Interview magazine's new office marked a practical and symbolic change in Andy Warhol's working life: after years associated with Union Square, he began spending full days in a new, expansive workplace where ordinary tasks meant navigating a large floor, visitors repeatedly disrupted work, and magazine business continued to grow. The move replaced a familiar neighborhood routine with a space whose size and activity became part of the work itself.

From Union Square to a New Building

On December 3, 1984, Warhol described it as his first full day of work in the new building and noted that there would be no more Union Square. The change involved more than a new address: getting a cab in the area seemed likely to be harder, and he wondered where staff would find food. He expected to miss ordering from Brownies, including its carrot juices, and had so far seen only greasy coffee shops nearby.

The move followed earlier changes in Warhol's workspaces. The Factory had relocated from 33 Union Square West to 860 Broadway in 1974, and Warhol had then rejected the name Factory in favor of the more ordinary office. These earlier shifts provide a history of changing work environments, though the 1984 move is the one that brought the end of Union Square into his daily routine.

A Floor That Changed the Working Day

Warhol described the new workplace as taking up a whole big floor. Its size soon became a physical feature of the job: by May 1985, he characterized life there as running up and down stairs, then sideways and up and down again. The space was not simply a larger container for work; moving through it had become part of what he did for a living.

The new office also altered the texture of an ordinary workday. In December 1984, Warhol was pleased to see Brigid Berlin occupied with the telephone buttons and finally working, rather than knitting. The detail places the move amid the practical labor of getting a new workplace functioning, while his concern about food and taxis shows how its surroundings shaped even routine decisions.

Crowds and Magazine Business

The office's size did not make it quiet. Warhol found it difficult to work there during the week because people kept coming through and gawking. The distinction between workplace and public attraction was therefore unstable: the new premises offered room, but the traffic of visitors made concentration difficult.

At the same time, the office remained a working center for Interview. In December, Gael was excited that the magazine had received 600 subscriptions in one day through a Swatch promotion, a total Warhol contrasted with what the magazine used to receive in an entire year. The office's bustle thus carried both costs and signs of commercial momentum: people passing through could interrupt work, while the magazine's circulation was expanding.

Scale as a Daily Reality

The large floor's effect is clearest in Warhol's account from May 14, 1985, the opening night of Palladium. Amid other problems that day, he went to the office and described repeatedly running up and down its stairs and moving sideways across the sprawling space. The new location had become a lived routine rather than a one-time move, measured in effort and movement as much as in square footage.

Interview magazine's new office therefore represents a transition from the familiar Union Square setting to a larger, busier workplace whose scale reshaped daily habits. Its crowds complicated work, its neighborhood changed practical routines, and its growing subscription business gave the office a role in the magazine's expanding reach.