The idea of 44 Montgomery comes from I want to do something "Evokes poetic moments in the public space". We work almost every single day in the same place, but sometime we forgot every moment we meet is precious. 

44 Montgomery 最初的想法是，我們每天都在同一個辦公室相遇，不管你願意不願意。其實我一直覺得可以在同一個時空相遇是浪漫的（同事可能沒有要理我），有這麼多相遇在這個空間，我們可以怎麼樣讓這個空間的人，更可以感受到這個相遇的片刻？

A lot of media architecture at ESI design builds up with the existing architecture. How to make the death space come alive, it a fun challenge that we always have. When I look at the picture of the building, the structure outside of the building looks like a perfect surface for light. So I was wondering if we can bring the structure in, make it a significant canvas for space, and that would be our new canvas? 

在ESI 多數的媒體建築，除非真的跟大型的建築公司合作，不然通常都是跟現有的建築結合，站在原本就存在的空間思考，怎麼樣可以讓這個地方活化，讓更多人來，是我們一直思考的。剛好這個空間外牆其實蠻有趣的，宛若一個光的完美反射體，於是我就提出，也許可以將外牆的結構放到內部，變成媒體裝置的一部分。

When I proposed this idea to Ed Purver and Chris Neither, physical design Chris immediately took a step on what it can look like. The result is very intriguing, and then we start to do bunch content exploration. 

Throw thing on the canvas is like my classic process. Most of the stuff it needs fit with idea and story at the same time. Most people said the idea should come first, but the truth is - we already work with existing space. We should figure out what looks good in the space as well. It's mostly excusing. The face is  - when I don't know what to do, I throw things on canvas and try to figure out. 

我在會議裡提出我的想法，建築部的Chris 馬上說，「喔，我知道怎麼做了！」回去馬上就做出一個版本，根據現有的版本，我們開始將可能出現在畫面上的東西丟上去。

把東西丟到螢幕上其實通常是我的第一步，主要是看看這個東西是長怎樣，畢竟媒體建築也是像雕塑一樣的立體物件，雖然我們常常說概念跟故事很重要，但面對現存的畫布，看看什麼東西在畫布上好看，也是很重要的一個步驟。

The fun part of all the media architecture compare to traditional media projects is that we have to work with our best friend (architect)'s boss - production manager. We have to collaborate in the process make sure it's possible to build with the time and budget. it's a tedious but powerful job, especially when everyone is worry about the budget, and our production manager said, " Actually, space looks like a right area for reactive stuff, and we happened to have some budget." That's how Sarah Frankle become my favorite production manager. So, we decide to make it a reactive canvas. 

媒體建築跟傳統媒體的案子，最大的差別是什麼呢？媒體建築跟空間有關，所以從一開始你要有跟你的好朋友建築師合作，然後因為要蓋東西，所以你要跟控管預算的人當朋友。我必須說，控管預算的人亦敵亦友，有時候他會突然發現可以在某些地方上花錢，然後你就突然變得很富裕！？像這個案子就是因為管建築預算的Sarah 覺得我們應該要做成互動的形式，他也覺得在預算上可以實現

Another good friend you might need over the process is your writer friend. Especial when you feel like you are illiterate like me. When I found the fluid simulate website, I was not sure what should do. It's the write Stuart said " The moment it stays on the canvas, is the moment we want. " 

And that's how it ends up on the ESI website "ESI designed a media installation for the lobby that reacts to the movement of passersby, making the space feel spacious and alive. The media is driven by a suite of sensors that tracks visitors as they move through the lobby. As people walk to/from the elevator bays, they become digital paintbrushes, trailing a colored path across the display. As more and more people fill the lobby, the media fills with brushstrokes, becoming more colorful and dynamic." 

另外一個過程中找到的好朋友就是文案，文案其實很多時候是讓你的想法變成文句的人，像我就是跟公司的文案聊完以後，才決定這個像水彩般的方式，就是最適合這個裝置的，「就是這個停留在畫面上的瞬間，就是我們要的。」這也變成ESI 網站文案的一部分。