The existing spaces bounced between a typology of commerce and warehouse, inheriting a large window from the first and some more precarious construction conditions from the second. In order to fully comply with the Vendeiro group's office-headquarters program, with large open-spaces, more or less formal meeting rooms, archives, kitchen and various other services, the project quickly moved from a layout of assortment rigidly instructed by a universal system of measurements and integrated thinking of the less "tangible" elements of physical space: sound, light, temperature, ventilation, to an endless task of arranging systems and networks, from the technical floor to the socket in the furniture.
In order for the architecture to survive, the project submerged in a period of less architecture, conventionally speaking, and only re-emerged with the qualitative definition of spaces: which walls should be opaque and which should be in glass, how many skylights should be opened and where, etc. This approach to the real led, at last, to a palette of colors and materials that could be repeated throughout the project in series. What until now was apparently gray and solely technical, became like a flaming arrow from Eros to Apollo: the blue carpets on the floor then blended with the golden woods on the walls and different textures of white alternated for the ceilings and fixed furniture pieces.