架构师提供的文本描述。JWT，原名J.WalterThompson，是世界上历史最悠久、规模最大的广告公司之一。虽然它的资历和客户名单是无可挑剔的，但该公司需要改变自己，以迎接新媒体世界的挑战。纽约总部年轻的新领导层决心使之成为一个完整的身体、虚拟和行为转变。2004年6月，克莱夫·威尔金森建筑师被任命与工作场所策略师DEGW一起设计这一转变，协助客户远景规划，并在纽约HOK公司提供执行建筑师服务。JWT共有900人，占据了列克星敦大道466号办公楼5层的250 000 SF。这些楼面在三年内分四个施工阶段依次拆除、改建和重新使用，最后完工日期为2008年2月。

Text description provided by the architects. JWT, formerly J. Walter Thompson, is one of the oldest and largest advertising agencies in the world. While its credentials and client list were impeccable, the company needed to transform itself to meet the challenges of the new media world. Youthful new leadership at the New York headquarters determined to make that a complete physical, virtual and behavioral transformation. In June 2004, Clive Wilkinson Architects was appointed to design the transformation with workplace strategists, DEGW, assisting with client visioning, and HOK New York providing executive architect services. With a total population of 900 people, JWT occupied 250,000 SF in 5 floors of the office building at 466 Lexington Ave. The floors were sequentially gutted, remodeled and reoccupied in four construction phases over three years, with final completion occurring in February 2008.

 © Eric Laignel Photography

(C)埃里克·莱格尔摄影(Eric Laignel)

从一开始，JWT就重新构建了它如何与公众打交道的核心愿景。广告不再专注于向消费者传递信息，而是创造出奖励公众时间和注意力的体验。它的使命变成了“讲故事”。为了促进互动、流动和协作，将开放和重新连接JWT内部的孤立部门。新的空间将是开放式建筑，没有私人办公室，楼层之间的垂直移动将有助于将JWT社区团结起来。独立的业务，如jwTwo的后期生产设施，将被表达为独特但完整的公司，这为空间增添了特色。

From inception, it emerged that JWT was reframing its core vision about how it engaged with the public. Advertising would no longer focus on projecting messages to the consumer, but creating experiences which rewarded the public’s time and attention. It’s mission had become ‘story telling’. To promote interaction, mobility and collaboration, the isolated divisions within JWT would be opened up and reconnected. The new space would be open architecture, with no private offices, and vertical movement between floors would be facilitated to unite the JWT community. Separate businesses, like the post-production facility of JWTwo, would be expressed as distinct but integrated companies, adding character to the space.

 © Eric Laignel Photography

(C)埃里克·莱格尔摄影(Eric Laignel)

建筑概念成了一个主题线：我们用树作为讲述故事的隐喻，并将它扩展为机构各个分支之间的组织形式和结缔组织。这棵“叙事树”连接了所有楼层，而树干则是连接正门大厅所有楼层的中庭、空隙和楼梯。这些树枝是卵形会议室：要么是实心的绿色圆锥形，要么是声学填充的绿色帐篷。球果呈角状，就像树枝延伸到地板上一样。这16个不同的帐篷进一步扩展了这个比喻，每一个帐篷都是用数控机床切割的，其中有一部著名小说的第一句。文字被裁剪到织物上，剪裁的字母垂下来-我们称这种效果为“掉落的单词”，剪裁的字母形状就像叶子一样。内容的选择是与JWT创作者的合作-每个句子的意义都不完整，因此读者可以自由地扩展其含义。

The architectural concept became a thematic thread: we used the tree as a metaphor for storytelling and extended it as organizing form and connective tissue between the individual branches of the agency. This ‘narrative tree’ links all floors and the trunk is the atrium void and staircase that connects all floors over the main entrance hall. The branches are ovoid shaped meeting rooms: either solid green cones, or acoustically padded green tents. The cones are angled, like branches stretching through floors. The sixteen different tents extend the metaphor further by each being incised using CNC machines with the first sentence of a famous novel. The words are cut into the fabric and the cut letters hang down – we called this effect ‘falling words’, and the cut letter shapes appear like leaves. The choice of content was a collaboration with JWT creatives - each sentence is incomplete in meaning, so the reader is free to extend its meaning.

 © Eric Laignel Photography

(C)埃里克·莱格尔摄影(Eric Laignel)

这种建筑表现在最底层，第二层，这得益于18英尺高的天花板。入口中庭延伸至32英尺高，其中有一个混凝土楼梯蜿蜒而过。当楼梯外的交通流到代表机构内不同部门的独特社区时，会议室和会议室等特殊的地标建筑有助于创造视觉兴趣，同时也为寻找道路提供便利。创意区包括一个阁楼“树屋”结构与几个协作空间和相邻的多功能市政厅/咖啡馆/酒吧空间与照明酒吧。阁楼被漆成纽约出租车黄色，以配合出租车可见，通过窗口毗邻的中央立交桥。整个机构，天花板被拆除，最小的线性系统的上/下照明创造了一个明亮的空间，减轻严重着色的外部窗口的影响。

This architectural expression is most dramatic on the lowest floor, level 2, which benefits from 18ft high ceilings. The entry atrium here stretches to 32 ft high with a concrete staircase winding through it. As circulation off the stairs flow into distinctive neighborhoods representing various departments within the agency, special landmarks such as meeting and conference rooms help create visual interest while facilitating way-finding. The creative area includes a mezzanine ‘tree house’ structure with several collaboration spaces and an adjacent multi-purpose town hall/café/bar space with an illuminated bar. The mezzanine is painted NY taxi yellow to match the taxis visible though the window on the adjacent Grand Central overpass. Throughout the agency, ceilings were removed and a minimal linear system of Zumtobel up/down lighting creates a bright space, mitigating the effect of the heavily tinted external windows.

 © Eric Laignel Photography

(C)埃里克·莱格尔摄影(Eric Laignel)

还使用了其他两种手段，扩大了该机构的含义层次。JWT的历史艺术收藏被出售，一个新的购买计划允许购买由索菲·奥本海默策划的具有煽动性的当代摄影作品。这些碎片被战略性地插入整个机构，以达到最大的影响。图形和寻路程序，由鸡蛋/克里斯蒂安丹尼尔斯设计，成为一个机会，创造大规模的环境图像，以补充建筑。此外，在每一层楼都使用了独特的字体系统，突出了每个独特区域的特点。虽然它的基础是一个实用的功能组织，物理代理空间吸引了城市的丰富，没有字面上的引用。自实施这一转变以来，JWT经历了一系列的业务胜利和相关的扩展。

Two other devices were utilized that extended the layers of meaning in the agency. The historic art collection of JWT was sold off and a new program of purchasing allowed the acquisition of provocative contemporary photographic work, curated by Sophie Oppenheimer. The pieces are strategically inserted throughout the agency for maximum impact. The graphics and wayfinding program, designed by EGG/Christian Daniels, became an opportunity to create environmental images on a large scale to complement the architecture. In addition, a unique font system was used on each floor, underscoring the identity of each unique area. While its basis is a pragmatic functional organization, the physical agency space draws in an urban richness without literal references. Since undertaking the transformation, JWT has seen a slew of business wins and associated expansion.

 © Eric Laignel Photography

(C)埃里克·莱格尔摄影(Eric Laignel)