架构师提供的文本描述。计划：重建现有的7，000平方英尺。1930年的艺术装饰，砖石建筑，艺术画廊，办公室和工作空间，制作电视广告和音乐录影带。

Text description provided by the architects. Program: To remodel an existing 7,000 sq.ft. 1930’s Art deco Masonry Building Art Gallery into office and work space for production of TV commercials and music videos. 

解决方案：反应堆提出了一个独特的挑战，即从设计过程开始后不到14周，就能满足客户的需求，进入一个完整的空间。为了满足这一需求，制定了一项系统的工作战略，以利用这些极端的制约因素，同时营造一种创造性和动态的工作氛围，使业主、承包商和建筑师能够以前所未有的协同作用进行协作。

Solution: Reactor presented the unique challenge of satisfying the client’s requirement to move into a completed space in less than fourteen weeks from the beginning of the design process. In order to meet this demand, a systematic working strategy was developed to capitalize on these extreme constraints while cultivating an inventive and dynamic working atmosphere in which client, contractor and architect collaborated with an unprecedented synergism.

 © Marvin Rand

马文·兰德

该方案从战略上分为不同和不同的领域，可根据施工进度逐步加以开发和详细说明：每个方案要素或领域都进行了深入探索和详细开发，并提交给客户，然后按尺寸发给承包商进行施工。设计决策是与承包商和专业技术对项目至关重要的各种制造者密切联系作出的。一组涉及时间、金钱、设计、建造和制造的复杂问题和关系创造了一种环境，在这一背景下，制造过程和建造工艺变得更加重要，并成为设计过程的中心方面。

The program was strategically divided into distinct and separate areas that could be developed and detailed in phase with the construction schedule: each programmatic element or area was explored in depth and developed in detail, presented to the client and then dimensioned and issued to the contractor for construction. Design decisions were made in close association with the contractor and various fabricators whose expertise was fundamental to the project. A complex set of issues and relationships involving time, money, design, construction and fabrication created a context in which the process of making and the craft of construction intensified in importance and became central aspects of the design process.

 © Marvin Rand

马文·兰德

在设计的第一周开始施工，城市在第二周开始时发放许可证。为项目生成的所有图纸均作为客户提交和施工文件。为了便利这一过程，并使参与者之间能够迅速进行传真通信，所有图纸都是在11‘x17英寸的天鹅绒上手工完成的。在这种“一拍”或“直播”背景下工作的直接性导致了一种架构，在本质上，它演变为一幅全面的图画。

Construction commenced during the first week of design and permits were issued by the City by the beginning of the second week. All drawings generated for the project served as both client presentation and construction document. To facilitate this process and allow for rapid facsimile communication between participants, all drawings were completed freehand on 11’ x 17” vellum. The immediacy of working in this ‘one take’ or ‘live broadcast’ context resulted in an architecture that, in essence, evolved as a drawing at full scale.

在空间上，该项目围绕一个位于中心的会议室，定位于公共街道。会议室位于“街道”大堂，重新占用了从长滩船坞购买的旧海运集装箱。该项目实施时的经济环境允许对这一现成的物品进行创造性的再利用：由于与日本的贸易不平衡，使用过的集装箱以极低的成本随时可得。罗伯特·文丘里(RobertVenturi)曾说过：“在不熟悉的环境中看到的熟悉事物，可能会变得既旧又新。”(建筑中的复杂性和矛盾)就像这个项目所占用的1930年的建筑一样，回收容器被改造并被感知地重新定位，以利用其固有的历史。

Spatially, the project revolves around a centrally located conference room, positioned to engage the public street. The conference room, located in the “street” lobby, re-occupies a used ocean shipping container purchased from the Long Beach shipping yard. The economic climate at the time of this project permitted the inventive reuse of this ready-made object: Because of the trade imbalance with Japan, the used container was readily available at an extremely low cost. Robert Venturi once said, “A familiar thing seen in an unfamiliar context can become perceptually new as well as old.” (Complexity and Contradiction in Architecture) Like the 1930’s building that this project occupies, the recycled container is transformed and perceptually repositioned to capitalize on its inherent history.

 © Marvin Rand

马文·兰德

本质上，它展示了一个空间传记，它的表面和空洞充满了记忆碎片随着时间的推移被蚀刻在里面。周围的内部空间被设想成一个流体表面包装，不对称地围绕容器的质心旋转。这个表面包装物交替地推开和剥离现有建筑物的墙壁和结构。这种推拉或隐藏和揭示正式策略表明了新与旧之间的动态关系，同时表明了一种尊重旧的完整性的设计态度，同时保持对创造出有创意和有思想的新事物的承诺。

In essence, it exhibits a spatial biography, its surfaces and voids charged with fragments of memory etched into it over time. The surrounding interior space was conceived as a fluid surface wrapper rotating asymetrically around the centroid of the container. This surface wrapper alternately pushes close to and peels away from the walls and structure of the existing building. This push and pull or concealing and revealing formal strategy suggests a dynamic relationship between the new and old while indicating a design attitude that respects the integrity of the old while maintaining a commitment to the generation of an inventive and thoughtful new.

 © Marvin Rand

马文·兰德

虽然表面平面保持平坦和正交，但它有意识地被用于雕塑的表现力。塑造成一个额外的维度在它的包装，它创造的空洞变得和表面本身一样重要。墙壁、房间和窗户创造了独特的体验，但作为一种有凝聚力的构图，它们在紧张关系中保持平衡。最终，反应堆是通过制造过程来激发建筑方面有意义的经验的一种尝试。它变成了一个“如何”而不是“什么”的问题。

While the surface plane remains flat and orthogonal, it is consciously exploited for sculptural expressiveness. Molded into an extra dimension in its wrapping, the voids which it creates become as important as the surfaces themselves. Walls, rooms, and windows create singular experiences yet balance in tension together as a cohesive composition. Ultimately, Reactor is an attempt to stimulate meaningful experience in architecture through the process of making. It becomes a questions of “how’ rather than “what.’