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Lightspeed是一家来自加拿大蒙特利尔发展迅速的新兴销售点转件开发公司。新的办公总部大楼坐落在具有历史意义的老威格火车站和旅馆的保护建筑之内，建筑师将这个三层的废旧空间重新注入活力。大楼是一个近乎被人遗忘的城堡式建筑，站在尖尖的塔顶可以俯瞰地面显著的市民广场。建筑师将这个曾经被遗弃的空间中找到并保留下来的固有元素重新利用，在其基础上加建另一层通过选择的光滑而富有现代感，机智与风趣兼备的设计元素，从而中和消除老建筑的粗糙质地，映射出客户公司充满活力，创新力以及生命力的品牌形象。

For the new global headquarters of Lightspeed, a burgeoning, Montreal-based developer of point-of-sale software, ACDF Architecture reinvigorated three floors of the historical Viger train station and hotel, a nearly forgotten, chateau- style building whose pointed turrets overlook a prominent civic square. The studio did so by preserving the found, raw elements of the once-abandoned space, superimposing a layer of select, slick, wit-filled elements that pop against the roughness and reflect the clients’ dynamic, creative and vigorous brand.

▼极具空间感的双层挑空办公区及木梁结构屋顶，double height space and immense timber beam structure in the upper level

Lightspeed自2005年成立至今，一直在高速发展和勇猛崛起的进程之中，从一个居家工作室开始逐步建立为一个全球范围内的大规模企业，在欧洲和北美设有分部。公司的发展目标是成为一个市场估价超过十亿美元的科技公司。

Lightspeed has had a fast, audacious rise since it was founded in 2005, growing from a home-based business to a thriving global entity with satellites in Europe and North America. It aims to be the first Montreal tech company with a billion dollar valuation.

▼室内空间概览，office interior overview

新落成的总部办公大楼，现已有将近3000平方英尺的使用面积，而公司将在2016年春季为办公空间扩建完成另外新增的2000平方英尺，公司想要扩充人力，同时保留其作为一个紧密而灵活创业公司的独特文化。在设计过程中，ACDF将过去于未来建立联系，折射公司独有的文化传承和生活情趣，使其具有和一般从硅谷走出的科技公司所不同的方面。设计中运用了多处现代风格的表现手法，如有着光滑质感的玻璃墙，色彩艳丽的木屋，充满活力的家具和图案艺术，其中包含由来自圣保罗的Arlin Cristiano和蒙特利尔的Jason Botkin两位艺术家完成的壁画创作，通过这些艺术形式与工业时代空间的相互交叠，追溯重令悠久历史建筑发声的设计语言。

▼现代材质与历史遗留肌理的冲撞与相叠，modern materials juxtapose industrial found elements

At its headquarters, which are currently 30,000-square-feet with plans for another 20,000 by spring 2016, the company wanted room for an expanding workforce while retaining its culture as a tight-knit, nimble startup. Throughout, ACDF forged connections between the past and the future, reflecting the unique heritage and joie de vivre of its locale (setting it a part from the standard tech offices in Silicon Valley). Contemporary interventions such as slick glass walls, colourful pavilions, vibrant furniture and graphic art — with murals by Sao Paulo’s Arlin Cristiano and Montreal’s Jason Botkin — juxtapose industrial, found elements that speak to the building’s long history.

▼如同纪念碑般的镶嵌钢梁末端被保留下来，the preserved monumental studded steel girder ends

当威格火车站和酒店于1898年首次开业时，它是当地的标志性建筑，拥有颇为奢华的陶砖饰面。大萧条的开始以及蒙特利尔市中心向西方的转移导致了20世纪30年代的低迷。在长达数十年的失修之后，期间包含15年的完全遗弃，ACDF着手于这个办公空间翻新项目，将车站的残缺记忆如同复写纸一般保存下来。设计团队将极具纵深感的双层挑空空间重新展现，在一次20世纪50年代的改造中这些巨大的裸露木梁曾被遮蔽隐藏。设计保留了21世纪初砖墙在去除掉结构石棉后的粗糙质感，以及大如纪念碑般的镶嵌钢梁末端，它们曾是用于将重物滑入和滑出工作间的装备。

When the Viger Train Station and Hotel first opened in 1898, it was a local landmark with grandly detailed terra cotta walls. The onset of the Great Depression and the shift of Montreal’s downtown to the west caused a downturn in the 1930s. After a long period of disrepair, including 15 years of utter abandonment, ACDF began the office conversion, leaving a palimpsest of the station’s past. The studio revealed soaring double height spaces, with their immense timber beams, that were obscured during a 1950s remodeling; retained the rough-hewn brick walls that remained after the structure was stripped of its asbestos in the early 2000s; and left unadorned the ends of monumental, studded steel girders as they slide in and out of the work spaces.

▼20世纪初的威格火车站和酒店，the Viger Train Station and Hotel in the early 20th century

如今，室内充满活力的轻松基调在人们走入大堂的一刻便显而易见。从电梯门口的视角看向接待中心，层压板材质的接待台看起来像就如同Lightspeed红白图标的平面图形，一个流线体的L和S盘绕成明亮火焰的形态。线条随着视角转移构成不同的图像，从而展现出平面图画在空间中的形变特质，在周边粗糙的纹理衬托下形成带有尖锐边缘的鲜明组合体，跳脱于环境之外。

Now, a revitalized sense of levity is evident as soon as visitors step into the lobby. When seen from the elevator, the laminate reception desk looks like the flattened graphic of Lightspeed’s red-and-white logo — a fluid L and S that coil into the shape of a bright flame. From different perspectives, the anamorphic nature of the design is revealed. An assertive assemblage of sharply edged volumes jumps out, all the more because of the surrounding, coarse textures.

▼以Lightspeed标识为背景的接待中心，the laminate reception desk with the striking Lightspeed logo

▼平面图案在不同视角下呈现出形变特质，the anamorphic nature of the design is revealed when looking at different perspectives

类似的幽默设计手法运用于空间的其他部分，例如建筑师将3个胶合木材质的木屋会议室置放于首层大堂中，每一个看起来都如同迷你而高度发光的小房子，充满着温馨之感而又是对公司成立之初以一间小办公室立足于住宅片区这段公司成长史的难忘回忆。

A similar sense of humour pervades the rest of the space. For example, ACDF installed three laminate cabana-shaped meeting pavilions in the lobby. Each looks like a mini, high-gloss house, a nod to the comforts of home as well as Lightspeed’s previous, much-smaller office, which was in a residential neighbourhood.

▼色彩明艳而又小巧精致的发光木屋房，cabana-shaped, mini, high-gloss house in bright colour

▼小房子的表皮的高反材质，use of high-gloss material for cabana house

▼木屋房细部，cabana house detail

另一层级的机智诙谐为空间增添了游戏属性，设计团队将被固定的“影子”绘制在展厅周边的墙壁和相邻地面之上，形成三维空间中的二维错觉空间。小木屋近旁是一个位于厨房侧边的公共区“泳池”，设计参考了旧办公室后院的泳池空间。水绿色区域有着蓝绿色的树脂地板和模仿水波纹理的纤维玻璃坐凳，由木工艺人Etienne Hotte为区域定制。这两个独特场景的融入为空间增添一种梦幻般的氛围，就如同身临心之向往的度假胜地之中的一处池心酒吧。此外，Arlin Cristiano一副大型涂鸦壁画“凤凰”，更赋予空间独特的张力。

An extra layer of wit heightens the sense of play: the studio painted permanent “shadows” on the adjacent floor and walls outside the pavilions. The cabanas are adjacent to the “pool,” a kitchen-side common area that references the backyard swimming pool at the previous office. The aqua-coloured area has a teal epoxy floor and fiberglass stools with a waterlogged pattern, custom-made by millworker Etienne Hotte, both of which make the area feel as dream-like as the swim-up bar at your favourite resort. (Meanwhile Arlin Cristiano’s The Phoenix, a large, graffiti-style wall mural, adds an edge.)

▼厨房旁边的共享公共区，kitchen-side common area

▼ “池心酒吧”与“凤凰”涂鸦壁画，swim-up bar and graffiti-style wall mural The Phoenix

▼水绿色区域有着蓝绿色的树脂地板和模仿水波纹理的纤维玻璃坐凳，aqua-coloured area with teal epoxy floor and fiberglass stools of waterlogged pattern

在开放式工作空间中，鲜明的白色调家具冲撞着空间上的制约，在工业时代的遗留肌理，高远而架空的木构屋顶，阁楼般的幽暗角落和雅致复古的砖墙之中反复映现。新旧的对比，以及艺术家Jason Botkin的画作，抽象线条和几何图形在空间中的注入，共同脱生出一种戏剧化效果的集成，激发出无尽的想象力，使年轻员工在工作之中尽情施展创意与灵感。后续的补充将会进一步为设计主题增色添彩，一个新的960平方英尺露台将在泳池餐厅的后方开辟出来，包含几个热水浴缸和烧烤空间。其他设计还包括一个有着人字形地板和簇绒皮沙发的雪茄室风格休息室，一个以云朵为原型的半透明圆形剧场可用来容纳公司的215多名员工，令彼此之间感受到同聚一个大家庭中的温暖。

In the open-plan workspaces, stark white systems furniture streaks past the preserved ruins of industrial-age relics, soaring timber ceilings, garret-like nooks and elegantly frayed brick walls. The new-old contrast, as well as the infusion of Jason Botkin’s graphic, abstract lines and shapes, inspires a dramatic synergy that sparks the imagination and helps the youthful employees (the average age is 32) create. Future additions will push the themes further. A new, 960-square-foot patio off the “pool” area will have hot tubs and BBQs; an indoor, cigar-style lounge with herringbone floors and tufted leather couches; and a cloud-inspired, diaphanous amphitheater will ensure the 215 and counting employees feel entirely at home in the space.

▼玻璃立面与复古砖墙形成对比，slick glass walls contrast with the preserved rough-hewn bricks

Client: Lightspeed POS Location Montreal, Qc Completion ongoing
Area: 28 235 sq ft (2 620 m2)
Architectural Project Team: Maxime-Alexis Frappier, Joan Renaud, Laure Giordani, Laurence Le Beux, Christelle Montreuil Jean-Pois
Mechanical Engineer Groupe: Ce+Co
Electrical Engineer: Scomatech
Project Managment: CBRE
General Contractor: Anjinnov Inc.
IT: Calibre Plus
AudioVisual: Environnement Electronique
Artists: Speakeasy, Arlin Cristiano, The Doodys, Jason Botkin
Special millworkers: Etienne Hotte (pool stools) and Léandre Baillargeon (reception desk)
Photographer: Adrien Williams

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