架构师提供的文本描述。简报集中于需要一个大型、灵活和刺激的演播室，包括若干具体、多方面的支持空间；包括安全和开放的项目室、演播室集合和产品展示环境、会聚示范设施、观察空间和项目室。此外，还有一个姐妹小组，是要整合在主演播室内，但坐在不同的地方。该项目的一个关键目标是为设计小组配置一种新的定位感，从而提供一种身份认同，使其工作和成就成为英才中心。

Text description provided by the architects. The brief centred around the need for a large flexible and stimulating studio encompassing a number of specific, multi-valiant, supporting spaces; comprising secure and open project rooms, a studio gathering and product display environment, a convergence demonstration facility, observation space and project rooms. In addition a sister group, was to be integrated within, but sit distinct from, the main studio. A key objective of the project was to configure a new sense of place for the design group which would inturn provide an identity which would enable its work and achievements to become a centre of excellence.

 © John Reynolds

约翰·雷诺兹

为了对抗73米长的楼板过于线性和“平坦”的性质，制定了一项设计战略，力求在空间内产生一个明确和定向的物体，这反过来将提供一个电枢，所有伴随的功能都可以组织起来。这个概念的发展，字面上来说，是为了提供开放和可用的公共环境之间的旅程，通过安全的演播室空间。进一步的现场调查发现，建筑物特有的结构体系实际上可能为客户的分类需求提供解决方案，使其环境变得单一和“非法人”。发现吊顶上方有一片1.2的空隙，其中隐藏着一系列的大跨度桁架。传统观点认为，创意空间只能放在独特的、“发现的”历史建筑中，通常位于边缘地区。然而，有人认为，这种结构安排完全出乎意料的性质，实际上可能会提供必要的缺失成分，以提供经常出现在创作空间中的看似随机的特征。

In order to combat the excessively linear and ‘flat’ nature of the 73m long floor plate a design strategy was developed which sought to produce a defining and orientating object within the space which in turn would provide an armature off which all the attendant functionality could be organised. This concept developed, literally, to provide a journey between the open and available public environments through to the secure studio space.  Further site investigation uncovered that the buildings peculiar structural system might infact provide the solution to the client’s categoric need to make their environment singular and ‘non-corporate’. It was found that a 1.2 in void existed above the suspended ceiling which concealed a series of large spanning trusses.  Conventional wisdom dictates that creative spaces can only be placed in idiosyncratic and ‘found’ historic buildings, usually in fringe locations. However it was suggested that the entirely unexpected nature of this structural arrangement might in fact provide the missing ingredient necessary to provide the seemingly random character often found in creative spaces.

 © John Reynolds

约翰·雷诺兹

由此产生的安排在概念上是高度结构化的，但完全开放，并可在执行中使用。定义的“物体”，也就是众所周知的“Pod”实际上是设计成爆炸的，它代表了尤里卡时刻的创造性姿态。在现实中，这被配置成一系列的空间，大小不同的辐射从一个不对称的中央脊柱。重要的是，没有任何东西是线性或平行的。吊舱控制进出演播室，安全要求简明扼要，但以非对抗性的方式进行。一旦超过门槛到荚，工作室成员可以通过，过去和周围的组件元素。为了强调这一定义作用，所有的表面和边缘都是弯曲的，无论是内部还是外部和视觉上都不允许接触现有的结构。通过这种方式，在工作室的新组件和站点发现的元素之间建立了动态。取消作为全体会议的上限，需要修改现有的空气供应和抽气系统。一个新的照明系统也被设计和安装，在整个过程中，寻求利用视觉兴趣，不仅是现有的结构，而且紧绷的表面的吊舱。

The resulting arrangement was conceptually highly structured but completely open and available in execution. The defining ‘object’, or ‘Pod’ as it became known was designed quite literally as an explosion; representing the creative gesture the eureka moment. In reality this was configured as a series of spaces, of varying sizes radiating from a asymmetrical central spine. Importantly nothing was either linear or parallel. The pod controlled access and egress from the studio, the security requirement in the brief, but in a non confrontational manner. Once past the threshold to the pod the studio members can move through, past and around its component elements. To emphasise this defining role all surfaces and edges were curved, both internally and externally and visually were never allowed to touch the existing structure. In this way a dynamic was established between the new components of the studio and the found elements of the site. The removal of the ceiling, which acted as a plenum, required the modification of the existing air supply and extraction systems. A new lighting system was also designed and installed throughout which sought to exploit the visual interest of not only the existing structure but also the taut surfaces of the pod.

 © John Reynolds

约翰·雷诺兹

首先，项目必须提供一个可识别的环境，以供设计工作室发展和发展。预计在较短的时间内，该工作室的人口将从目前的35人增加到76人。这种增长能力最初是通过广泛的空间计划建模以及对家具系统和产品的研究来实现的，家具系统和产品可以容纳看似非结构化的增长。这是通过安装所有必要的电源和数据的最终数字从第一天开始，但隐藏在地板上的空隙。由Tecno公司的Beta家具系统的设计考虑了灵活和移动的创意环境，因此是一个理想的选择。这是这个国家第一次使用这个系统。

First and foremost the project had to provide an identifiable environment around which the design studio could evolve and grow.  The projected population of the studio will grow from its present size of 35 people to a total of 76 over a relatively short period of time. This capacity for growth was achieved initially through extensive space plan modelling together with research into furniture systems and products which could accommodate seemingly unstructured growth. This was resolved by installing all the necessary power and data for the final numbers from day one but concealed within the floor void. The furniture system, Beta by Tecno, had been designed with flexible and mobile creative environments in mind and so was an ideal choice. This was the first time this system had been used in this country.