PROPLUSMA ARCHITECTS' proposal for ARRI’s office building in Munich is an architectural approach aiming at integrating interactivity in the philosophy of spatial planning, organization and function.
The basic element of the building’s façade is a flexible system which results from the use of multiple layers. These layers operate as optical information and illumination filters since through the combinations they create, they allow for different transparency qualities.
The interactivity proposed twists both the “static image” of the façade and the images projected on the building’s glass surfaces. In this context, the system developed alongside the façade by the vertical alternating levels acts as an interactive sliding filter embracing the view from and to the building.
The starting point and the inspiration of the design, is the philosophy of the company’s itself: the building attempts to offer to both the employees and the visitors the same experience gained by ARRI products’ users.
In this way the building converts into an invisible “film director” who adjusts the photographic lens and modifies the shutter and the brightness penetrating the selected “frame”. With the appropriate adjustments the director controls the quantity and the quality of the information he is willing to display. Similarly, the building imitates these movements and, thus, the filters’ alternation affects directly the whole building.
The style in the interior spaces is the result of Scandinavian design elements married with the extreme sobriety and sharpness of Bauhaus.
The architects’ intention was to create a new building that inspires the clarity of a simple geometrical structure where the intensity results from the lines’ austerity and the presence of individual elements in careful proportion.
The black metallic elements are combined with black marble, white leather and oak wood details and serve as points of reference. At the same time, the large glass surfaces offer an unexpected degree of open space freedom.
The artificial lighting is a central design matter integrated in the spatial elements and underlining the clear geometrical layout. The general picture is complemented by environmental graphics, large inscriptions which with their impressive presence distort interactively the space and visualize its organizational information.
The basic element of the building’s façade is a flexible system which results from the use of multiple layers. These layers operate as optical information and illumination filters since through the combinations they create, they allow for different transparency qualities.
The interactivity proposed twists both the “static image” of the façade and the images projected on the building’s glass surfaces. In this context, the system developed alongside the façade by the vertical alternating levels acts as an interactive sliding filter embracing the view from and to the building.
The starting point and the inspiration of the design, is the philosophy of the company’s itself: the building attempts to offer to both the employees and the visitors the same experience gained by ARRI products’ users.
In this way the building converts into an invisible “film director” who adjusts the photographic lens and modifies the shutter and the brightness penetrating the selected “frame”. With the appropriate adjustments the director controls the quantity and the quality of the information he is willing to display. Similarly, the building imitates these movements and, thus, the filters’ alternation affects directly the whole building.
The style in the interior spaces is the result of Scandinavian design elements married with the extreme sobriety and sharpness of Bauhaus.
The architects’ intention was to create a new building that inspires the clarity of a simple geometrical structure where the intensity results from the lines’ austerity and the presence of individual elements in careful proportion.
The black metallic elements are combined with black marble, white leather and oak wood details and serve as points of reference. At the same time, the large glass surfaces offer an unexpected degree of open space freedom.
The artificial lighting is a central design matter integrated in the spatial elements and underlining the clear geometrical layout. The general picture is complemented by environmental graphics, large inscriptions which with their impressive presence distort interactively the space and visualize its organizational information.
