Value-Free Zone
What is a Business Meeting Room?
Research for an art project
by Kenneth A. Balfelt
May 2001



What is a Business Meeting Room?
An organization communicates messages about its character and values to both its staff and the public through the design of its physical setting...The value system of the organization provides control of its members' behaviour and establishes standards by which success can be achieved.
Jean D. Wineman1
Introduction
In meeting rooms all over the world, some of the most important decisions are made. It is here forces come together to exchange viewpoints and develop ideas in order to run a business, organisation or country. A meeting room is for development and progress and is therefor imbedded in this.
The meeting room is one of the places where the staff meets and exchanges viewpoints and thereby develops a shared identity through unanimous decisions. Therefor it has a very important function in a company's striving towards a common aim2. When we go to a meeting, we want to contribute, to be part of the progress, to be progress! This we fight for, and meetings become power struggles.
In this essay, I want to look at what a business meeting room is, and how design and architecture plays a part in that. I will look at it from the point of view of being an artist, and as research for an art project, I will be doing with and in meeting rooms. The purpose is to understand and get insight into the design of meeting rooms - not only how it is, but also how it is constituted and informed. The question could be: what is the paradigmatic structure of a meeting room?
Because of my viewpoint - research for an art project - I do not search for anything specific within the frame mentioned above. Rather, I want to see where this discussion will take me. Therefor the essay is divided into five parallel entries. Each one is both one entry into meeting rooms as well as complimentary to the other parts - at times they also overlap. The intention is not to create one coherent picture. Rather I try to keep the field open for further studies and especially so open that the practical part of this 'Meeting Room Project', the making of the art project, will be fuelled rather then defined by this research.
Therefor, I have chosen not to comment on or interpret some of the ideas, information and lines of thoughts laid out here, in order not to disclose them. Some times a quote can spin of so many ideas, that any essay about it will only reduce it. I have made a few references between the different entries but much of the productive tension of this essay lie precisely in the line one can draw from one entry to the other.
To start with, I will briefly define what a business meeting and a meeting room is:
What is a business meeting?
A business meeting is a situation where people from, or with a relation to, a company meet to discuss, inform about or develop ideas. Agenda and preparation of questions, answers, content and presentation. The participants of the meeting are carefully selected. The date, time and duration of the meeting. Breaks. Decoration of the room. Setting of chairs and tables. Drinks, snacks and food. Smoking policy. Choice of meeting room, could be internally or externally and in a formal or informal setting. Clothing. Reception of participants. Presentation of things and information. Use of AV-equipment. Outcome and minutes.
What is a meeting room?
I use the term 'meeting room' as opposed to board room as the latter only means the room where the board of directors of a company meets and I want to cover all types and levels of business meeting rooms.
A meeting room is housing a meeting. It has an entrance and exit. Lighting, furniture and its arrangement, ceiling, floor covering, walls, wall colours, decoration (e.g. paintings, posters, flowers, plants, etc.), AV material (e.g. overhead, slide- and video projector and boards), windows and curtains or neither, pen and paper, plates, glasses and cutlery, signs and graphics. Is it clean and new or worn?
It all adds up to an atmosphere, that is more or less influential on the meeting participants, and a functionality that more or less supports the meeting. But also a feeling of being safe, of being free to speak, gesticulate and move as well as a 'proper' demarcation of status.
1. Behavioural Issues in Office Design, pp. .12-13, ed. Jean D. Wineman, Van Nostrand Reinhold Company, Inc., New York, 1986
2. The Dynamics of Power and Influence in Workplace Design and Management, by Fritz Steele, page 49-50, in Behavioural Issues in Office Design, ed. Jean D. Wineman, Van Nostrand Reinhold Company, Inc., New York, 1986
The Business Paradigm
In order to try to understand what a meeting is and aims at, we have to investigate what a commercial company is. This, because it will help us to see what can and cannot take place in a meeting/room which then defines it. To do that, I want to try to define what paradigm the business world is in. The two Danish marketing theoreticians Stig Ingebrigtsen and Michael Petterson have defined their view of the marketing paradigm. As marketing covers a big part of what a business in general is3 I think Ingebrigtsen and Petterson's definition gives a good picture of the understanding we are looking for.
To Ingebrigtsen and Petterson4 the marketing paradigm consists of the following:
1. World Picture and Image of Man
2. View of Science
3. Ideal of Science
4. Ethics (internal and external)
5. Aesthetics
Ad. 1. World Picture and Image of Man
The world picture is (social) liberalistic i.e. a market run society with the social in brackets as it is seen as a restriction. Optimising is done from the aim of the owner/manager and in the belief that what is good for the individual owner/manager is good for society5. The world picture is relatively static as it focuses on short-term consumer satisfaction. The image of man is mechanistic and one-dimensional. The individual is only a consumer and the connection between stimulus (marketing) and response (buying) is unequivocal and can be generalised.
Ad. 2. View of Science
Marketing works from a "unified science" which is the idea of there being one view of science applying for all sciences. It has a micro view (business view as opposed to macro view: society view). Because of the need to generalise, marketing transforms individual qualitative data into quantitative indicators. It almost only uses behavouristic psychology that has an instrumental view of man.
Ad. 3. Ideal of Science
The ideal is the classical scientific method. This is manifested in a hypothetical, deductive and normative method based on empirical and descriptive data. There is only one method and one correct use of it for the objective scientist. Therefor there is no explicit choice of the premises of value, and because of that no critical discourse of the chosen premise.
Ad. 4. Ethics (internal and external)
The internal ethic is secured by the correct use of the analytical method. But, what is much more interesting is that the external ethic is secured by not taking part in the discourse of goal definition and problem identification. This means that marketing is value-free and that it, by using a method that is itself value-free, marketing cannot be responsible for the results and its consequences.
As. 5. Aesthetics
Instead of a problem oriented pluralistic representation, marketing obeys the quantitative method. This causes a subject/object view instead of a subject/subject view. Difference is not represented.
What I find most interesting here is how having a discourse of the goal definition is left out in marketing, and how this gives rise to a 'valid' ethical position. The consequence, which I have meet many times at meetings, is that e.g. a pure ethical discussion only enters the discussion if it leads to increased earnings. A 'concern' like that cannot be a goal, only a mean to a goal of earnings. This is exactly what point 4 above touch upon: There is no ethics as such, or an 'absolute ethics'. There is only a relative one, meaning that only if consumers want more 'ethical' products, it will be profitable and (only) thereby part of the marketing paradigm.
Furthermore, but what is left out in Ingebrigtsen and Petterson's definition, part of this paradigm should be 'progress'. There is always an underlying idea of progress in all business decisions (although it is more outspoken then the goal definition i.e. more ideological than paradigmatic). The reason I think this is important too is because the examples mentioned above cannot be a goal as long as it leads to a step backwards for the company i.e. an economic step backwards. Even if it is obvious to everybody that takes part in the decision making process that 'the concern' will benefit humanity, i.e. us, our families and friends. It is unthinkable to include such a discussion, let alone make decision about it because the paradigm is that we earn money for the company owners. This is also why social is in brackets in the definition above as the societal concern is seen as a restriction to marketing. Another issue that could equally well be brought in is the emphasize on competition instead of co-operation6.
The other important aspect to get from the marketing paradigm is its emphasis on generalisation and aggregated quantity. Sameness is chosen over difference. When we talk about the MacDonaldisation of the world and globalisation this is not at all seen as a problem in business life. This is business. There is no outside to this idea. Therefor 'users' can be seen as one category. This is why, I think, the staff of a company generally have the same aesthetic style of offices and furniture. There is one aim, one strategy, one way for the company, and the staff needs to uniform to this.
If we look at meeting rooms in general, they are very alike structurally, they have furniture, pictures, colours, lighting, doors, windows, signs and graphics, etc. and the set-up is always around an oval, round or squared table. Coupled with the business paradigm above and the entry on power elsewhere it is tempting to say that it is structurally the same type of decisions that can take place in a meeting room. There is no room for variations; there is one aim, one paradigm.
Would there be a meeting room if the business paradigm were taken away or changed? If yes, then what kind of meeting room would that be? As we have seen in Mark Wigley's deconstruction of architecture7 and its relation to gender, to insert a discussion about e.g. goals in the design of meeting rooms would be to take away the historical foundation of a practice and discourse such as architecture or meeting room design. It is such a profound action that it is impossible. The whole field has to start from scratch and redefine itself. Lets say for example the idea of bringing ethics as a goal in itself (instead of a means) into a meeting room. Doing that would lead to increased expenses without the prospect of increased earnings. This would be a paradigmatic shift that would question the whole purpose of the company, the employees, their education and experience, the office design, etc.
How can it be that so many people live their lives according to the business paradigm and fuel it? This is a paradigm that fulfils the aims of an owner and not society, even if the latter is 'damaged' from it. Is a paradigm so encircling that you cannot see anything outside of it? A reason for this 'great capitalistic self-deceit' could be found in Nietzsche's 'will to power'. Because the 'will to power' cannot be legitimised as an end in itself, we need hypocrisy or self-deceit to cover it up and find other aims to legitimise it8. This self-deceit can be what businesses (e.g. via architects) tap into to create cover-up desires for our 'will to power'. A little simply put, we think we are working for an extrovert cause, to create better products, faster transport, healthier food, etc. but its all about ourselves. A meeting room can be an engine for this fulfillment of desire of the 'will to power'.
3. The marketing discipline covers identification of consumers and markets, research, product development, pricing, sales, PR, the actual marketing process and distribution as well as corporate (visual) identity.
4. Stig Ingebrigtsen and Michael Petterson, Videnskabsteoretiske problemer i afsætningsøkonomien, Institut for afsætningsøkonomi, Handelshøjskolen i København, 1979. See also Reflections on Danish Theory of Marketing, ed. Stig Ingebrigtsen, chapter IX: Epistemological Problems and marketing, by Stig Ingebrigtsen and Michael Petterson, Nyt Nordisk Forlag Arnold Busck, København
5. This is from the reformulation of Cartesian individualism: What is good for the individual is good for society.
6. Stig Ingebrigtsen and Michael Petterson, p. 39
7. Mark Wigley, Untitled: The Housing of Gender, in Sexuality and Space, ed. Beatrice Colomina, Princeton Papers on Architecture, Princeton, 1992
8. Kim Dovey, Framing Places - Mediating power in built form, p. 13, Routledge, London, 1999
Meeting rooms as mediators of POWER
A large part of the struggle over power is the struggle to make its operations visible, to bring it into the domain where its legitimacy can be tested.
Kim Dovey9
There are two main categories of power10, one is 'power to' do something and the other is 'power over' someone. If we think about the latter in the built environment and in particularly meeting rooms there is a frame of 'programmed action' set up. This framing closes down other possibilities and we tend to avoid those behaviours. When you enter a meeting room you have already entered the business paradigm (see elsewhere) and the parameters that has set up. This paradigm demands a certain set of 'programmed actions'. But let us have a closer look on different forms of 'power over' and its connection to meeting rooms.
One type of 'power over' is coercion11, which operates as a "threat of force to secure compliance". It operates under the cover of voluntarism and is only implied which often prevents the subject from ever forming a resistance. This is relevant to meeting rooms in three ways: the staff of an organisation is directed towards fulfillment of another's plan as the space is built for programmed action. Only if they do not fulfil the plan they will be 'punished'. Another way it operates is by manipulation by keeping people ignorant e.g. by keeping information away. This form is usually hidden, but can also be visible by you knowing that you do not know about something. E.g. if you are excluded from certain meetings. Also the management of space and time in the way that makes other in the organisation visible or invisible to you. You can consciously be excluded from 'where things happen' e.g. if you are seated 'badly' at a meeting.
Another form is seduction12, which operates by shaping perception, cognition and preference in a way that makes you accept the existing order of things. The built form and structure of a meeting room and whatever this form instrumentalises is taken for granted, seen as natural and unchangeable. It is seductive in that we indulge in a desire against our real interest.
The most pressing form of 'power over' is authority13. This form is marked by an absence of argument and connected to socially acknowledged rights and obligations. It needs legitimation and has that through seemingly serving a larger interest. It could be rituals, norms and structures in meetings that are institutionalised. No one really knows why meetings operate in certain ways that is just the way it is. These "symbolic ritual[s] enables the collapsing of disparate meanings into a form of political solidarity in the absence of consensus". Part of the legitimisation is also for the power holder to prove its legitimacy: "This is precisely why monarchies, dictatorships and military states are so full of monuments, parades and ritual strutting14." From this, one could draw a line between a highly stately decorated meeting room and its relation to legitimization! What is it that needs to be legitimised here?
Taken from these types of mediation of power through meeting rooms lets have a look at how the desire of the staff plays in as a manipulative material. Seen from the point of view of the company who houses a meeting room "The capacity to stimulate desire and to enlarge the public imagination can be crucial to the discourses of power"15. If you consciously use the stimulation of desire, e.g. to make great decisions or come up with new ideas (within the business paradigm i.e. 'programmed action'), you on the one hand exercise 'power over' your staff in directing them and on the other can construct that desire: The Greatest, The Most Innovative, The Fastest Growing, etc. No ideological or paradigmatic questions asked, just 'full throttle' and fast forward. One way of looking at is that there is a self-deceit going on. The 'will to power'16 is covered or kept unconscious and projected onto the company's aim. We totally indulge in the company's aim and the reason for not asking questions about the power that is exercised over us is that a consciousness about this self-deceit is quite scary: "Subjection to unjust authority is inherently distasteful and there is some comfort in the belief that such authority is legitimate"17.
How these forms of powers are manifested in meetings and meeting rooms could e.g. be in the areas of seating, decoration, furniture, AV equipment, and what I would call territory/familiarity. Let us have a short look at these:
Seating in Meetings
Where one sits in a meeting is an indicator of power relations. Fritz Steele18 identifies three ways in which this manifests: "where one chooses to sit, where one is allowed or instructed to sit, and group norms about who sits where in a given event." The indicator of power is where the boss sits and how near to the boss others sit. The boss sits at the end of a rectangular or oval table, or with a good overview of the room and entrance at a round table. A person equal to the boss can sit at the other end to counter the power position of the boss.

Also the placement of AV equipment and the screen or board indicates where the power is located. The most powerful always has the best view or easiest access to the use of AV equipment.
Furniture
As indicated above a table programs a certain way of sitting. To sit at an end of a long table is quite scary. Also the chair at the end can be better or simple have arm rests or a higher back to indicate who it belongs to. Some people would feel more comfortable in certain types of furniture.
Decoration
As an example of this, a picture of the founder "carry a very high message value about continuity, permanence, stability and traditional values of the organisation"19.
AV Equipment
Whatever AV equipment is in the room is there for a purpose: to be used. To master that equipment can be quite crucial to your presentation. What a company puts up of equipment creates a pressure for the staff to use it, and in a convincing way.
Territory/familiarity with a room
A guest is automatically less secure in a new setting20. This applies both if the guest is external or from another department of the company, that does not normally use this meeting room. Does the account department visit the marketing department or vice versa?
9. Framing Places - Mediating power in built form, p. 20, Kim Dovey, Routledge, London, 1999
10. Ibid, pp. 10-11,
11. Ibid, p. 10-11
12. Ibid, p. 11-12
13. Ibid, p. 12-15
14. Ibid, p. 14
15. Ibid. p. 13
17. Kim Dovey p. 14
19. Ibid, p. 51
20. Ibid, pp. 49 and 51
Some Interviews about Meeting Rooms
Interview with architect Bernd Bess in Berlin 20 April 2001. Bernd Bess has been working as an architect in Berlin from 1994-1999 in a big well-known office and has been running his own practice since 1999.
Kenneth: How would you approach a meeting room as an architect?
Bernd: The first concern in designing a meeting room would be to consider its relation to the outside: should there be windows or not? If there are windows you have a more normal or familiar situation as we are used to windows and seeing the outside in our everyday surroundings. If there are no windows its a more artificial and constructed situation.
Kenneth: In the newly build office for a major web design company in Copenhagen their meeting rooms have windows to the isles so everybody can see you are having a meeting?
Bernd: This I think has to do with an outspoken openness. At a furniture factory in Germany, they place all their prototype models in a big open loft room and when they have a meeting, they use those furniture. Everybody can participate, at least visually, and there is never a fixed meeting room. It is a very dynamic approach to research and development. It offers a more process oriented and informal way of working and meeting.
The second concern would be the decoration: should it be neutral or decorated?
Interview with Office Manager Andreas Nordseth, Søfartsstyrelsen (The Governments Shipping Administration) in Copenhagen 15 April 2001
Kenneth: Tell me about your approach to meetings as a manager?
Andreas: I think a lot about how to create good meeting environments. We are a development unit and have to keep renewing ourselves and come up with new ways of organising and improving our school system so I need everybodys ideas. To do this I deliberately play with my role at meetings in order for everybody to participate - that is, play my participation or dominance up or down. Sometimes it arises: a power free space, where everybody comes with his or her personal contribution and everybody feels equal. But it is not something you can create or plan.
Interview with IT-administrator Kasper Kari, Maersk Data in Copenhagen 15 April 2001
Kenneth: Tell me about your meeting rooms in your newly build offices?
Kasper: They have windows to the isles so you have absolutely no privacy. It can be quite strange to sit in a meeting and have someone or sometimes many walking by. It feels like the company does not allow us the independence to work on our own.
Interview with a stranger
Kenneth: What do you think about meetings?
Stranger: I hate them, I just want them to end as quickly as possible. I see no justification for long meetings.
Kenneth: But don't you think interesting things happens at meetings, that when it works they can be very inspiring?
Stranger: No, not at all, just want to get back to work.
Form and Function/The Designer
In the design of a meeting room everything has a function, everything can be explained and contributes to the idea of understanding and meaning. It is not an emotionally or intuitive design, it is strictly functional. A misfits between the intention of the design and the required behaviour of the staff can be analysed and corrected. Lets see how this is manifested in an add from an office interior designer. The following is a statement from Axiom Business Interiors Ltd.'s web site:
Welcome to Axiom Business Interiors
Your Office Environment Reflects Your Company, The way you work, your confidence, efficiency and success. Its Look, Feel and Function are critically important for everyone who works there and everyone who visits. Are you making a good impression ?
At Axiom Business Interiors we have made it our business to provide other businesses with a total office design service. This starts with the survey of the space and follows with the preparation of designs. Then we manage the whole process of installation and provide a full after care service.
In short we take all the stress out of office refurbishments or setting up in a new building. This is a one stop service, from concept to completion, and beyond...
Boardroom
It's in the Boardroom where some of the most important decisions about your business are taken and where you take your most important guests. Working with some of the UK's leading designers of Boardroom furniture we will ensure that the ambience of your Boardroom will reflect its rightful status and will provide the right atmosphere for those important meetings. Axiom provide a bespoke service which includes presentation wall systems to ensure the Boardroom is functional as well as beautiful.
What is striking about the ad above and reading office design literature is the degree to which designers think they can analyse and, in their design, control behaviour. Let us take two examples of that. From a designers point of view power relations is something that needs to be analyses and understood in order to create the perfect office design:
The value system of the organisation provides control of its members' behaviour and establishes standards by which success can be achieved. The value system...should be analysed along five dimensions: The style of management, the reward system, the beliefs about business conduct, the presence of informal social structures and the manner by which the organisation organises itself and communicates its values to its members. Analysis should examine the degree of formalization of the social structure, including role system, the division of labour, communication, and collaboration.20
This is an extraordinary statement. It is an understanding of the design process as being able to manipulate your staff completely by that design. The designer can analyse the above mentioned and use that knowledge to make a design that perfectly match the implicit and explicit intentions of the company!
The second example is about how challenging the design should be for the staff. As Walter H. Moleski and Jon T. Land21 expresses the following about office design in general:
The architect has the choice of creating environments that are familiar and reflect the behavioural ecology of the user population or of designing environments that are new and reflect a challenge for improvement.
This statement relies on the general possibilities in architecture. Here expressed by Kim Dovey22:
Stability/change: Built form produces illusions of permanence, of a stable social order, of the impossibility of change. Likewise, images of dynamism and innovation can produce illusions of progress.
So the designer can chose if it is going to be maximum comfort or maximum development for the users of the design. Designers thereby think it can compete with other business disciplines e.g. management in general, human resource development, personal development courses, etc. that normally deals with issues of how to manage your staff.
Lets counter these ideas with how Henri Lefebvre23 sees it:
Even neocapitalism or 'organized' capitalism, even technocratic planners and programmers, cannot produce a space with a perfectly clear understanding of cause and effect, motive and implication.
What we meet here is perhaps the clash between the business paradigm24, with its mechanistic image of man, and a philosophical view, where man is multidimensional and where the connection between stimulus (design) and response (behaviour) is complicated, if not incomprehensible. Not that design necessarily shares the business paradigm - this would have to be investigated further - but there seems to be a clear overlap in their image of man.
The idea is that designers have full access to understanding office space, can analyse how its players operate and make a design that forms and manipulate space to the satisfaction of the owner/managers and their outlined strategy. This is an 'illusion of transparency'25: the illusion that there are no obstacles to understanding space (in the Lefebvren understanding of the word) and that this gives "action free rein" and that thought incarnate into design. "I see an office...".
This illusion and mistaken innocence works two ways as it also works for the employees as a cover over power and its repression. We think we know, understand and feel free to talk in a meeting room but my entry on power suggests otherwise!
To finish this entry off I would like to present two quotes related to the topic that are quite important to me:
The modernists argued that form follows function, and that functionally efficient forms necessarily had a pure geometry. But the streamlined aesthetic disregarded the untidy reality of actual functional requirements.
Mark Wigley26
Part of what we enjoy in the aesthetic...is this experience of pure contentless consensus where we find ourselves spontaneously as one without necessarily even knowing what...we are agreeing over...we are left delighting in nothing but a universal solidarity beyond all vulgar utility.
T. Eagleton27
20. Organizational Goals and Human Needs in Office Planning, Walter H. Moleski and Jon T. Land, p. 13, in Behavioral Issues in Office Design, ed. Jean D. Wineman, Van Nostrand Reinhold Company, New York, 1986
21. Ibid. p. 17,
22. Kim Dovey p. 15
23. The Production of Space, p. 37, by Henri Lefebvre, trans. Donald Nicholson-Smith, Blackwell, Oxford, 1974
24. See the entry about this elsewhere.
25. Henri Lefebvre, pp. 27-28
26. Deconstructivist Architecture, p. 19, Mark Wigley and Philip Johnson, Exhibition catalogue, Museum of Modern Art, New York, 1988
27. Kim Dovey p. 37
Deconstruction
To start deconstructing a field such as the design of meeting rooms you can start by asking the following question: "What specific forms of resistance to this inquiry does the discourse employ? And to what extent was it established as precisely such a resistance?"28. In asking these questions, Mark Wigley looks into what is being protected in this space and for whom? Deconstruction is a tool to understand and unveil the underlying structures that informs a practice such as meeting room design or meetings. Wigley29 says that "The promise of deconstruction in architecture lies in the challenge to spatial ideologies, to social ideas about the use of space".
Deconstruction would deal with e.g. the 'business paradigm' and 'power' merciless30. It could e.g. bring a purely ethical issue into a meeting room or make it impossible to maintain the power of the manager in the way s/he sits. Therefor Mark Wigley31 says the following about deconstructive architecture in general:
This [deconstructive architecture] produces a feeling of unease, of disquiet, because it challenges the sense of stable, coherent identity that we associate with pure form.
and
This is an architecture of disruption, dislocation, deflection, deviation, and distortion, rather than one of demolition, dismantling, decay, decomposition, or disintegration. It displaces structure instead of destroying it.
Deconstructive architecture calls for a challenge to the users of built form. In our context 'a deconstructed meeting room' is a room that challenges what takes place in it, how it takes place and why. Profound questions that necessarily will 'pull the chair out under the meeting participants'.
I do however have an ethical problem with
a radical deconstructive approach in working with meeting rooms. To disquiet
and unsettle existing structures and make the space more 'writerly'32
will act as a challenging intervention. An intervention that takes stability
and fixed purpose away but without offering a new. It could potentially
shatter the business paradigm with profound consequences without replacing
it with a new one or even offering a pathway to build a new one up. A more subtle
use of deconstruction is however useful if not necessary to understand and change
the ethical content of a meeting room.
28. Mark Wigley, Untitled: The Housing of Gender, p. 329, in Sexuality and Space, ed. Beatrice Colomina, Princeton Papers on Architecture, Princeton, 1992
29. Kim Dovey page 32
30. Identified in entries 'The Business Paradigm' and 'Meeting Rooms as Mediators of POWER' as underlying structures of meeting room design.
31. Deconstructivist Architecture, p. 17, Mark Wigley and Philip Johnson, Exhibition catalogue, Museum of Modern Art, New York, 1988
32. Kim Dovey page 30. Barthes' definition: A readerly text has pre-given meanings, is popular, easy to consume and requires little effort. By contrast, writerly texts invites the reader to construct meaning, subvert passive consumption and challenge the reader into consideration of its code of construction.