Advertising Should Be Punchy and Versatile. The Opposite of Pallid, in Other Words.

The building itself can be seen from afar. The oversized light on the terrace intensifies Panama's presence on the square and also shows the self-confidence of an agency that is underscoring its ability to position brands. At night, this gesture creates with the help of an almost intimate illumination an introverted and concentrated atmosphere. The construction is divided into two axes from the third to the fifth floor and three axes in the first two floors with all axes perpendicular to the building itself. This structural linearity is transferred to the design and to the organization as well. The interior architecture provides the experience of varied spatial and atmospheric layering. The structure was built in the sixties as a dancing school and then used for many years by the State Insurance Institute as offices for doctors. The façade is not prominent, but the unusual side view in the form of a two-story pedestal extended from one axis and the warped compass roof present a striking building. The compactness and the impressive character of the building are reinforced by the color of the façade in the dark gray shade of the agency's corporate design.

The visitor enters the creation of a different world as a trip through Panama. The ground floor is primarily oriented towards the arriving visitor. The reception, secretariat, public relations and a waiting area are located in an open spacious room or in emplaced offices. The colors here are the most intensive and passionate. They represent the initial contact and the compilation of experience that the visitor will find in the upper floors. The act of entering is animated and perceived through the spatial modulation and indirect illumination of the colorful sidewall. The lighting system consisting of 72 square trough light fixtures with a text by Bruno Nagel underscores the breadth of the area and guides the visitors to the reception.

From the compact layout of the lobby, one now moves into an extended lobby area. The spatial structuring elements of the ground floor are now reflected in a different form. The color stripes become larger and quieter, a field of trough lights above the stairs emphasizes the vertical integration and a large wall unit of American nut wood in the reception area below as the backdrop behind the reception is transformed into a scenery for the entrance into the three meeting rooms.

Natural and artificial materials exist side by side: slate strips in a sheet asphalt floor and high-pressure laminate coated beside walnut-veneer covered furniture; soft beside hard such as textiles, padding and acoustic elements next to glass petitions, painted surfaces and colored walls; fluffy next to scratchy such as velour strips in a needle felt floor.