合作者AndrewBartle，Karl Jensen，Joanne Graney，Kelly Armendariz，Sean Auyeung，Ken Lake，Jenny袁Lin，冀Yong Kim，Erik Ohrman，Rachel Piazza平面设计师WSDIA取材我们应该做好所有的照明设计霍顿·里斯·布洛顿MEP工程师MG工程D.P.C.声学工程师Lally声学咨询结构工程师Robert Silman Associates玻璃顾问埃克斯利·O‘Callaghan

Collaborators Andrew Bartle, Karl Jensen, Joanne Graney, Kelly Armendariz, Sean Auyeung, Ken Lake, Jenny Yuan Lin, Ji Yong Kim, Erik Ohrman, Rachel Piazza Graphic Designer WSDIA | We Should Do It All Lighting Design Horton Lees Brogdon MEP Engineer MG Engineering D.P.C. Acoustical Engineer Lally Acoustical Consulting Structural Engineers Robert Silman Associates Glass Consultant Eckersley O’Callaghan & Partners Construction Manager BR Fries and Associates Expediting Rizzo Group Furniture Pivot Interiors Manufacturers Loading... More Specs Less Specs

 © Durston Saylor

杜尔斯顿·赛勒

架构师提供的文本描述。潘多拉在曼哈顿中城的新办公室的中心是一个明亮的双高空间，从一个低而压缩的入口可以看到。这一中心空间通过一侧的宏伟楼梯在两层楼之间提供了物理连接，并利用了两层楼的全部高度-约25英尺-有一个大屏幕，由半透明的圆形圆盘组成，优雅地配以铝制的外形挂钩，后面是蓝色的戏剧剧本。这些元素结合在一起，创建了一个不确定规模的屏幕，旨在故意模糊现有的体系结构元素，并给人以壮丽的第一印象。一棵由LED灯泡制成的大“树”指的是音乐场所的广场灯光，并将目光引向上游，这意味着增长。

Text description provided by the architects. The heart of Pandora’s new office in Midtown Manhattan is a bright, double-height space first visible through a low, compressed entry. This central space provides a physical connection between the two floors via the grand stair on one side and takes advantage of the full height of both floors – about 25 feet - with a large screen made of translucent circular discs, elegantly coupled with figured aluminum hooks backed by a blue theatrical scrim. These elements combine to create a screen of an indeterminate scale designed to deliberately obscure the existing architectural elements and create a first impression of grandeur. A large “tree” made of LED bulbs references the marquee lights of music venues and leads the eye upward, suggesting growth.

 19th Floor Plan

19楼图则

在街区长地板的北侧和南侧是开放的办公桌区域，每个区域都有一个颜色，由多面玻璃空间填充，提供私人会议空间和小型“电话亭”，以缓解开放地区的活动。这些“水晶”吸引了围绕它们的多种运动路径，建立了一系列紧凑和松散的空间，以鼓励随意的互动。玻璃是点阵图形模式，帮助定义表面的体积，并提供不同程度的视觉隐私。

On the north and south sides of the block-long floor plate are the open desk areas, each identified by a color and populated by faceted glass volumes that provide private meeting spaces and small “phone booths” for a relief from the activity of the open areas. These “crystals” invite multiple paths of movement around them, establishing a sequence of tight and loose spaces that are shaped to encourage casual interaction. The glass is peppered with a dot-matrix graphic pattern that helps define the surface of the volume and also provides different degrees of visual privacy.

 © Durston Saylor

杜尔斯顿·赛勒

每个水晶都有一个独特的图案，由他们所包围的会议室的名称的超大刻字构成。在一个角落里，“水晶”的语言被用木头重新诠释成一种特殊的特征-潘多拉声台-一个亲密的圆形剧场风格的聚会空间，可以容纳多达65人参加会议或音乐表演。

Each crystal has a unique pattern, formed by super-scale lettering of the name of the meeting room they enclose. In one corner, the language of the “crystal” is reinterpreted in wood for a special feature – The Pandora Soundstage – an intimate amphitheater-style gathering space able to accommodate up to 65 people for meetings or music performances.

 © Durston Saylor

杜尔斯顿·赛勒

构成现有建筑“核心”的不规范空间被组织和隐藏在一堵磨坊墙后面，其中有来自不同时期和流派的著名音乐艺术家的抽象图像。有规律的间隔期的精心塑造的木片减少了每一幅图像的二值信息垂直条纹，并呈现不同的视觉效果取决于观众的视角和距离。既能看到图像，又能同时将图像抽象成光与暗的“信息”，这意味着我们数字时代的一种转变。

The unruly spaces that make up the ‘core’ of the existing building are organized and concealed behind a millwork wall that features abstracted images of famous musical artists from different periods and genres. The regular intervals of carefully shaped wood slats reduces each image to vertical stripes of binary information and presents different visual effects depending on the viewer’s perspective and distance. The ability to see both the image, and simultaneously, the way the image can be abstracted into “information” of light and dark, is suggesting a transformation that is part of our digital age.

 © Durston Saylor

杜尔斯顿·赛勒

这面墙是一种精湛的技艺之旅，它还包括通往许多房间的门道，一些私人电话亭几乎看不见，还有一些大的门在货运电梯的规模上。

This wall is a tour de force of craftsmanship and also contains the doorways to many rooms, some private phone booths barely visible and some large doors at the scale of the freight elevator.

 © Durston Saylor

杜尔斯顿·赛勒

在开发材料调色板时，我们与我们的客户团结在一起，希望尽可能多地揭露现有建筑的历史建筑。梁，柱和地板都被剥离，以揭示他们的自然状态，表现出丰富的纹理和构造。

In developing the material palette, we were united with our client in wanting to expose as much of the historical construction of the existing building as possible. The beams, columns, and floors were all stripped down to reveal their natural state, expressing a richness of textures and tectonics.

 © Durston Saylor

杜尔斯顿·赛勒

相反，新的玻璃插入是光滑和高度成品-光泽，脆，仔细详细。密集纹理的木平台，楼梯，和几个较小的木材元素贯穿每一层增加了温暖，并作为一座触觉桥梁之间光滑的玻璃和粗糙的混凝土。

In contrast, the new glass insertions are sleek and highly finished – glossy, crisp, and carefully detailed. The heavily grained wood platform, stairs, and several smaller wood elements throughout each floor add warmth and serve as a tactile bridge between the smooth glass and rough concrete.

Architects ABA Studio

Location New York, NY 10168, USA

Category Offices Interiors

Architect in Charge ABA Studio, Andrew Bartle Architects

Project Management WG Project Managment

Project Year 2014

Photographs Durston Saylor

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