当我们第一次与Pinterest会面时，是为了讨论他们在帕洛阿尔托的办公室。当时他们有12个人，但他们正在迅速成长。埃文和本，Pinterest的创始人，要求我们设计一个能够反映他们非正统的性格和成长的办公环境。我们的回应是通过纪念碑式的设计。我们没有为每一个新的工程师购买办公桌，而是建议用一张大桌子，在很长一段时间内达到最大的容量。它的尺寸为32’x32’，可以轻松容纳60人。这张桌子投入了生产，当时我们被叫去参加另一个会议。
When we first met with Pinterest, it was to discuss their office in Palo Alto. There were 12 people in the group, but they were growing quickly. Evan and Ben, Pinterest’s founders, asked us to design an office environment that could reflect their unorthodox character and growth. Our response was through monumentality. Rather than buying a desk for every new engineer, we proposed one large table that would reach maximum capacity over a long period of time. It measured 32’ x 32’, and could easily fit sixty people. The table went into production, when we were called in for another meeting.
这家公司已经爆炸了。Pinterest的规模扩大了两倍，合伙人在旧金山找到了一个45000平方英尺的仓库，可以轻松容纳300人。他们想要一个永远处于创造状态的空间。无论公司规模有多大，设计师和工程师都会感到被鼓励去贡献他们最好的想法，去填补空白，去装饰，去破坏，去再次展示。我们明白，就像网站本身一样，办公环境必须提供一个抽象的框架，在这个框架内，合作、社会和情感关系可以开始形成并改变建筑空间。
The company had exploded. Pinterest had tripled in size and the partners found a 45,000 square foot warehouse in San Francisco that could easily fit 300 people. They wanted a space that would be in a perpetual state of creation. No matter how big the company got, designers and engineers would feel encouraged to contribute their best ideas, to fill in the blank, to decorate, destroy, and exhibit again. We understood, that like the website itself, the office environment would have to offer an abstract framework within which collaborative, social, and emotional relationships could begin to form and transform the architectural space.
在下一次会议上，我们带来了一份计划、一个模型和一句话–不是报价，我们相信他们会更喜欢，而是文学理论家维克多-施克洛夫斯基在1917年发表的形式主义短文《作为技术的艺术》中的一句话。
To our next meeting, we brought a plan, a model, and a quote—not a price quote, which we are sure they would have preferred—but a quote from the short formalist essay, “Art as Technique,” from 1917, by the literary theorist, Victor Shklovsky:
“习惯吞噬了作品、衣服、家具、自己的妻子和对战争的恐惧。’如果许多人的整个复杂生活都在不知不觉中进行，那么这样的生活就像从未出现过一样。艺术的技巧是使物体变得’不熟悉’，使形式变得困难，增加感知的难度和长度，因为感知的过程本身就是一个审美的目的，必须延长。”
“Habituation devours works, clothes, furniture, one’s wife, and the fear of war. ‘If the whole complex lives of many people go unconsciously, then such lives are as if they had never been.’ The technique of art is to make objects ‘unfamiliar,’ to make forms difficult, to increase the difficulty and length of perception because the process of perception is an aesthetic end in itself and must be prolonged.”
我们认为，一个有创造力的办公室不能仅仅在效率、连接和生产力方面发挥作用。为了让每个人都能参与公司文化的创造，我们需要对抗办公桌、会议室和角落办公室的习惯性环境。一个非习惯性的办公空间的想法延续了Pinterest最初诞生的房子的某些品质。这里没有隔间或等级制度，只是一个由热爱科技的年轻人改造成的家庭内部的工作场所。
We argued that a creative office cannot function on terms of efficiency, connectivity and productivity alone. For each person to take part in the creation of company culture, we would need to counter the habitual environment of the desk, the conference room, and the corner office. The idea of a non-habitual office space continued certain qualities of the initial house where Pinterest was born. There were no cubicles or hierarchies, just a domestic interior transformed by tech loving young people into a workplace.
带着这些想法，我们设计了一个奇怪的物品目录。我们称之为 “房子 “的大体积物品将在开放的仓库中创造出一些口袋。不同的纪念性桌子将需要人们发明新的方式来组织会议，占据一个作战室，一起吃集体午餐或在酒吧举办派对。即使是最民主的圆形桌子，也会反过来成为工程师们在最后期限前的禁闭室。周围，白色和玻璃表面将变成白板、针板和涂鸦墙。家庭内部将变得厚重，充满了物品、草图和通过社会接触形成的想法。
With these thoughts in mind, we designed a catalog of strange objects. Big volumes that we called ‘houses’ would create pockets within the open warehouse. Different monumental tables would require for people to invent new ways of organizing a meeting, occupying a war room, coming together for a collective lunch or throwing a party at the bar. Even the most democratic, circular table, in inverse, would become a lock-down room for engineers on a deadline. All around, white and glass surfaces would turn into white boards, pinboards, and graffiti walls. The domestic interior would grow thick with objects, sketches and ideas formed through social contact.
我们把四栋房子放在仓库里，在中心形成一个大的、聚集的空间，在其边缘形成一个厚厚的基础设施走廊，有各种扩展和压缩的服务空间。我们希望人们能在这里看到与同事聊天的机会，深入到工作中去，享受太阳的热量或黑暗的房间，让血液涌向他们的头脑。
We placed four houses into the warehouse, forming at its center a big, gathering space and at its edges a thick infrastructural corridor with service spaces that are variously expansive and compressed. We hope people will see opportunity here to chat with their coworkers, go deep into their work, enjoy the heat of the sun or a darkened room, and let the blood rush to their heads.
Architects: All of the Above, First Office, Schwartz and Architecture
Area : 45000 ft²
Year : 2013
Photographs :Naho Kubota , Eddy Joaquim
Structural Engineer : Yu Structural Engineers
Contractor : NOVO Construction
Project Manager : Relocations Connections Inc., Gina Caruso
Lighting Designer : Pritchard Peck Lighting
Project Designers : Austin Kaa, with Charlie Able, Benjamin Farnsworth, All of the Above / First Office, Margaret Zyro, Kate Hajash, Ewan Feng, Steven Moody, Rachel Hillery, Fiona Booth, Jane Zhu, Darle Shinsato, Brian Lee, Mark Acciari, Anna Neimark and Andrew Atwood, Janette Kim, Katie Okamoto
Executive Architect : Schwartz and Architecture, Neal Schwartz, Lourdes Garcia, Neil O’Shea, Wyatt Arnold, Erik Bloom, Joshua Yoches
Pinterest Team : Everett Katigbak, Per Johansson
Furniture Designer : One Workplace
City : San Francisco
Country : United States