidential nature of legal work – the space also introduces a shared office model with double occupancy, open-plan areas for assistants, and team collaboration zones throughout.

Given the firm’s international client base and the rise of virtual court sessions, the need for smaller, focused phone and video rooms was critical. These are positioned centrally alongside a flexible meeting room suite, which includes an interview room and a large hospitality-style meeting space adjacent to the café. This creates a new kind of client journey – offering privacy when needed, but also the opportunity to host and connect in a more relaxed, social setting.

A new kind of legal workplace
Throughout, the brand palette plays a key role in shaping the experience. Blue tones are repeated in textiles and detailing, complemented by natural wood finishes and acoustic textures. Every material was chosen to counter the coolness of the building envelope and bring a residential softness to the environment. There’s even a dedicated wellness room – complete with a daybed and bookcase – tucked near reception to provide comfort and care for staff.

With nearly 40 people working flexibly from this single floor, the office sets a new standard for how legal environments can support both individual focus and shared culture. Fish & Richardson’s new Munich home is light-filled, flexible, and uniquely their own.

Design: Gensler
Photography: Kim Fohmann