An office is not generally a place to party. Unless the business in question happens to produce top-shelf champagne and spirits. Created last year in the merger of Clicquot, Schieffelin & Co., and Millennium Import, Moët Hennessy proceeded to hire TPG Architecture to convert a 56,000-square-foot New York space into a U.S. headquarters, one suitable for tastings and events that project the youthful, upscale image sought by parent company LVMH, the French fashion and luxury-goods conglomerate.

The main feature of the interior is a curved rolled-steel wall densely lined with fluorescent-backlit, vacuum-formed acrylic lenses—resembling bottles in a wine cellar. This wall starts in reception and continues along a central corridor, past a tasting lounge, to terminate at the far end of the office.

Opposite this curved wall is a straight one clad in pale sycamore, with a long horizontal niche for bottle display. Most days, the niche is lined with company products, from Dom Pérignon and Veuve Clicquot to Glenmorangie and Hennessy. For events, those can be swapped out for whatever's being showcased. "On one hand, you have this organic, feminine shape," TPG principal Jim Phillips says. "On the other, you have a plane that's severe in its simplicity."

Set between them, midway down the central corridor, an oval tasting lounge stands ready for action, equipped with Sputnik-esque pendant fixtures and clusters of tables and chairs where clients and journalists gather for a mimosa or a Scotch on the rocks. With the lights dimmed for events, the vibe is definitely clublike. Guests can belly up to the marble-topped bar or meander into a nearby glassed-in conference room—which feels more like a VIP room, thanks to a computer-controlled color-changing light system.

Much of the design was driven by the integrated brands' new direction and the office's surroundings, notably the meatpacking district's high-end hotels, bars, and restaurants—where the best Moët Hennessy products end up. Celebrity chef Mario Batali's Del Posto is right downstairs; Morimoto, designed by Tadao Ando, is across the street. "That spirit permeates our office," says Moët Hennessy's senior vice president for operations, Walter Sawitsky.

Not quite penetrating this second-floor space is the High Line, the freight rails that Diller Scofidio + Renfro is converting into a public park. A section of the elevated structure used to run directly through the building, a former factory. TPG's renovation involved covering the tracks and installing a raised floor of 2-foot-square concrete tile. The rails now dead-end at reception's full-height windows.

Along two other window walls, Phillips lined up 28 executive offices with interior glass partitions and frosted film applied at eye level. Instead of separating staff by brand groups, Moët Hennessy opted to mix everyone—from administration to marketing and sales—at the approximately 80 workstations outside the private offices. All of which proves that—despite the party possibilities—Moët Hennessy really is a place of business.

From top: Rows of acrylic lenses, backlit by fluorescents, line the rolled-steel wall that starts in reception at Moët Hennessy, New York, and winds through the rest of the office. The rails of the High Line used to continue through the second floor of the former factory; they now dead-end at reception, where lounge chairs sit beneath Achille Castiglioni's pendant fixtures, chosen for their resemblance to champagne flutes.

Left, from top: Rayon-blend drapery can be drawn around the tasting lounge. The lounge is also defined by polished-chrome Big Bang pendant fixtures, a ring of halogen spots, and tempered-glass floor tile; the bar counter is Thassos marble.

From top: The corridor's "gallery" wall is sycamore, punctuated by a niche clad in plastic laminate and up-lit by fluorescents. Halogen and fluorescent cove lighting pick out the structural columns outside the steel-framed glazed main conference room, which has a programmable light system installed in the ceiling.

From top: The CEO's office features an original brick wall and guest chairs by Eero Saarinen. Robert Reuter and Charles Rozier designed the AutoStrada workstations in the office area.

CEILING MEMBRANE (RECEPTION): NEWMAT. ARMCHAIRS, TABLES (RECEPTION), TABLES, STOOLS (LOUNGE): ICF. ARMCHAIR UPHOLSTERY (RECEPTION), BENCH UPHOLSTERY (CORRIDOR): SPINNEYBECK. CARPET (RECEPTION, CONFERENCE ROOMS): CONSTANTINE COMMERCIAL. LOUNGE CHAIRS (RECEPTION): WALTER KNOLL THROUGH M2L; GLANT TEXTILES CORPORATION (FABRIC). PENDANT FIXTURES: FLOS. CURTAIN FABRIC (LOUNGE): BERGAMO FABRICS. CHAIRS: GORDON INTERNATIONAL. PENDANT FIXTURES: PLUG LIGHTING. TRACK LIGHTING: TECH LIGHTING. FLOOR TILE: TOWN COUNTRY FLOORING. BACK BAR GLASS: MCGRORY GLASS. BENCHES (CORRIDOR): EKITTA. NICHE FIXTURES: PRUDENTIAL LTG. AMBIENT COLOR SYSTEM (MAIN CONFERENCE ROOM): MARTIN. TABLES (CONFERENCE ROOMS): NIENKMPER. CHAIRS: VITRA. TASK CHAIR (OFFICE): HERMAN MILLER. LAMP: LUCEPLAN. CARPET TILE: CA FLOORCOVERING. GUEST CHAIRS, DESK, CABINETRY (OFFICE), WORKSTATIONS (OFFICE AREA): KNOLL. CONSOLE: THROUGH TROY. PLASTIC LAMINATE: FORMICA CORPORATION. FEATURE WALL FABRICATION: FEATURE FACTORY. PAINT: BENJAMIN MOORE CO. LIGHTING CONSULTANT: HORTON LEES BROGDEN LIGHTING DESIGN. MEP: AMA CONSULTING ENGINEERS. OWNERS REP: CUSHMAN WAKEFIELD. GENERAL CONTRACTOR: QUEDAN CONSTRUCTION SERVICES.