Rays of light wash over Mount Cook during this calm sunset at Hooker Valley.
Selected: Audience by danielwongnz
Author: signordal
Sky Central / AL_A + PLP Architecture + HASSELL
© Hufton + Crow
- Architects: AL_A, PLP Architecture, HASSELL
- Location: Osterley, Isleworth TW7, United Kingdom
- Area: 45000.0 m2
- Project Year: 2016
- Photographs: Hufton + Crow
- Other Participants: ARUP, MACE
© Hufton + Crow
Sky Central was designed to challenge conventional ideas of workspace; embracing and evolving the simplicity of the industrial shed, to define a new model for the industries fast-paced and evolving future.
© Hufton + Crow
The vision reflects the workings of the organisation with a campus connected by the assets that drive the Sky business forward: creativity and people. AL_A along with PLP and Hassell brought this vision to life with naturally lit, overlapping voids within deep floor plates to create high levels of visual connectivity.
Sky Group CEO, Jeremy Darroch said: “Our culture and our people are fundamental to Sky’s sustained success. Our people want to do their best and be their best, and we want to support them in doing so, creating an inclusive and creative workplace that facilitates the flow of brilliant ideas and creativity.”
© Hufton + Crow
Floor Plan Second level
© Hufton + Crow
Open and flexible spaces are designed in clusters of neighbourhoods to accommodate a new type of creative industry, where the traditional distinctions between creative, technical, production and corporate have been broken down. These have been replaced with an interwoven, fluid workspace that can be utilized by all of Sky Central’s different expertise and needs.
Ho-Yin Ng, Director at AL_A said:’ “Sky is proud of its beginnings on an industrial business park on the fringes of central London. AL_A worked with Sky to re-imagine a simple ‘shed’ typology as a means of bringing the broadcaster’s activities and people together under one roof in a series of modern and people-centric workplaces on its campus in Osterley.”
© Hufton + Crow
The architecture boasts a large triple height central atrium above the bustling 100-metre long Sky Street that runs the entire width of the ground floor. Sky Street acts as a connector for the whole building, bringing together touchdown workspaces as well as informal working elements alongside amenities ranging from restaurants and cafes to a supermarket and a 200-seat cinema. The whole building is a new holistic, inclusive way of working and living, as Director at AL_A, Ho-Yin Ng said it is “defining a new model for the industry’s fast-paced and evolving future”.
© Hufton + Crow
Hariri & Hariri Architecture Designs a Beach House in Cape Cod, Massachussetts
Cape Cod Beach House is a private home located in Cape Cod, Massachusetts, USA. It was designed by Hariri & Hariri Architecture. Cape Cod Beach House by Hariri & Hariri Architecture: “We cannot go on indefinitely reviving revivals. Architecture must move on, or die. Its new life comes from the tremendous changes in the social and technical fields during the last generations…there is no finality in architecture—only continuous change.” Professor,..
The Importance of Being Emotional
You’re reading The Importance of Being Emotional, originally posted on Pick the Brain | Motivation and Self Improvement. If you’re enjoying this, please visit our site for more inspirational articles.
Have you ever been criticized for being “too emotional”? And told that this may be hindering your chances of enhancing your career, or advised that “great leaders know how to keep their emotions at bay”? I have. And for a while there, it made me think that, to succeed, I need to strip myself of feelings, or at least to become an A-list actor at hiding them well. Unsurprisingly, this was not an easy task.
But then, I started wondering. Why? Why emotions have to be so bad? And do I have any chances at all to thrive in life then, but to reserve my softness and compassion?
Well, let’s see what wise men have unearthed.
Emotions and decision-making don’t bond well together, we are often told. In fact, to reach good-quality outcomes—ones that we won’t later regret—we’d better take our feelings out of the equation. That is, we have to “keep our heads cool.” Same is true in business dealings—logic, hard facts and data are often the winners when it comes to strategy, negotiations or planning.
Emotions make us appear too human, too warm, perhaps even weak, “irrational” or defocused.
They are good for things as romance, parenting, friendships, but not when we need to make the real, big life choices—as regarding what to go to college for, or what salary to accept to work for, or whether to buy the house or the car we want. These, we tend to believe, are decisions that require the whole logic we can summon—our own, our family’s, our friends’.
We certainly can’t let how we feel get in the way of successfully closing off an important personal or professional deal. The “real” world, for most part, is driven by things as reason, logic, and interests—be it personal, financial or political. We surely can’t, for instance, expect the bank to lend us money just because we really need it, or because we are a really nice and honest fella. We need a solid case, based on tangible and provable facts.
That is, we’ve been historically conditioned to think, emotionality (compared to cognition) doesn’t make for strong convincer, nor is a negotiation-winner, nor a part of the lending criteria of our bank for that matter.
More importantly, however, emotions and respect from others tend to be perceived as rather polar notions. They, more often than not, get in our way of arriving at good decisions; may devalue our brand, or make us come across as the “too mushy” or the “teddy-bear”-ish type. To be respected, one has to be reserved, in control of their feelings, serious, focused, and even egotistical.
Admittedly, the above revelations sound quite trivial and too apparent even. “Tell me something I don’t know,” many are probably thinking here.
Well, here it is.
On the surface, common wisdom dictates that we have to keep our feelings locked away when we face serious choices, have to make important decisions, or want a successful outcome. Who doesn’t know that, right?
In fact, though, it’s quite the opposite.
Emotions are part of the decision-making process, want it or not
In 1994, a Professor of Neuroscience, Psychology and Philosophy at the University of Southern California— Antonio Damasio, came up with a rather stimulating theory, which he called The Somatic Marker Hypothesis (1994). It’s based on what some deem a revolutionary idea—that emotions are helpful and needed for us to make rational decisions, especially in situations when we must make a snap choice, or under high uncertainty.
Generally, science tells us, when we attempt to reach a resolution, we rely on either cognition (reasoning, logic) or emotions. When we navigate in a complex environment, however, our cognitive capacity may reach its limit and overheat. In such situations, emotions are the one that take over and guide our decision-making process and our behavior.
Emotions are not the same as feelings, though, prof. Damasio claims, although in everyday life, they are used synonymously. Emotions are signals in our bodies, as elevated pulse and heartrate, contracting muscles, for instance, which are sent to our brains for interpretation, and based on past stored information in our minds, we experience the subsequent feeling (fear). In this sense, feelings actually follow emotions.
What’s rather intriguing, however, is that prof. Damasio’s research is based on observation of patients with damage to the frontal part of the brain, responsible for emotions (called ventromedial prefrontal cortex, VMPFC). Such individuals, although many high in intelligence, had serious problems functioning normally in their everyday lives. They couldn’t make good and suitable decisions, especially when it came to avoiding risks—a condition, which adversely affected their finances and relationships and many other aspects of their lives.
Therefore, it appears that emotions are not the bad influencer in our reasoning process. On the contrary, they are the ones, which let us to make the right choices, to distinguish between good and bad (not only in the abstract), and help us accumulate wisdom over time, which comes from “cultivating knowledge about how our emotions behaved and what we learned from it.”
Acting out “on emotion”
Thin-slicing is a term, which was popularized by Malcolm Gladwell in his book “Blink: The Power of Thinking Without Thinking” in 2005. But the original idea goes back to 1992 when two professors of psychology—Nalini Ambady and Robert Rosenthal published a paper, documenting how quick observations—usually under 5 minutes (some of the later tests were done for 2,5 or 10 seconds), yielded high-accuracy outcomes. That is, higher than 50%– the rate, which can be attributed to chance.
Such “predictions” or opinions about the characters of people we meet, are not necessarily logical. They are based on our “intuition” and cues we read about others—mostly visual, as gesture, posture, facial expressions. But the “thin slicing,” or the limited and fast evaluations we draw on others, has been shown to correctly reveal information about their personality, sexuality, inner states and moral behaviors (as confidence, honestly, professionalism or optimism). The technique has been recognized to work in various settings and circumstances—from first impressions, to speed-dating, to the choices, which medical professionals, firefighters, policemen have to make in splits of a second.
Labelled “gut feelings” or “sixth sense,” the phenomenon confirms what each of us largely suspects to be true—that our “feeling”-side of the brain is more important that just as a manifestation of our artisticity. It is actually a snap compass to aid us in navigating in the world, in getting to know others, or in making on-the-spot decisions when needed. All this, with a scarily great dose of accuracy too.
Not bad for a mushy inner sensation, which generally contradicts all the logic and cognition we frequently equate with the great decision-making—the ones that are supposed to leads us to success and riches.
Warmth vs Strength
Harvard Professor Amy Cuddy, along with fellows Susan Fiske and Peter Glick, has pondered on this question for a while—that is, to be a good leader, should one come across as warm, empathetic, humane, or as competent, authoritative and perhaps even cold?
When we meet people for the first time. prof. Cuddy claims, there are two things that we quickly weigh on—can we trust the person and can we respect them? The former is the so-called “warmth” dimension, while the latter is linked to competence. And although many of us consider that gaining others’ respect is the first step for a new leader to establish authority, it’s not quite the case.
The most important thing in relationships, including business, is to build trust. It is warmth, not competence that does this. Warmth, prof. Cuddy tells us, can be demonstrated as being empathetic, understanding, listening to others, or smiling. Hence, it is based on creating a personal and emotional connection to others.
To be a successful leader, a person must ensure that they come across as warm first before they demonstrate their competence. “If someone you’re trying to influence doesn’t trust you, you’re not going to get very far; in fact, you might even elicit suspicion because you come across as manipulative,” prof. Cuddy elaborates.
Therefore, to thrive best in our personal and professional arenas, we should become more “feeling” individuals, rather than less. Being temperamental and sentimental are not signs of weakness but of smarts; it means we are perceptive enough to realize that showing emotions and warmth toward others is the right path to building trust and lasting connections, and is also an integral part of being a role model others want to follow.
So, next time, when faced with a big decision to make, or have a “feeling” about someone you just met, or if you want to earn respect from colleagues and friends, just remember—don’t try to reign in your emotions.
Instead, feel away, I tell myself every day now.
Evelyn Marinoff is a Canadian, currently living in Dublin, Ireland. I am a blogger, a social introvert, an MBA, a passionate reader and a writer in the making. I hold a degree in Finance and Marketing, and I spend my free time reading, writing and researching new and intriguing ideas in psychology, leadership, well-being and self-improvement. You can also find her on Twitter at @Evelyn_Marinoff, or read her blog at mind-chatters.com
You’ve read The Importance of Being Emotional, originally posted on Pick the Brain | Motivation and Self Improvement. If you’ve enjoyed this, please visit our site for more inspirational articles.
Elbphilharmonie Hamburg / Herzog & de Meuron
© Iwan Baan
- Architects: Herzog & de Meuron
- Location: Platz der Deutschen Einheit 1, 20457 Hamburg, Germany
- Partners: Jacques Herzog, Pierre de Meuron, Ascan Mergenthaler (Partner in Charge), David Koch (Partner in Charge)
- Area: 120383.0 m2
- Project Year: 2016
- Photographs: Iwan Baan, Maxim Schulz
- Project Team: Jan-Christoph Lindert (Associate, Project Manager), Nicholas Lyons (Associate, Project Architect), Stefan Goeddertz (Associate, Project Architect), Stephan Wedrich (Associate), Christian Riemenschneider (Associate), Carsten Happel (Associate), Kai Strehlke (Head Digital Technologies), Stephan Achermann, Sabine Althaber, Christiane Anding, Thomas Arnhardt, Petra Arnold, Tobias Becker, Johannes Beinhauer, Uta Beissert, Lina Belling, Andreas Benischke, Inga Benkendorf, Christine Binswanger (Partner), Johannes Bregel, Francesco Brenta, Jehann Brunk, Julia Katrin Buse, Ignacio Cabezas, Jean-Claude Cadalbert, Sergio Cobos Álvarez, Massimo Corradi, Guillaume Delemazure, Annika Delorette, Fabian Dieterle, Annette Donat, Patrick Ehrhardt, Carmen Eichenberger, Stephanie Eickelmann, Magdalena Agata Falska, Daniel Fernandez, Hans Focketyn, Birgit Föllmer, Bernhard Forthaus, Andreas Fries, Asko Fromm, Catherine Gay Menzel, Marco Gelsomini, Ulrich Grenz, Jan Grosch, Jana Grundmann, Hendrik Gruss, Luís Guzmán Grossberger, Christian Hahn, Yvonne Hahn, Naghmeh Haji Beik, David Hammer, Michael Hansmeyer, Nikolai Happ, Bernd Heidlindemann, Jutta Heinze, Magdalena Hellmann, Anne-Kathrin Hellermann, Mirco Hirsch, Volker Helm, Lars Höffgen, Robert Hösl (Partner), Philip Hogrebe, Ulrike Horn, Michael Iking, Ina Jansen, Nils Jarre, Jürgen Johner (Associate), Leweni Kalentzi, Andreas Kimmel, Anja Klein, Frank Klimek, Julia Kniess, Uwe Klintworth, Alexander Kolbinger, Benjamin Koren, Tomas Kraus, Jonas Kreis, Nicole Lambrich, Jens Lehmann, Matthias Lehmann, Monika Lietz, Felix Morczinek, Philipp Loeper, Thomas Lorenz, Christina Loweg, Florian Loweg, Femke Lübcke, Tim Lüdtke, Lilian Lyons, Klaus Marten, Jan Maasjosthusmann, Petrina Meier, Götz Menzel, Alexander Meyer, Simone Meyer, Henning Michelsen, Alexander Montero Herberth, Felix Morczinek, Jana Münsterteicher, Christiane Netz, Andreas Niessen, Monika Niggemeyer, Monica Ors Romagosa, Argel Padilla Figueroa, Benedikt Pedde, Sebastian Pellatz, Malte Petersen, Jorge Picas de Carvalho, Philipp Poppe, Alrun Porkert, Yanbin Qian, Robin Quaas, Leila Reese, Constance von Rège, Chantal Reichenbach, Thorge Reinke, Ina Riemann, Nina Rittmeier, Dimitra Riza, Miquel Rodríguez (Associate), Christoph Röttinger, Guido Roth, Henning Rothfuss, Peter Scherz, Sabine Schilling, Chasper Schmidlin, Alexandra Schmitz, Martin Schneider, Leo Schneidewind, Malte Schoemaker, Katrin Schwarz, Henning Severmann, Nadine Stecklina, Markus Stern, Sebastian Stich, Sophie Stöbe, Stephanie Stratmann, Ulf Sturm, Stefano Tagliacarne, Anke Thestorf, Katharina Thielmann, Kerstin Treiber, Florian Tschacher, Chih-Bin Tseng, Jan Ulbricht, Florian Voigt, Maximilian Vomhof, Christof Weber, Lise Wendler, Philipp Wetzel, Douwe Wieërs, Julius Wienholt, Julia Wildfeuer, Boris Wolf, Patrick Yong, Kai Zang, Xiang Zhou, Bettina Zimmermann, Christian Zöllner, Marco Zürn
- Client: Freie und Hansestadt Hamburg, Germany; represented by ReGe Hamburg Project-Realisierungsgesellschaft mbH, Hamburg, Germany
- General Designer: Consortium PlanerArge Elbphilharmonie Hamburg: – Herzog & de Meuron GmbH, Hamburg, Germany – H+P Planungsgesellschaft mbH & Co. KG, Aachen, Germany – Hochtief Solutions AG, Essen, Germany
- Acoustics: Nagata Acoustics Inc., Los Angeles / Tokyo, USA / Japan
© Maxim Schulz
Between Hanseatic Hub and HafenCity
The Elbphilharmonie on the Kaispeicher marks a location that most people in Hamburg know about but have never really noticed. It is now set to become a new centre of social, cultural and daily life for the people of Hamburg and for visitors from all over the world.
© Maxim Schulz
Too often a new cultural centre appears to cater to the privileged few. In order to make the new Philharmonic a genuinely public attraction, it is imperative to provide not only attractive architecture but also an attractive mix of urban uses. The building complex accommodates a philharmonic hall, a chamber music hall, restaurants, bars, a panorama terrace with views of Hamburg and the harbour, apartments, a hotel and parking facilities. These varied uses are combined in one building as they are in a city. And like a city, the two contradictory and superimposed architectures of the Kaispeicher and the Philharmonic ensure exciting, varied spatial sequences: on the one hand, the original and archaic feel of the Kaispeicher marked by its relationship to the harbour; on the other, the sumptuous, elegant world of the Philharmonic. In between, there is an expansive topography of public and private spaces, all differing in character and scale: the large terrace of the Kaispeicher, extending like a new public plaza, responds to the inwardly oriented world of the Philharmonic built above it.
© Maxim Schulz
The heart of the complex is the Elbphilharmonie itself. A space has emerged that foregrounds music listeners and music makers to such an extent that, together, they actually represent the architecture. The philharmonic building typology has undergone architectural reformulation that is exceptionally radical in its unprecedented emphasis on the proximity between artist and audience – almost like a football stadium.
© Iwan Baan
Urban Architecture for Lovers of Culture
The new philharmonic is not just a site for music; it is a full-fledged residential and cultural complex. The concert hall, seating 2100, and the chamber music hall for 550 listeners are embedded in between luxury flats and a five-star hotel with built-in services such as restaurants, a health and fitness centre, conference facilities. Long a mute monument of the post-war era that occasionally hosted fringe events, the Kaispeicher A has now been transformed into a vibrant, international centre for music lovers, a magnet for both tourists and the business world. The Elbphilharmonie will become a landmark of the city of Hamburg and a beacon for all of Germany. It will vitalize the neighbourhood of the burgeoning HafenCity, ensuring that it is not merely a satellite of the venerable Hanseatic city but a new urban district in its own right.
© Iwan Baan
© Iwan Baan
The Archaic Kaispeicher
The Kaispeicher A, designed by Werner Kallmorgen, was constructed between 1963 and 1966 and used as a warehouse until close to the end of the last century. Originally built to bear the weight of thousands of heavy bags of cocoa beans, it now lends its solid construction to supporting the new Philharmonic. The structural potential and strength of the old building has been enlisted to bear the weight of the new mass resting on top of it.
© Iwan Baan
Our interest in the warehouse lies not only in its unexploited structural potential but also in its architecture. The robust, almost aloof building provides a surprisingly ideal foundation for the new philharmonic hall. It seems to be part of the landscape and is not yet really part of the city, which has now finally pushed forward to this location. The harbour warehouses of the 19th century were designed to echo the vocabulary of the city’s historical façades: their windows, foundations, gables and various decorative elements are all in keeping with the architectural style of the time. Seen from the River Elbe, they were meant to blend in with the city’s skyline despite the fact that they were uninhabited storehouses that neither required nor invited the presence of light, air and sun.
© Iwan Baan
But not the Kaispeicher A: it is a heavy, massive brick building like many other warehouses in the Hamburg harbour, but its archaic façades are abstract and aloof. The building’s regular grid of holes measuring 50 x 75 cm cannot be called windows; they are more structure than opening.
© Iwan Baan
The New Glass Building
The new building has been extruded from the shape of the Kaispeicher; it is identical in ground plan with the brick block of the older building, above which it rises. However, at the top and bottom, the new structure takes a different tack from the quiet, plain shape of the warehouse below: the undulating sweep of the roof rises from the lower eastern end to its full height of 108 metres at the Kaispitze (the tip of the peninsula). The Elbphilharmonie is a landmark visible from afar, lending an entirely new vertical accent to the horizontal layout that characterises the city of Hamburg. There is a greater sense of space here in this new urban location, generated by the expanse of the water and the industrial scale of the seagoing vessels.
© Maxim Schulz
The glass façade, consisting in part of curved panels, some of them carved open, transforms the new building, perched on top of the old one, into a gigantic, iridescent crystal, whose appearance keeps changing as it catches the reflections of the sky, the water and the city.
© Iwan Baan
The bottom of the superstructure also has an expressive dynamic. Along its edges, the sky can be seen from the Plaza through vault-shaped openings, creating spectacular, theatrical views of both the River Elbe and downtown Hamburg. Further inside, deep vertical openings provide ever-changing visual relations between the Plaza and the foyers on different levels.
© Iwan Baan
Entrance and Plaza
The main entrance to the Kaispeicher complex lies to the east. An exceptionally long escalator leads up to the Plaza; it describes a slight curve so that it cannot be seen in full from one end to the other. It is a spatial experience in itself; it cuts straight through the entire Kaispeicher, passing a large panorama window with a balcony that affords a view of the harbour before continuing on up to the Plaza. The latter, sitting on top of the Kaispeicher and under the new building, is like a gigantic hinge between old and new. It is a new public space that offers a unique panorama. Restaurants, bars, ticket office and hotel lobby are located here, as well as access to the foyers of the new philharmonic.
© Iwan Baan
© Iwan Baan
The Elbphilharmonie
What kind of a space will the philharmonic be? What acoustic and architectural concerns have gone into its construction? What tradition resonates in this hall in comparison to other new locations, say, in Tokyo and Los Angeles or the ur-model in Berlin. It soon became clear that the Hamburg Philharmonic would be different from that ur-model, the Scharoun Philharmonic. The premises alone – the radical givens of the location, namely the harbour and the existing warehouse – invite change. This is a project of the 21st century that would have been inconceivable before. What has been retained is the fundamental idea of the Philharmonic as a space where orchestra and conductor are located in the midst of the audience, as it were: here the architecture and the arrangement of the tiers take their cue from the logic of the acoustic and visual perception of music, performers and audience. But that logic leads to another conclusion. The tiers are more pervasive; tiers, walls and ceiling form a spatial unity. The people, that is the combination of audience and musicians, determine the space; the space seems to consist only of people. In this respect, it resembles the typology of the football stadium that we have developed in recent years, with the goal of allowing an almost interactive proximity between audience and players. We also studied archaic forms of theatre, like Shakespeare’s Globe, with a view to exploiting the vertical dimension. The complex geometry of the hall unites organic flow with incisive, near static shape. Walking, standing, sitting, seeing, being seen, listening… all the activities and needs of people in a concert hall are explicitly expressed in the architecture of the space. This space, rising vertically almost like a tent, offers room for 2100 people to congregate for the enjoyment of making and listening to music. The towering shape of the hall defines the static structure of the entire volume of the building and is correspondingly echoed in the silhouette of the building as a whole.
© Maxim Schulz
Lake Sauris, Friuli, Italyphoto via wil
Restaurant Brix 0.1 / Markus Tauber Architectura
© Oskar Da Riz
- Architects: Markus Tauber Architectura
- Location: 39042 Brixen, Province of Bolzano – South Tyrol, Italy
- Other Participants : Aste Weissteiner Zt GmbH
- Area: 500.0 m2
- Project Year: 2016
- Photographs: Oskar Da Riz
© Oskar Da Riz
From the architect. A sculptural building in Bressanone / Italy is the new landmark in the Lido Park and is the home for the restaurant & bar Brix 0.1
The new restaurant Brix 0.1, located in the Lido Park in Bressanone / Italy, finally brings an improvement to the green area in the middle of the city.
© Oskar Da Riz
Like a landmark the building fits inside the natural environment. A simple, but plastically shaped building opens consciously like a funnel to the pond and framed so visually beneficial the shore as well as 2 forward, protected trumpet trees.
This pavilion thus forms the backbone of the overall composition and becomes the new attraction in the park. The new restaurant BRIX 0.1 in the Lidopark is created in a spatial interplay with a pushed in cuboid space volume, in which the service facilities are accommodated.
© Oskar Da Riz
The design is characterized by a sculptural building envelope which, like a canopy of roofs, protects the new restaurant area and widens through its wide glass façade visually towards the pond. The building deliberately moves closer to the shore of the pond. Under its cantilevered roof, a protected area is created, which is complemented by a spacious terrace overhanging the pond and thus visually links the restaurant with the water. The “canopy roof and wool ” in interaction with the sail over the terrace creates a unique atmosphere in the park.
© Oskar Da Riz
Spacious glazed windows allow views and views into the new restaurant and link the exterior and interior, making the visit to the park an experience. The skin of volume is formed by corten steel´s leaves that makes an elegant coating for the restaurant below.
Ground Floor
Inside a front-cooking kitchen finds a dialogue with the tables of the clients showing the preparation of her prestigious food. In the night the construction becomes a lantern and the water, almost by magic, turns into a mirror for the structure.
© Oskar Da Riz
Product Description. The Corten steel has been the material used for the cover following the concept-idea to integrate the surrounding nature with the pavillon. So corten steel sheets were cut in leaves´ shape like a leaves roof that it forms the skin of the construction.
London, Englandphoto via jane
Cincinnati, Ohiophoto via anna
BAD Architects to Design Mixed-Use Project in Lebanon
Courtesy of BAD Architects
BAD Architects, or Built by Associative Data, showcase their acclaimed data analysis with K1299, a new mixed-use project in Lebanon. The site was addressed through various different lenses: traffic noise, view perspectives, solar radiation, and market potential.
Our design methodology focuses on the careful generation, processing, and analyzing of project specific data for the purpose of optimizing important design decisions, said the architects in a recent media release.
Courtesy of BAD Architects
To deal with traffic noise, the architects have proposed a “stepped volume strategy,” which helps dampen the noise. In optimizing the terrain, the design allows for a garden connection which serves as a secondary entrance to the offices. Shading devices in addition to an open floor plan enhances the workspace for the building’s inhabitants. Lastly, the layouts include terraces and stunning views, which will amplify the building presentation.
Courtesy of BAD Architects
Courtesy of BAD Architects
News Via: BAD
Sig Nordal 