We began this project with an investigation into the Picturesque and Grotesque traditions in art, which ultimately root this design in two diametrically opposed concepts. The Picturesque, usually characterized by its adherence to the sublime and beauty, is understood here through the capturing of views that lead to the further horizon; in opposition to this expansive scale, the Grotesque is found in the building up of amalgamated, lush layers of diverse and often unrelated data.



With these ideas in mind, the physical composition of the project is based on three elements: dense wood rooms, painted fresco planes, and structural metal frameworks. The wood volumes house the musical archive that connect the individual parts of the corporation into a unified whole. The skeletal framework forms a connective lattice throughout the space and is seen in silhouette against the New York City skyline, while the frescoed panels are physically thin, but perceptually deep, granting necessary visual privacy to individuals. These elements are deployed in various combinations with a limited palette of materials to support needed programs.



Surface detailing varies throughout the spaces, but is all tactile, and all hand-crafted with attention and care. Paneled wood doors stained with rich colors accentuate the interior nature of the spaces.

We consider the project site not simply set within the confines of an existing office building, but within the context of the skyline surrounding it. Framed exterior views allow daylight into the office, emphasizing a connection with the outside world. Public corridors and major rooms are oriented toward views of highlights of the Manhattan skyline—Central Park, the Empire State Building, the Hudson River, Saint Patrick's Cathedral—and beyond.

In circular, oval, and rectangular listening rooms, wood, metal, and plaster systems are inverted and used as layering elements. The result is a density of texture that serves to isolate spaces from sound, especially important given that loud music is heard throughout each floor. Above all, these areas are made for human comfort, reinforcing the project's central thesis about individual touch and scale.

The structure of each workstation is designed to admit and transmit light through multiple geometric openings; these same openings also cast abstract shadows, creating a sense of place without enclosure. Reception areas and conference rooms located along the perimeter of the space transition between the outside world and the work environment and allow daylight inside the workplace.

Storage and service units, the least public aspect of office operations, are screened by freestanding enclosures built up in layers of wood. Housing the archives of the corporation and, in essence, the history of twentieth century American music, these planes, saturated with color, enshroud functioning equipment, absorbing both light and sound. By contrast, public spaces such as entries, stairs, and workstations are defined by a skeletal structure. These areas emphasize line over plane in the creation of their forms, resulting in a permeability appropriate for their semi-public character.

The lightness of the stair components is emphasized by their suspension from building structure above.