架构师提供的文本描述。故事情节演播室(前诺斯克电影公司)自1935年挪威电影业开始以来，一直处于同一位置。这个项目是为了在奥斯陆市中心的一个新的设施，使接近和方便接触电影，电视和商业产品在市中心的城市。

Text description provided by the architects. Storyline Studio’s (previously Norsk Film) has been in the same location since the beginning of Norwegian film industry in 1935. This project is for a new facility in the center of Oslo that gives proximity and ease of access to film, TV and commercial productions in the center of the city.

 © Einar Aslaksen

(Einar Aslaksen)

这是一个1000平方米的内部，以前的存储设施有5米的天花板。该项目包括退房区、参考电影院、光学实验室和办公空间，以及与外部河流相连的社交区。我们一直对戏剧和制作的精确空间都很感兴趣，所以这个项目的想法是让摄制组的故事情节逆转谁在镜头前和后面的角色，为摄制组的工作创造一个舞台。

The site is a 1000m2 interior of a former storage facility with 5-meter ceilings. The program consists of a check out area, a reference cinema, optics lab and office space, in addition to a social area with connection to a river outside. We have always been very interested in both the theatrics and the precision spaces for production elicit, so the idea of this project for the camera department of Storyline was to reverse the role of who is in front and back of the camera, creating a stage for the camera crews to work on. 

这个项目的目的是通过把房间分成两半来澄清这个大的开放的情况。一半是相机检查，另一半是我们添加的程序。这保持了大空间灵活使用的潜力，并为日常工作提供了一个高效和安全的区域。该结构是一种表达清晰的钢结构，其材料具有不同程度的透光性。该结构是未油漆螺栓I梁剖面，迅速组装在现场，使项目从第一个草图到完成在5个月内。

The project aims to clarify the large open situation by dividing the room in half. Half being camera check out and half being the program we add. This maintains the potential of the large room for flexible use and gives an efficient and safe area for the daily work. The structure is a clearly expressed steel structure with various degrees of transparencies of the materials filled in. The structure is unpainted bolted I-beam profiles that was assembled quickly on site, enabling the project to come together from first sketch to completion in 5 months.

 © Einar Aslaksen

(Einar Aslaksen)

为了不干扰摄像机的校准，调色板必须以白色为主。也给工人一种轻盈的感觉，他们习惯于在这些半工业和封闭的空间工作。然而，我们用鲜艳的颜色在结霜的PVC面板后面和不同工作区的天花板上标记不同的区域，并与空间的戏剧表演-就像在一个舞台上一样。

As to not disturb the calibration of the cameras the palette had to be mainly white. Also to give a sense of lightness for the workers, who are used to working in these semi-industrial and enclosed spaces. However, we used bright colors behind the frosted pvc panels and in the ceiling of different work areas to mark different zones and play with the theatrics of the space -very much like one would in a stage.

 © Einar Aslaksen

(Einar Aslaksen)