建筑师：space group
地理位置：挪威
设计组：Adam Kurdahl, Gro Bonesmo, Gary Bates, Jose Hernandez, Eric Gerlach, Wenche Andreasen, Jens Noach, Anne Wordstrup, Frederik Kjelman, Tim Prins, Grant Cooper
甲方：Signal Mediahus ANS
顾问：Norconsult, Rambøll Norge, Energima, Ingenius Oslo, Franco Bløchlinger / Metallplan AS, 3D akustikk, Oslo El Prosjektering, F-Holm, Bleed, Sundt & Thomassen
年代：2012
摄影：Ivan Brodey, Vegard Kleven, Space Group
Architects: Space Group
Location: Oslo, Norway
Design Team: Adam Kurdahl, Gro Bonesmo, Gary Bates, Jose Hernandez, Eric Gerlach, Wenche Andreasen, Jens Noach, Anne Wordstrup, Frederik Kjelman, Tim Prins, Grant Cooper
Client : Signal Mediahus ANS
Consultants: Norconsult, Rambøll Norge, Energima, Ingenius Oslo, Franco Bløchlinger / Metallplan AS, 3D akustikk, Oslo El Prosjektering, F-Holm, Bleed, Sundt & Thomassen
Year: 2012
Photographs: Ivan Brodey, Vegard Kleven, Space Group

在2012，space group完成了ove ekman和einar smith在十九世纪设计所设计的工业建筑的复原。由于1858年快速的发展，这个akers河流域曾被称作纽约。而今，这个区域则变作艺术和设计的区域。
In 2012, Space Group completed the refurbishment of a late nineteenth century industrial building designed by architects Ove Ekman and Einar Smith. This area along the Akers River was historically referred to as NY York (New York) due to its explosive development in 1858. Today the area reflects a transformation towards a district focused on art, architecture and design.

Signal mediaus基地紧邻aker河。原先的工业建筑曾被大量使用，无论是作为工业建筑或是办公建筑。在1980年代，部分建筑曾被烧毁。在保存完好的陈旧表皮下，这个项目加入了一个全新的建筑。这两种相互联系的形式都被很好的诠释。
Signal Mediahus sits next to the Aker River in Oslo. The original industrial building has a rich history of uses, from textile industry to offices and events. Part of the building burned down in the 1980s. The project inserts a completely new architecture inside the shell of the old while preserving the historic. The two correlates while both being clearly architecturally defined.  

好几家电影公司在signal mediahus巨大的玻璃屋顶下。这些电影工作室分布于一个主要的中庭空间，这个空间将阳光引入建筑深部。这些工作室的分布也同样依据光照程度：放映室在地下室，编辑室和工作室以及办公室在地面以上光线充足的楼层。对于不同的功能进行不同的材料处理。
The Signal Mediahus hosts several film production companies under one large glass roof. The program is organized around a main void that brings light from a glass roof into the deep section of the building. The program is also organized around the availability of light: cinema rooms in the basement, edition rooms, studios and offices in the ground floor and offices on the upper floors, where more daylight penetrates the building. Different programs receive different material treatments.

地下室由一些列的作为放映室的黑盒子组成。在第一层，两个木质的盒子容纳了工作室和编辑室，同时在已有表皮和新的盒子间形成了一个常见的过度空间。这些盒子也同时作为中庭的吸声材料。上面的几层尽可能的开敞，在不同用户间的产生通透的视觉联系，促进相互联系和合作。
The space in the basement is organized around a big black box that contains the cinemas. On the ground floor, two wooden cladded boxes hosts the studios and edition rooms, while generating common spaces in the gap between the existing façade and the boxes. The boxes also serve as acoustic absorbent for the Atrium. The upper floors are as open and transparent as possible, creating promiscuous visual connection between different tenants, encouraging exchange and collaboration.

这个建筑的活动环绕于中庭，休息室，会议室，咖啡厅，垂直绿化，中心交通。这个交通空间的设计最大化的促进用户的空间体验。
The life of the building is around the common atrium: a lounge, meeting spaces, café, a vertical garden and a centrifugal circulation. The circulation is designed to maximize the interaction between the users and the experience of the space.

这个建筑在平面和剖面上都有大量的开敞空间。这样的处理方式确保了节能以及空气流通，并减少了大量的资源浪费以及空调管道在既有建筑上的安装问题。
The building is designed in both plan and section as one large open space. This architectural solution allows for an efficient use of the energy and ventilation, reducing consumption and minimizing the need for ventilation technical installations that can prove difficult to integrate into historical buildings.