架构师提供的文本描述。100局位于市中心，周围环绕着几个与巴罗特有关的大型项目，包括宏伟的阿尔德里德大厦(1929年由Barott设计，并被许多人认为是他最有成就的作品)，这是蒙特利尔银行总部的现代化高层建筑(由Barott公司设计，1960年开业)，皇家信托大楼(由美国米德McKin公司设计)

Text description provided by the architects. Situated in the heart of the city, Bureau 100 is surrounded by several large projects associated with Barott, including the majestic Aldred Building (designed by Barott in 1929 and regarded by many as his most accomplished work), the modernist highrise for the Bank of Montreal’s head office (designed by Barott’s firm and inaugurated in 1960), the Royal Trust Building (designed by the American firm McKin, Mead & White, with the participation of Barott, in 1912), and the National Bank of Canada Building (a 1965 project for which Barott acted as consulting architect for the firm David, Barott and Boulva of which his son, Peter T. M. Barott, was one of the founders).

 © Stéphane Brügger

(C)Stéphane Brügge

与业主成功的协同关系(2005年的CIGM商业遗产建筑奖得主)导致了一个大规模的修复项目，在前两层，由NFOE占用。内部已经严重恶化，恢复了原来的状态，有令人印象深刻的科林斯柱，华丽的天花板造型和原始的木制品。所有这些，加上巨大的窗户和浅色，有助于创造一个刺激的工作环境。

A successful synergistic relationship with the owner (winner of the CIGM Commercial Heritage Building Award in 2005) resulted in a large-scale restoration project on the first two floors, occupied by NFOE. The interior, which had deteriorated considerably, was returned to its original state, with impressive Corinthian columns, ornate ceiling mouldings, and original woodwork. All of this, plus the immense windows and light colours, contribute to creating a stimulating work environment.

 © Stéphane Brügger

(C)Stéphane Brügge

该项目的美学方法连接过去和现在之间的一个微妙的游戏之间的垂直和水平。两层楼都已从以前翻修的所有隔间中解放出来。简单，优雅的家具作为背景，这一空间丰富的建筑细节。开放式办公空间中的工作站鼓励了工作组之间的互动，同时也为个体的思考和反思提供了可能。简易会议区位于工作站附近。这些层次是由空地组成的，这些空间强调柱子、天花板、模版和木制品的原始装饰品。银行金库仍在底层，现在用作图书馆。

The project’s aesthetic approach links past and present in a subtle play between verticals and horizontals. Both floors have been freed of all the partitions of previous renovations. The simple, elegant furnishings act as a background for this space rich in architectural details. The workstations in the open-plan space encourage interaction among work groups, while offering the possibility for individual thought and reflection. Zones for improvised meetings are located in proximity to the workstations. The levels are composed of open spaces that emphasize the original ornamentations of the columns, ceilings, mouldings, and woodwork. The bank vault is still in place on the ground floor and is now used as a library.

 © Stéphane Brügger

(C)Stéphane Brügge

每一层都有自己独特的氛围：底层是宏伟的，而上层是亲密的。在天花板上，暴露的基础设施与装饰竞争。底层有一个高(17英尺)的天花板和大窗户，提供了令人惊叹的老蒙特利尔景观。它沐浴在自然光中，通过墙壁和家具的浅色而扩散到工作空间。墙壁上的黑暗口音使这些光线充足的空间更加深邃。二楼有一个较低的天花板，鼓励在工作领域的亲密关系。一系列叠加的下降天花板放大了高度的降低，并作为一系列的水平板与垂直柱形成对比。

Each floor has its own distinct ambience: the ground floor is grandiose, whereas the upper floor is intimate. On the ceilings, the exposed infrastructure vies with the ornamentations. The ground floor has a high (17-foot) ceiling and large windows offering a stunning view of Old Montreal. It is bathed in natural light, which is diffused into the workspace by the light colour of the walls and furniture. Dark accents on the walls give depth to these well-lit spaces. The second floor has a lower ceiling, encouraging intimacy in the work areas. A series of superimposed drop ceilings amplifies the height reduction and acts as a series of horizontal slabs contrasting with the vertical columns.

 © Stéphane Brügger

(C)Stéphane Brügge

不同的干预措施由纯的、最小的线条组成。玻璃、干墙和金属之间的对话-强度、透明度和材料重量之间的对话。只有在一楼等候的地方才有色彩：一块绿色的独角石和一块金属条浮在一块玻璃面板上，与白色的古典柱子相提并论。

The different interventions are composed of pure, minimal lines. A dialogue is created among the glass, drywall, and metal – among strength, transparency, and the weight of the materials. Only in the ground-floor waiting area are there touches of colour: a green monolith and a metal strip floating on a glass panel play against the white classical columns.

 © Stéphane Brügger

(C)Stéphane Brügge

原来的木制品和壁炉都保存在一楼的会议室里.在木制品上方，深色的墙壁放大了天花板下的高度，并在视觉上将华丽的造型与墙壁分开。灯光装置，具有当代的审美，似乎下降，像水滴，从天花板到地板。这些原始的和当代的装饰增加了这个空间的声望，这打开了达累斯理的位置。

The original woodwork and fireplace have been preserved in the ground-floor conference room. Above the woodwork, the dark-coloured walls amplify the height under the ceiling and visually detach the ornate mouldings from the wall. The lighting fixtures, with a contemporary aesthetic, seem to fall, like water drops, from the ceiling to the floor. These original and contemporary ornamentations add cachet to this space, which opens on to Place d'Armes.

 © Stéphane Brügger

(C)Stéphane Brügge

阁楼俯瞰底层工作区。一堵蓝色的墙横跨两层楼，沿着工作区后面的内楼梯。这种颜色通向二楼，在自助餐厅继续使用。为了确保合伙人的隐私和保密性，他们的办公室在一端进入达梅斯。通过使用玻璃板作为隔板和门来保持视觉渗透性。楼上的会议室，在地板的后面，俯瞰达梅斯广场，有一扇半圆形的大窗户。会议桌上的照明装置与窗户的形状相呼应。

The mezzanine overlooks the ground-floor workspaces. A blue wall spans both floors along the interior stairway behind the workspaces. This colour leads to the second floor and is continued in the cafeteria. To ensure the partners’ privacy and confidentiality, their offices are at one end giving onto Place d'Armes. Visual permeability is preserved with the use of glass panels as partitions and doors. The upstairs conference room, at the back of the floor, overlooks Place d'Armes with a large window with semi-circle woodwork. The lighting fixture over the conference table echoes the shape of the window.

 First Floor Plan

一层平面图