Inside the Globally Inspired Design Studio of A Peace Treaty

The article explores a curated selection of modern co-working spaces globally, highlighting their innovative design approaches that cater to evolving working behaviors and post-pandemic needs. These spaces prioritize adaptability, ergonomic soundness, and a balance between aesthetic appeal and functional requirements. Common themes include the integration of natural elements, flexible layouts, and a focus on community and well-being. Fathom Architects designed the No 6 Babmaes Street in London, retrofitting a 1970s building into a flexible workspace with warm decor, rich planting, and diverse facilities. The Malin in New York, conceived by Ciaran McGuigan, emphasizes craftsmanship and curated amenities to foster a contemporary yet inviting environment for the creative community. Kosloff Architecture transformed a hangar at Melbourne Airport into B64N Co-working, cleverly softening its industrial nature with a two-story internal structure and thoughtful furniture. Snøhetta’s Digital Garage in Tokyo offers a serene, boutique office experience for digital nomads, featuring a central Japanese cedar wood furniture piece that reconfigures to serve multiple functions. Campfire & Co's Assembly in Norfolk, Virginia, balances historical context with modern flexibility, providing a wide array of amenities from meeting rooms to a podcast booth. Plantworks in the UK, designed by Marek Wojciechowski Architects and Kono Designs, stands out as an 'urban farm office development' incorporating 10,000 plants to boost well-being and productivity. Roz Barr's Bureau in London's Greenwich Peninsula is presented as a 'hybrid third space,' blending home working freedom with office structure and support, informed by Barr's previous projects like Selfridges’ creative studios. Squire & Partners created The Department Store Studios in Brixton, next to their own office, offering hyperlocal working spaces within an Edwardian structure enhanced with contemporary elements. SODA's Brock House in London's West End revitalizes a historic building with colorful, contemporary design elements, while Studio Besau-Marguerre's co-working space inside Hamburg's Museum für Kunst und Gewerbe offers a bold, acoustically optimized environment. Hawkins\Brown's Clockwise in Wood Green, London, emphasizes a clean, modern interior inspired by the local community. Kinrise's 34 Boar Lane in Leeds is noted for its environmental friendliness, utilizing 100% green energy and sustainably sourced materials. Ivy Studio Inc's Spacial in Montreal transforms former commercial spaces into a vibrant co-working hub with striking colors and patterns. Hutchinson & Partners collaborated with LABS to turn London's Grade-II listed Victoria House into a modern co-working space that respects its neoclassical grandeur while integrating modern amenities. Threefold Architects' Paddington Works in London incorporates wellness principles and advanced air circulation for a safe and craft-focused workspace. SODA Studio's Liberty House in London, for TOG, draws inspiration from its dynamic context and the aesthetic of Liberty London. NeueHouse Bradbury in Los Angeles, designed by DesignAgency, is located in the iconic Bradbury Building, preserving historical features while adding modern furniture and versatile communal areas. Sella Concept's PUBLIC Hall in London blends heritage with modern design in a French Renaissance-style building, fostering collaboration among innovators. Baroness O. and Keper Architecten's Firma + Cantine II in Brussels provides a temporary, minimalist co-work and art space using cost-efficient, reusable materials. Aim Architecture's Shui-On INNO SOCIAL in Shanghai offers extensive workspace across two buildings, weaving wood interiors with social spaces and a 'community loop' courtyard. Studio Alexander Fehre's MATES in Munich provides a bright, relaxed interior for young creatives, featuring flexible working pods and vibrant furniture. Ippolito Fleitz Group's SOHO 3Q WuJiaoChang in Shanghai revitalizes an 1980s department store into a flexible, colorful workspace for millennials, highlighted by a sculptural spiral staircase. Suzy Hoodless's Allbright in London's Mayfair is a female-focused members' club with bright, art-curated interiors and extensive amenities including roof terraces and a spa. Zanon Architetti Associati and Squared Architects' InfiniteArea in Montebelluna, Italy, transformed an abandoned factory into a 'glocal' office campus with polished concrete, timber, and vibrant furniture. Beza Projekt's Warszawski Ul in Warsaw takes inspiration from 'Mad Men' with 1960s-style rosewood panels and brushed gold accents. Beauty Shoppe Terminal Building in Pittsburgh, designed by Beauty Shoppe, integrates maker studios and Bauhaus-themed design with local craft pieces. Piercy&Company;'s Fora in Reading offers a hotel-like co-working experience with bespoke interiors and a focus on internal landscapes. Squire & Partners' The Frames in Shoreditch, London, provides a creative workspace for small businesses, blending warehouse aesthetics with highly crafted details. Alda Ly and Chiara de Rege's The Wing in San Francisco is a women-focused, community-oriented space that complements its historic Beaux Arts-style building with decorative interiors and features empowering women. Beza Projekt’s The Nest in Warsaw creates a flexible, inspiring environment for creative industries with distinct zones and bespoke furniture. Fora and Hassell’s Fora Borough in London, inspired by Borough Market, features a vibrant entrance, rich materiality, and hospitality-focused amenities. WeWork’s Champs-Élysées in Paris utilizes a palette inspired by Yves Saint Laurent’s Jardin Majorelle, incorporating subtropical plants and Moroccan patterns. Squire & Partners transformed Ministry of Sound in London into a chic, shared working space with extensive facilities. Eskew+Dumez+Ripple's The Shop in New Orleans opened up a historic building to create an airy co-working space with a roof deck. WeWork Galaxy in Bengaluru, India, incorporated Indian materials and a five-story communal atrium into its design. Gensler’s The Nest in London serves as a co-working hub for photography, film, and TV production. Valerie Vanermen's Ampla House in Ghent, Belgium, is a collaborative workspace in a former patrician's residence, offering a serene, color-infused environment. Atelier MKD's The Bureau in Paris, located in an art deco building, combines business facilities with a boutique hotel atmosphere. SelgasCano's Second Home Holland Park in London showcases a colorful, biophilic aesthetic within a historically rich building. Natalia Sanchez's Nomad Workspace in Copenhagen, housed in a former courthouse, is a kaleidoscopic environment that blends vintage and bespoke items with art displays. Freehaus' Hermann’s in Berlin's Mitte is a versatile, plant-filled co-working space for food innovation. Going East’s Fosbury & Sons in Antwerp, located in a modernist tower, offers a comprehensive lifestyle experience alongside professional workspaces. #CoWorkingSpaces #ModernWorkspaces #OfficeDesign #Architecture #InteriorDesign #FlexibleWorking #BiophilicDesign #AdaptiveReuse #UrbanInnovation

The Danish furniture manufacturer Republic of Fritz Hansen has recently completed the furnishing of the office for Mogens Lykketoft, President of the 70th Session of the United Nations General Assembly, located at the United Nations headquarters in New York. This initiative involved replacing the office's existing furnishings, which had been in place since 1982, with a selection of iconic Danish design pieces. The design choices were made to complement the International Style architecture of the UN headquarters building, originally designed by Oscar Niemeyer in collaboration with Le Corbusier, which opened in 1952. The newly furnished office embodies the sleek minimalism characteristic of Danish design. A key feature is a secluded seating area designed for group gatherings, furnished with four leather-upholstered Swan chairs, crafted in walnut by Arne Jacobsen. This area also includes two glass PK61 cocktail tables, designed by Poul Kjaerholm in 1956, and a three-seat leather-upholstered PK31 bench positioned against a wall paneled with Australian lacewood. These pieces collectively create an environment conducive to informal meetings and discussions, while reflecting a high standard of aesthetic and functional design. For Lykketoft's personal workspace, the office incorporates an Oxford chair, the same model used by Interior Design editor-in-chief Cindy Allen in her New York office. This is complemented by two Series 7 guest chairs, offering additional seating for visitors or collaborators. Illumination in the space is provided by Kaiser Idell floor and table lamps, designed by Christian Dell, which work in conjunction with a wall of floor-to-ceiling glass windows that allow ample natural light. The office further benefits from a terrace overlooking the East River waterfront, providing expansive views of the Long Island City skyline. The furnishing project represents a significant gift from Fritz Hansen, commemorating Lykketoft as the first Dane to hold the position of President of the UN General Assembly. Although Lykketoft's one-year term was scheduled to conclude in mid-September, the lasting presence of these Danish design elements ensures that a distinctive 'Danish mark' remains within the prestigious international setting. This renovation highlights the timeless appeal and functional elegance of classic Danish furniture design in a high-profile diplomatic environment. #FritzHansen #UnitedNations #OfficeDesign #DanishDesign #ArneJacobsen #PoulKjaerholm #ModernDesign #InteriorFurnishing #DiplomaticSpace

The eyewear brand KREWE transformed a former food storage warehouse in New Orleans' Lower Garden District into its new global headquarters. This project, spearheaded by KREWE's in-house designers and Olivia Erwin Interiors, aimed to create an adaptable, light-filled space centered around the sun, reflecting the brand's identity. The headquarters features an open floor plan that extends into a courtyard with a pool, serving as both a testing ground for new shade designs and a social club. The SUN_DAYS courtyard was designed in collaboration with hospitality group LeBlanc + Smith, intending to foster a community space for creative individuals in New Orleans. It offers amenities like a heated or chilled pool, wellness classes, and a sauna, and is utilized as a vital part of the company headquarters when not open to the public. The design emphasizes a minimalist aesthetic, built for function rather than preciousness, incorporating workstations from Poppin and Hem, alongside vintage finds. The kitchen areas feature concrete floors, marble counters, and Farrow & Ball's 'Breakfast Room Green' cabinets, with a nostalgic neon sign paying homage to a former Canal Street landmark. Beyond the headquarters, the article also explores KREWE's 1818 Magazine Street store and the gallery apartment above it, located in a historic early 1800s building. The store's interiors, a collaboration with Goodwood New Orleans and Nicole Cota, showcase a green terrazzo bar, custom-framed mirrors, and cypress cabinetry. The gallery apartment, designed by KREWE and Olivia Erwin Interiors, serves as a versatile space for hosting brand friends, dinner parties, or offsite retreats. This apartment signifies KREWE's evolution into a lifestyle brand, emphasizing physical spaces over an increasing number of products. Its entrance and stairway feature Farrow & Ball's 'Setting Plaster' and 'Cuban Heritage' tile, with a Signal Globe pendant from Workstead. The living room includes a vintage Milo Baughman sectional upholstered in pink, a custom coffee table, and a walnut dining table by Studioilse. The kitchen backsplash is pink marble, complemented by dark green fluted cabinets from Goodwood and a custom brass island. The apartment also features mid-century modern furniture, step-through windows leading to wraparound gallery balconies for natural light and indoor-outdoor flow, and outdoor furniture from HAY. A library features a custom sofa with paprika velvet cushions and automotive paint, with walls painted in Benjamin Moore's 'Dakota Shadow' and an Atollo Table Lamp. The bedroom includes a Nordic II Bed from Unison Home, an Ethnicraft 'Spindle' bedside table, a West Elm rug, and walls in Benjamin Moore's 'Winter Orchard'. The adjoining bath is painted in Farrow & Ball’s 'Green Smoke'. #WorkplaceDesign #OfficeInteriors #WarehouseConversion #NewOrleansDesign #EyewearBrand #CommercialArchitecture #InteriorDesign #LifestyleBrand #CommunitySpace

Cuff Studio, based in Los Angeles, has unveiled its Common Ground collection of furniture and lighting as part of the Virtual Design Festival (VDF) x Sight Unseen collaboration. This collection is featured in Offsite Online, a virtual exhibition curated by Sight Unseen, a digital magazine focused on contemporary design. The Common Ground series includes two tables, a bench, an armchair, and a light, all designed to showcase the studio's distinctive design philosophy that merges angular, architectural forms with playful, feminine elements. The studio's co-founder, Kristi Bender, explains that Cuff Studio consistently integrates curves and edges, formality with casualness, and femininity with a sense of 'testosterone' into their designs. This approach is evident in the Arc bench, chair, and console table, which incorporate the classic architectural arch. For the seating designs, this typically masculine architectural element is softened by luxurious leather or pink velvet upholstery. The Arc console table, while possessing a solid volume, features brass-filled channels that allow light to pass through and hand-chiselled grooves on its exterior, providing an organic counterpoint to its geometric shape. Another piece, the Paddle table, modernizes a traditional material, solid oak. The oak is bleached to achieve a clean white tone, and its thick edges are rounded, giving it a playful, substantial silhouette. The Five Track Surface Light, conversely, utilizes a flexible material—rope—which is meticulously wrapped around a rigid, tubular frame. This light fixture can be installed on walls or ceilings and is available in natural white cotton, as well as a variety of other colors. Wendy Schwartz, the other half of Cuff Studio, emphasizes that the collection aims to demonstrate how contrasting design elements can coexist harmoniously, reflecting a broader message of unity. The studio believes that the creative process can bring people together, particularly in a world marked by political polarization. The Common Ground collection was initially launched in early 2020 at the duo's new studio in Hollywood. This launch was intended not just for press or buyers but as a celebration with fellow makers and artisans, fostering in-person connections within the design community in Los Angeles. This initial gathering highlighted the value of direct interaction and shared passion among creatives. #FurnitureDesign #LightingDesign #CuffStudio #VirtualDesignFestival #SightUnseen #InteriorDesign #ContemporaryDesign #ProductLaunch #DesignPhilosophy

nCino, a rapidly growing financial services technology company based in Wilmington, has designed its global corporate headquarters with a strong focus on employee well-being and a commitment to local community and sustainability. The company, known for its recent IPO and significant global expansion, achieved over $250 million in revenues in 2021 and serves more than 1,200 financial institutions worldwide. This growth is mirrored in its workplace design philosophy, which aims to create a 'home away from home' for its employees. The interior design of the headquarters on Parker Farm Road at Mayfaire is characterized by a warm and casual ambiance. It incorporates noise-dampening accent walls, natural stone, and soft textures and hues, reflecting the company's investment in its workforce. Katie Smith, senior vice president of finance and operations, highlights that the relaxing indoor environment is crucial given the demands placed on employees. The design balances modern elements, such as stainless steel and expansive interior glass walls, with natural features like hardwood ceilings and ledger stone accent walls. The entrance lobby sets the tone with a water wall, vintage light fixtures, and lush botanicals. A popular upper-level conference room features a large botanical accent wall from Kim Fisher Designs, which, along with a custom-fabricated metal logo, symbolizes the company's forward-focused technology rooted in nature. This approach also considers the potential for plants to enhance indoor air quality. nCino's dedication to its employees extends to providing unique amenities and fostering a supportive internal culture. The headquarters includes a Bitty and Beau’s coffee shop, marking only the second such partnership for the company that employs individuals with intellectual and developmental disabilities. The first floor also boasts a rec room with ping pong and foosball tables, a kegerator, a full kitchen, and a 'jam zone' for musical talents. Currently, these areas overlook a construction site for a new 90,000-square-foot nCino building, which will further enhance employee facilities with professionally designed outdoor spaces for gatherings and alternative work environments. A surfboard check-out zone is also available, promoting outdoor activities and work-life balance. The company’s internal culture is a key factor in its recognition as one of the 25 highest-rated public cloud computing companies to work for by Battery Ventures, and its inclusion on Comparably lists for best company for diversity, best company culture, best work-life balance, and best company happiness in 2021. CEO Pierre Naudé emphasizes that fostering a positive culture and taking care of employees fuels their passion and commitment to nCino’s continued growth, which saw its workforce expand from 1,200 to over 1,500 in 2021. Candice Gurganus, operations project manager, explains that coastal-themed artwork and extensive use of rich wood accents contribute to an inviting and casual space. The design intentionally balances large glass expansions with warm textures and natural elements like the main water wall and botanical accents. The company also prioritizes repurposing existing materials and supporting local artists and designers. An executive-level conference room features a massive live-edge resin table crafted by a local Raleigh artist, which had to be installed via crane through a window. Reclaimed wood is utilized in cubicles, and phone booths with a modern twist offer quiet spaces for focused work or calls, further illustrating the careful consideration given to every detail of the workplace environment. #WorkplaceDesign #CorporateCulture #EmployeeWellbeing #SustainableDesign #OfficeInteriors #FinancialTechnology #WilmingtonNC #CommunityPartnerships #ModernArchitecture

The Singapore-based interior design firm, Prestige Global Designs, founded by Michael Ong and Jeremy Tay, has garnered international acclaim for its unconventional approach to design. Both founders bring distinct perspectives to their work, with Ong's early aesthetic sensibilities influenced by portraiture and Tay's unexpected entry into design sparked by the elaborate stage presentation of a Faye Wong concert. This diverse background has contributed to their brand's identity, which prioritizes unique and boundary-pushing designs. Ong and Tay draw inspiration from various sources. Ong admires architect Frank Gehry for his commitment to unique designs, innovative shapes, and materials, particularly highlighting Gehry's Knoll’s Cross Check Chair for its blend of form and function. Tay, on the other hand, is inspired by Godefroy de Virieu, the creative director of Petit H, a Hermès sub-brand that reassembles old or imperfect Hermès products into new forms, emphasizing sustainability and creative reuse. This philosophy translates into Tay's own practice, where he transforms items like chopstick rests into wall art or Hermès scarf rings into drawer embellishments, aligning with Gehry's belief in exploring and pushing creative envelopes. Beyond their professional inspirations, the founders share personal interests that subtly influence their design ethos. Both are food enthusiasts; Ong favors Gattopardo Ristorante di Mare for its unique setting in a shophouse and warm Sicilian hospitality, while Tay, who finds cooking therapeutic, appreciates The English House by Marco Pierre White for its colonial-inspired interior and quality food. They describe cooking as analogous to design, involving a careful balance of ingredients and concoctions. Their work attire, ranging from smart casual to formal, reflects a belief in neatness and respect for their work and clients, with Tay highlighting the subtle elegance of an Hermès Fantome jacket. Their design philosophy embraces both vintage and custom pieces, depending on the project's requirements. They aim to infuse character into their designs, often incorporating vintage items like artworks or armchairs, and are open to re-upholstering sentimental client pieces. An example of this is a vintage art deco lamp with a goose-shaped base found on 1stdibs, which they customized with a new lampshade for a showroom kitchen. In terms of personal development, Ong found guidance in Norman Vincent Peale's 'The Power of Positive Thinking' for navigating challenges and staying goal-oriented, while Tay appreciates Vince Poscente's 'The Ant and the Elephant: Leadership For the Self' for its insights into harnessing subconscious potential. Their travel experiences also offer design insights. Ong recalls the Sofitel Paris Le Faubourg, appreciating the architecture and cooler climate of Paris during winter, citing the Louvre Pyramid and Foundation Louis Vuitton as architectural highlights. Tay's preferred destination is Hilton Tokyo in Shinjuku, valuing Japan's blend of old-world charm and innovation, which provides a balance of relaxation and exploration. For them, a house becomes a home when it fulfills basic functional and aesthetic needs while also providing a sense of safety and relaxation, telling a unique story, and fostering memories. They envision the future of design to be increasingly experiential and digitally integrated, with innovations like 'smart walls' that can transform a room's scenery with a touch, offering greater flexibility and an evolving quality of life. #InteriorDesign #PrestigeGlobalDesigns #LuxuryDesign #DesignInnovation #SingaporeDesign #CreativeProcess #ExperientialDesign #FutureOfDesign

The article highlights the collaboration between Ghanaian spatial design studio Limbo Accra and London-based multidisciplinary design practice Alaska Alaska, focusing on their shared philosophies regarding design communities and empowering the next generation of Black design innovators. Limbo Accra, founded by Dominique Petit-Frère, has established a robust network through global partnerships with prominent urban space-makers and architectural enthusiasts. This collaboration is part of a series exploring critical issues in contemporary design, such as design intention, intergenerationality, creativity, and change within Africa and its diaspora. Tawanda Chiweshe, the studio director of Alaska Alaska, is a key figure in this discussion. Described as a ‘creative navigator’ and designer, Chiweshe leads Alaska Alaska, a practice originally founded by Virgil Abloh. The studio's core mission is to foster young talent in the design industry, providing career-advancing opportunities and thereby empowering a new wave of Black design innovators. Chiweshe and Petit-Frère's connection was solidified during the development of Freedom Skate Park, Ghana’s inaugural recreational skate park. Their shared vision extends beyond this project, encompassing beliefs in the potency of design communities, the significance of serendipitous connections, and the practical application of these elements to develop tangible design solutions. Chiweshe addresses the exclusivity often present in the design world, acknowledging that the process, which is inherently instinctive, frequently marginalizes certain individuals. He emphasizes Alaska Alaska’s commitment to dismantling these barriers by empowering its team members to articulate their thoughts and encouraging those within their influence to do the same. This approach is crucial for fostering inclusivity and diverse perspectives within the design sphere. His personal experiences, from schooling in Hertfordshire to art school in London, reveal that his cultural background has often been considered an outlier. However, this background has also served as a steadfast 'anchor,' providing a unique lens through which new experiences are contextualized and understood. Chiweshe came to realize that design perspectives rooted in his heritage hold significant value and deserve the same recognition and esteem typically afforded to established figures like Le Corbusier. This realization underscores the broader theme of challenging conventional design hierarchies and embracing diverse cultural contributions. He argues that addressing complex issues within design requires 'intersectional solutions,' recognizing the interwoven nature of various social and cultural factors. Alaska Alaska’s work exemplifies this principle through its integration of both practical and theoretical approaches, which aim to uncover new design paradigms and make these changes tangible. The studio's efforts are pivotal in laying new design pathways for future generations, advocating for a re-evaluation of established design perspectives and values. Alaska Alaska serves as a crucial site where these transformative changes are actively taking place. Chiweshe also discusses his creative process, citing the concept of a ‘cutting room floor’ as a significant inspiration for a media piece. He views the elements typically discarded in the creative process as more important than the final product, seeking to present work in a state that is not yet finalized or conventionally showcased. This methodology involves displaying multiple pieces concurrently, allowing them to forge their own relationships and narratives. #SpatialDesign #BlackDesigners #DesignInnovation #CulturalHeritage #DesignCommunity #GhanaianDesign #LondonDesign #VirgilAbloh #IntersectionalDesign

This article introduces Shadé Akanbi, a Brooklyn-based freelance pattern designer and the Creative Director and Designer behind Printed Pattern People. Akanbi's design philosophy is rooted in her multicultural upbringing, which has instilled in her a passion for creating global fusion lifestyle and brands. Her work involves translating traditional ethnic patterns and textiles into contemporary interpretations suitable for everyday use. Akanbi's creative process often begins with identifying a specific motif or detail from traditional textiles. This chosen element then serves as the central inspiration, around which she constructs new patterns using fresh colors and additional details. She is prolific in her output, creating between one to six prints daily, drawing inspiration from personal collections, client ideas, or a combination of both. Akanbi is known for her collaborations with various brands, in addition to maintaining her extensive collection of global textiles. Her first major collaboration was with Anthropologie in early 2020, where her artwork was featured in an accessories and sleepwear collection. Since then, she has partnered with notable brands such as Intermix, Zuri, S'well, Chasing Paper, Netflix, and Target. Her most recent collaboration at the time of the article's publication was with Bounty Paper Towels, as part of their Inclusive Artists Project initiative. This partnership involved her artwork being featured on the Bounty Prints collection paper towels and her image appearing on the packaging, an experience she described as surreal due to the widespread nature of the household item. The article highlights Akanbi's ambition and future aspirations. As an avid traveler, she expresses a desire to collaborate with airlines and boutique hotel brands, specifically mentioning Delta, Jetblue, Kimpton, and Hyatt, envisioning these as platforms to showcase diverse art mediums. Her interest extends to athletic footwear brands like Nike, Adidas, Puma, and Vans, reflecting her passion as a sneaker collector. Furthermore, her background as a collegiate basketball player and a fan of the NBA/WNBA drives her dream to work with her favorite sports teams. Ultimately, Akanbi seeks to partner with brands with which she shares strong personal connections, aiming to utilize these collaborations as unique avenues for artistic expression. Her personal history significantly influences her artistic vision. Akanbi recounts how her upbringing, from her mother's styling choices to her father's Nigerian cooking, and her early travels, particularly her first trip to Nigeria, profoundly shaped her as an artist. These diverse experiences, encompassing sights, sounds, textures, tastes, and emotions, have cumulatively impacted her design sensibility. Her ability to blend cultural influences and her innovative approach to pattern design underscore her unique position in the design world. The article concludes by encouraging readers to explore more of Shadé Akanbi's work via her Instagram and mentions a past collaboration where she provided a Designer Desktop wallpaper for Design Milk. #PatternDesign #ShadeAkanbi #TextileArt #CulturalFusion #BrandCollaborations #ArtisticProcess #DesignInspiration #GlobalTextiles #CreativeDirector

i29, an Amsterdam-based design office, focuses on interior and architecture projects, aiming to create spaces with strong, clear identities. Founded by Jaspar Jansen and Jeroen Dellensen, i29 works with a dedicated team of interior designers and architects on a diverse range of international projects. Their portfolio includes award-winning residential, hospitality, office, retail, and exhibition designs, with notable clients such as Booking.com, Bijenkorf Amsterdam, Amerborgh, Samsonite Europe, FRAME Magazine, and the National Ceramics Museum. The firm believes that the environment significantly influences human interaction, socialization, and daily life. Their approach involves distilling each assignment to its essence, striving to produce work that contributes to a better future. They see opportunities in both the renovation of monumental heritage, by integrating historical qualities into contemporary design, and in new construction, by focusing on future-proof solutions. This dual perspective informs their objective to create understandable, comfortable, and functional buildings that enrich daily life. i29 maintains a consistent interior design style by prioritizing clear communication with clients. They emphasize careful listening to initial requests and ideas to gather comprehensive information, which often leads to innovative and unexpected solutions. The firm asserts that every project requires unique solutions, rejecting standardized approaches in favor of personalized and specific designs. They aim to deliver progressive work characterized by its simplicity, creating clear, effective, and surprising physical experiences in an increasingly digital world. The diversity of their portfolio enables them to think creatively and inclusively for various clients and users. While their solutions are not standard, their working methods are standardized to ensure quality, efficiency, and creativity. The studio emphasizes continuous adaptation and close collaboration with clients and partners. Regarding influences, i29 acknowledges many admirable designers but strives to remain authentic to their own vision, avoiding excessive imitation. They are inspired by their everyday environment, including nature, literature, exhibitions, and films, drawing from the rich cultural resources of Amsterdam. Social media serves as a practical tool for marketing and sharing their projects, offering insights into their design philosophy, building processes, and inspirational concepts, while they consciously avoid being overly influenced by online trends. On sustainable design, i29 adopts a pragmatic approach, encouraging clients to opt for sustainable solutions whenever possible. Their goal is to maximize the impact of sustainable design, motivating broader adoption of eco-friendly materials, energy systems, and new developments for a better future. They have developed a system to categorize products and materials, raising client awareness about the sustainability, durability, and cost implications of their choices. This focus on awareness is a powerful driver for promoting sustainable design. i29 expresses aspirations to expand into architectural practice, combining their existing interior design expertise with a broader architectural vision to create places with strong identities. They anticipate upcoming large-scale projects, including hotels, spas, and sustainable homes, indicating their readiness for new challenges and collaborations with international partners. #InteriorDesign #ArchitectureProjects #AwardWinningDesigns #SustainableDesign #ClientCollaboration #DesignProcess #FutureProofDesign #DutchDesign

The Norrsken Kigali House, designed by MASS Design Group, addresses the economic challenges faced by East Africa's rapidly growing economies, specifically Rwanda, in attracting foreign direct investment for small and growing businesses. The project serves as an entrepreneurship hub in Kigali, providing a collaborative environment for innovation and growth. The initiative aims to foster local entrepreneurship and contribute to the region's economic development by offering essential infrastructure and support. The building, completed in 2022, occupies an area of 5090 square meters. MASS Design Group approached the project with a focus on community and adaptive reuse. The design incorporates a variety of spaces tailored to the needs of entrepreneurs, including coworking areas, private offices, meeting rooms, and communal gathering spaces. The architectural concept integrates local materials and construction techniques, reflecting a commitment to sustainable and contextually appropriate design. The emphasis on adaptive reuse suggests that the project likely involved the transformation of an existing structure, minimizing environmental impact and leveraging existing urban fabric. Key design elements include the strategic use of natural light and ventilation, promoting energy efficiency and a comfortable indoor environment. The interior spaces are designed to be flexible and adaptable, allowing for various configurations to support different types of work and collaboration. The selection of materials, such as wood and steel, highlights both aesthetic appeal and structural integrity, contributing to a modern yet rooted architectural expression. The project also incorporates features that foster a sense of community, such as inviting outdoor spaces and accessible common areas, encouraging interaction and networking among residents. The Norrsken Kigali House functions as a vibrant ecosystem for entrepreneurs, offering not only physical space but also access to mentorship, funding opportunities, and a network of like-minded individuals. This holistic approach is crucial for nurturing startups and small businesses, providing them with the resources needed to scale and succeed. The building's architecture plays a vital role in creating an inspiring and productive atmosphere, demonstrating how thoughtful design can contribute to economic empowerment and social development. The project's leadership included David Saladik, Kelly Alvarez Doran, and Anton Larsen as lead architects, with specialized teams handling structural engineering, civil engineering, environmental, mechanical, and plumbing aspects, and electrical and solar engineering. Geotechnical engineering was overseen by Harriet Kirk, and interior and furniture design by Amie Shao. This multidisciplinary collaboration ensured a comprehensive and integrated design process, addressing both functional and aesthetic requirements. The photography by Chris Schwagga captures the essence of the building's design and its impact within the Kigali landscape, showcasing its blend of functionality, sustainability, and community focus. The Norrsken Kigali House exemplifies a model for architectural intervention that extends beyond mere construction to actively support economic and social progress in emerging markets. Overall, the Norrsken Kigali House represents a significant architectural and social endeavor. It serves as a testament to the power of design to catalyze economic development and foster innovation within local communities. By creating a supportive and inspiring environment, the project contributes to the growth of East Africa's entrepreneurial ecosystem, demonstrating a sustainable and community-oriented approach to architectural development. The collaboration between Norrsken and MASS Design Group has resulted in a facility that not only meets the immediate needs of entrepreneurs but also lays the groundwork for long-term economic resilience and innovation in Rwanda. #CommunityArchitecture #AdaptiveReuse #CoworkInteriors #Kigali #Rwanda #EntrepreneurshipHub #SustainableDesign #EconomicDevelopment #ArchitecturalInnovation

Studio Job, known for its distinctive bold style, has undertaken a comprehensive redesign of the Luxembourg offices of asset management firm Creutz & Partners. This project, titled ‘Always Close’, represents a departure from their usual product, installation, and interior designs, marking their first foray into designing a bank. The installation encompasses four floors of the firm’s 19th-century building, situated in the heart of Luxembourg’s old town. The designers have not only created a functional workspace but have also conceived it as a holistic conceptual artwork, integrating more than 100 new original design pieces and artworks throughout the building. The scope of the project includes various spaces such as an office, a conference room, a shop, and a client meeting area. Each room has been meticulously designed by Studio Job, with every detail from floor to ceiling reflecting their signature aesthetic. This immersive design approach provides a broad overview of their artistic vision while simultaneously offering an irreverent commentary on the influence of money. This thematic exploration is evident in elements like curtains patterned with dollar signs and a carpet shaped like a coin, directly linking the design to the financial core of the client's business. Job Smeets, one half of Studio Job, emphasized the collaborative nature of the project, noting that Creutz & Partners allowed for significant creative freedom, enabling the designers to push boundaries without creative restrictions. He stated that every visual element within the installation is intrinsically connected to the concept of money, which is the fundamental aspect of the firm’s operations. The exterior of the building also showcases Studio Job’s creative energy, featuring a unique composition of elements such as heraldic flags, lightboxes, planters, neon lights, and a handcrafted golden 'Creutz & Partners' sign, transforming the façade into an artistic statement. The ground floor houses a lobby designed to resemble a shop. This space is not accessible to the public but functions as an art installation. The title ‘Always Close’ carries a dual meaning in this context: it refers to the intimate nature of this private art installation and also symbolically alludes to the business concept of 'closing a deal' in the financial sector. Smeets described this project as a unique opportunity to create a functional interior that seamlessly blends art, design, object, and function. He further elaborated that every piece within the installation is custom-made and unique, collectively forming a 'portrait' that reflects both Studio Job’s artistic identity and the client’s corporate essence. The article includes several illustrations that showcase the vibrant and eclectic interiors of the ‘Always Close’ installation. These images highlight the diverse design elements, such as a burger-shaped chair, a rock-shaped coffee table, a bar counter adorned with flame prints, a teddy bear on a side table, and a swirling black and white floor in one room. Other visuals depict a hot dog-shaped sofa, patterned chairs, a glass coffee table, a street lamp-shaped floor lamp, a lounge area with a leopard print sofa, a blue chair, an oval glass coffee table, a tree-shaped side table, a dartboard-patterned rug, and colorful patterned wallpaper. Additional images feature a dining area with a glass table, a white cupboard with a red heart, a money-print rug, a cigar-shaped hanging light, a wall with bull and lion head patterns, chair-shaped coat hangers, a tree trunk-shaped coffee table, skull-shaped chairs, a doorway with a nose decoration and multi-colored lights, a bathroom with lion and bull heads on a blue wall, a toilet with a gold seat and cleaner, and doors with diagonal yellow and black lines or red and white arrows. These images collectively underscore the bold, imaginative, and thematically rich design approach of Studio Job in this project. #StudioJob #DesignInstallation #Luxembourg #CreutzAndPartners #AssetManagement #ConceptualArt #InteriorDesign #FinancialTheme #ArtAndFunction

Universal Design Studio (UDS), an architectural practice founded in 2001 by Edward Barber and Jay Osgerby, is celebrating two decades of groundbreaking work. Documented in their new book, 'Inside Out' (Phaidon), the studio’s success is attributed to its collaborative spirit, involving over 240 individuals throughout its history. Unlike traditional design firms that emphasize a singular artistic vision, UDS operates as an “experimental playground” where multiple thinkers contribute to a diverse portfolio of projects. These projects span retail spaces for luxury brands like Stella McCartney and Mulberry, hospitality ventures such as the Ace Hotel in Shoreditch and a cocktail bar for Fortnum & Mason, exhibition designs for the V&A Museum and Frieze Art Fair, and workspaces for IMB and Jimmy Choo. Barber and Osgerby initially established UDS to differentiate their architectural and interiors work from their product and furniture design studio. They recognized that while a multidisciplinary approach was common in Italy, it was less understood in the UK. This led them to create a new division focused on architecture and interiors, with a strong emphasis on collaboration. The studio maintains an egalitarian approach, where no single author dictates a project's direction. Instead, teams work collectively, valuing diverse perspectives to break new ground and challenge conventional thinking in each sector. UDS is also known for its commitment to reusing and repurposing existing buildings, prioritizing how spaces are utilized and how they serve their communities over demolition and new construction. Despite being an architectural practice, Osgerby notes that they primarily focus on interior and adaptive reuse projects rather than constructing new buildings from the ground up. Jason Holley, director of UDS, explains that the studio's principle is to work 'from the inside out,' focusing on human experience and the specific context of a building. This ensures that every design solution is tailored to its site and users, rather than adhering to a signature stylistic approach. Key projects illustrate UDS's impact. The Stella McCartney stores in New York and London, completed in 2003, were early successes, demonstrating the seamless integration of bespoke product, industrial design, and interior architecture. The custom-made tile used in these stores exemplifies the studio's philosophy of bringing the detail of furniture design to architectural spaces. In 2012, the interactive Google Web Lab at the Science Museum showcased UDS's ability to blend physical and digital worlds, creating an engaging space for technological exploration and storytelling. The Ace Hotel in Shoreditch, completed in 2013, marked a pivotal moment for both the studio and the surrounding neighborhood. UDS, despite having no prior hotel experience, embraced the challenge and collaborated closely with the Ace team. This project, which blended hotel functionality with local culture and casual workspace, became a significant contributor to the area's identity. This success led to a long-term partnership with The Office Group, for whom UDS designed Tintagel House and other workspaces. Looking ahead, co-director Paul Gulati identifies future areas of focus, including improving experiences in healthcare for the aging community and revitalizing high streets, leveraging their expertise in creating community-focused spaces. Mobility and electric vehicles are also areas of interest. Holley emphasizes the studio's goal of creating spaces that people deserve, seeking clients and collaborators who share their passion for openness and innovation. Osgerby reflects on the studio's core aim as recreating a 'campus atmosphere,' reminiscent of his time at the Royal College of Art, where interdisciplinary collaboration fostered productive and exciting exchanges of ideas. #UniversalDesignStudio #ArchitecturePractice #InteriorDesign #CollaborativeDesign #SustainableDesign #EdwardBarber #JayOsgerby #HospitalityDesign #RetailDesign

The 'Connected' project, a collaboration between British furniture brand Benchmark and the American Hardwood Export Council (AHEC), emerged from the unique challenges posed by a global pandemic. This initiative brought together nine designers to create furniture pieces aimed at enhancing the working-from-home experience. A significant aspect of this project was the designers' inability to physically visit the workshop or interact directly with their creations, necessitating reliance on remote communication tools like Zoom and WhatsApp, and a considerable degree of trust in the craftspeople at Benchmark. Sean Sutcliffe, co-founder of Benchmark, highlighted the increased leap of faith required from designers in trusting the technical, visual, and sensory aspects of the craftsmanship without in-person observation. An example of the innovative problem-solving employed by Benchmark is demonstrated in Studio Swine’s chair, which required its red oak and cherry wood components to be submerged in the River Kennet for a week to facilitate steam-bending. This resourcefulness is characteristic of Benchmark's workshop, which boasts 58 skilled craftspeople. Sabine Marcelis, a Wallpaper* Designer of the Year, praised Benchmark's willingness to push creative and technical boundaries, a stark contrast to the limitations often encountered with other manufacturers. Marcelis's contribution to 'Connected' is the 'Candy Cubicle,' a maple-veneer box designed to conceal home-working tools, including her partner’s monitor, with a surprising acid-yellow interior. Sustainability is a core principle of 'Connected,' mirroring previous collaborations between AHEC and Benchmark. Designers selected from red oak, maple, and cherry—woods that represent 40 percent of American hardwood forests but are often underutilized. David Venables, European director at AHEC, explained the council's mission to reintroduce these 'unfashionable' woods to designers and consumers, thereby promoting the sustainable use of all natural resources. The project underscores how consumer choices influence forest composition, advocating for a broader appreciation of timber species beyond the obvious choices. The pandemic and the chosen materials appear to have fostered a renewed appreciation for nature among the designers. Works range from Thomas Heatherwick’s biomimicry-inspired maple planters to Studiopepe’s 'Pink Moon' chair, reflecting a collective desire to connect with the natural world. Despite a common theme of natural inspiration, each designer's individuality is evident. Maria Bruun created a Scandinavian-style table from rippled maple, while Jaime Hayon’s 'Mesamachine' showcases complex, humorous, and movable cherry wood components. Ini Archibong's 'The Gate,' an outdoor collection, draws inspiration from the Giant’s Causeway, featuring a hexagonal plinth of red oak and cherry and a green-lacquered red oak top with brass inlays. Maria Jeglinska-Adamczewska's seat utilizes barrel-making techniques for its curved form, and Sebastian Herkner designed 'Stammtisch,' a modern Lazy Susan with sliding trays made from various woods and finishes. The designers will see their completed pieces in person for the first time at London's Design Museum, where 'Connected' will be exhibited from September 11 to October 11. This exhibition marks the culmination of a project that navigated unprecedented challenges through remote collaboration, trust, and a shared commitment to design and sustainability. #FurnitureDesign #Woodworking #RemoteCollaboration #SustainableDesign #HomeOffice #Craftsmanship #DesignMuseum #HardwoodExports #InteriorInnovation

Chencong Zhang, an interior designer and spatial experience designer, embarked on her creative journey driven by a deep desire to create spaces that evoke a sense of belonging. Her personal experience of longing for comfort and familiarity, stemming from being away from her family since the age of 11 and being unable to see them for over 4.5 years due to the pandemic, fueled this aspiration. Initially, Zhang pursued civil engineering as an undergraduate, a popular field in China at the time. However, after two years, she realized it was not her true calling and took a gap year to explore modern arts, design, and other creative avenues. This period ignited an urge to pursue work that resonated emotionally and could impact others' feelings positively. Her first significant step into interior design came in 2015 when she had the opportunity to work on a 7000 sq ft office in Shanghai. The project's goal was to create a comfortable, communicative working environment that seamlessly integrated with its spacious outdoor terrace. Zhang's creative input, particularly her use of colors and materials in material boards and Photoshop renderings, was highly praised. She also collaborated on designing and installing a ceiling installation made of stone and wood, a challenging but rewarding experience that solidified her passion for design. In 2016, Zhang officially began her interior design education at RISD (Rhode Island School of Design). There, she learned about transforming old spaces, gaining inspiration from successful case studies, and connecting with like-minded peers and professors. A pivotal experience was a 2018 visit to Morocco with the Architecture and Ceramics department, where she immersed herself in Islamic art, rich colors, and intricate patterns. This trip, and the subsequent creation of pieces reflecting cross-cultural exchange, broadened her perspective and reinforced the impact of cultural fusion in design. Zhang views storytelling as the core magic behind creating distinctive and tailored spaces. She emphasizes that interior design is about imbuing spaces with personality and crafting a journey for occupants. Her process involves extensive research and imaginative exploration of possibilities. She cites a hotel rooftop design project in Miami, where she integrated elements inspired by the local subtropical climate, lush landscapes, and Bahamian murals, resulting in a bold and unique space that garnered positive online reviews. Zhang attributes her ability to be a good storyteller of spaces to her sensitive nature, which allows her to deeply feel and, in turn, enable others to feel. Her time at RISD, interacting with artists from various disciplines like digital art, glassmaking, furniture design, and textiles, further enriched her understanding of different media and their application in expressing a space's personality. While acknowledging the challenges of bringing creative designs to fruition, including time, cost, and durability, Zhang highlights the importance of problem-solving. Her experience leading the construction administration for a 200-key, $50 million hotel renovation project taught her invaluable lessons in collaboration with consultants, contractors, and clients, and in making informed compromises to deliver high-quality results. She defines her role as a designer as helping clients realize their dreams, emphasizing listening to their needs, offering options, and respecting their perspectives. Zhang's personal journey underscores the message of following one's heart to discover one's true self and purpose. #InteriorDesign #SpatialExperienceDesign #CreativeJourney #StorytellingInDesign #RISDAlumni #CulturalExchange #ProjectManagement #DesignPhilosophy #Entrepreneurship

This article highlights 25 influential power duos comprising high-end clientele and their style gurus who collaborate to curate spectacular interiors, ranging from private homes and palaces to public monuments and retail spaces. These partnerships are notable for their impact on the design world, setting high standards for aesthetics and functionality. The article details various collaborations, showcasing the diverse styles and approaches employed by these design teams. One prominent duo features hip-hop superstar Kanye West and Belgian designer Axel Vervoordt. Vervoordt, known for his tasteful minimalism and admiration for the Japanese aesthetic concept of wabi (exalting simplicity), was enlisted by West to perfect his Los Angeles crib's look. Vervoordt's client list also includes Bill Gates, Sting, and Calvin Klein, underscoring his reputation in high-end design. Actress Gwyneth Paltrow partnered with Robin Standefer and Stephen Alesch of Roman and Williams for the Goop Lab in Brentwood, her first permanent store. Roman and Williams, named for their grandfathers, also opened the Guild, a showroom and café in Soho, indicating their expanding influence in the design and lifestyle sectors. Fashion mogul Tom Ford and William Sofield, an inseparable pair for 25 years, have redefined luxury retail spaces. Their collaborations on stores in Madison Avenue and Rodeo Drive are renowned for their opulent design, challenging conventional retail aesthetics. Sarah Jessica Parker initially sought decorating tips from movie executive Eric Hughes in the '90s. His design career officially launched in 2002 after Parker commissioned him to design her Bridgehampton home. Hughes is currently working with architect Morris Adjmi to merge Parker's two West Village townhouses, demonstrating a long-standing and evolving client-designer relationship. The Beckhams, Victoria and David, chose antiques dealer Rose Uniacke to decorate their $44 million Holland Park palace in London. Uniacke is celebrated for her ability to modernize historical settings, creating a unique blend of classic and contemporary design. Lauren Santo Domingo, co-founder of Moda Operandi, continued a family tradition by enlisting French designer Francois Catroux to work on her 18th-century Paris apartment. Catroux has a history with the Santo Domingo family, having worked with them since the early '90s. LVMH CEO Bernard Arnault consistently collaborates with architect Peter Marino, who has designed numerous Louis Vuitton stores, including the flagship on Place Vendôme, showcasing Marino's significant role in shaping the luxury brand's physical presence. Actor Brad Pitt engaged starchitect David Adjaye for sustainable housing projects in New Orleans following Hurricane Katrina. Pitt's Make It Right Foundation, with Adjaye's involvement, constructed over 100 homes in the Lower 9th Ward, highlighting a commitment to socially conscious design. Adjaye later gained acclaim for his work on the National Museum of African American History and Culture. Raf Simons, during his tenure at Calvin Klein, relied on artist Sterling Ruby to infuse the brand's shows, headquarters, and flagship store with distinctive, vibrant energy. This partnership highlights the intersection of art and fashion in design. Collectors Edythe and Eli Broad have a long-standing relationship with Pritzker Prize winner Frank Gehry, commissioning him for their Brentwood manor and the Walt Disney Concert Hall in Los Angeles. Their collaborations underscore their patronage of groundbreaking architecture. French luxury boss Francois-Henry Pinault entrusted Parisian designer Pierre Yovanovitch with his personal office and the Hôtel de Clermont-Tonnerre, the headquarters of his Artémis conglomerate. Yovanovitch is known for incorporating vintage touches into contemporary settings. Former Vice President Joe Biden and his wife Jill selected Victoria Hagan, known as the “queen of restrained elegance,” to design their official private residence. Hagan's clean, timeless interiors aligned with the Bidens' aesthetic preferences. Designer Robert Couturier, celebrated for French-inspired exuberance, is collaborating with artist Jeff Koons to combine two Upper East Side townhouses. This partnership merges Couturier's classic style with Koons's grand artistic vision. John Pawson and Ian Schrager have a two-decade-long friendship and professional collaboration, extending from apartments at the Gramercy Park Hotel to Schrager's penthouse at 40 Bond, and now the West Hollywood Edition hotel. Their work emphasizes minimalist yet luxurious design. Tory Burch first met designer Daniel Romualdez in the late '90s and subsequently hired him for her apartment at the Pierre, followed by numerous homes and over 100 stores, including her Long Island location, showcasing a long and fruitful design partnership. Fashion designer Alexander Wang and Ryan Korban are close friends who collaborate on various projects, including Wang's flagship store and private residences, highlighting a youthful and contemporary approach to design. Ken Fulk, known for his flamboyant designs, is the trusted designer for Silicon Valley's elite, including Instagram's Kevin Systrom. Fulk designed Systrom's home and his wedding, demonstrating his versatility in creating bespoke experiences. Jamie Drake, known for his crisp and colorful rooms, has designed multiple properties for Michael Bloomberg, including his Upper East Side townhouse and his Georgian estate in Southampton, and also restored Gracie Mansion during Bloomberg's mayoral term. Michael Smith decorated the private residence of the Obamas in the White House, earning praise from former First Lady Michelle Obama for upholding the building's history. Smith also designed their 8,200-square-foot Kalorama home after their departure from office. The bond between decorator Stephen Shadley and Oscar winner Diane Keaton spans over 30 years and four homes. Keaton even documented their creation of her 8,000-square-foot Brentwood compound in her book, "The House that Pinterest Built," illustrating a deep, enduring creative partnership. #DesignDuos #InteriorDesign #LuxuryHomes #ArchitecturalPartnerships #CelebrityDesign #HomeDecor #HighEndClientele #ResidentialDesign #CommercialDesign

The article details the design of Black Kite's new London office by the architecture studio Bureau de Change. Black Kite, an independent visual effects and design studio located in East London, commissioned Bureau de Change founders Katerina Dionysopoulou and Billy Mavropoulos to create an uplifting workspace. The design concept centers on the use of colour and shape, specifically a series of intersecting and carved-out cylindrical volumes. These cylindrical forms are not merely decorative but serve a functional purpose in enhancing workspace utility. They are strategically integrated to create varying degrees of privacy within the office layout. This includes generating quiet reading nooks, open gathering spaces, individual desk booths, and discreetly positioned meeting areas. The architects aimed to balance modern design elements with the site's historical context. Bureau de Change's design respectfully incorporates the industrial heritage of the East End location. The abstract round shapes within the floorplan are reminiscent of traditional iron kilns, referencing the area's past. This historical nod is further reinforced by the retention of an existing grid system of slim, internal exposed concrete columns and a restrained material palette. The deliberate juxtaposition of contemporary furniture with the rough, industrial atmosphere creates an environment that is both pared-down and warm. Katerina Dionysopoulou explained that the scheme extracts and interpolates volumes and motifs from traditional Victorian foundries and kilns to create a gradient of spaces, ranging from introverted to extroverted. This design language ensures seamless integration throughout the office. The studio also addressed Black Kite's specific operational needs, particularly for production and visual effects suites that require isolation from external light and sound. The building's tall ceilings and generous proportions accommodate these enclosed sections effectively. The tactile qualities and finishes of the materials were also a critical aspect of the design. Billy Mavropoulos noted that each cylindrical volume is clad in painted routed timber surfaces, a detail inspired by the vertical seams found on traditional iron kilns. The carved-out sections within these cylinders are finished with a rough clay plaster. This choice of material creates a deliberate contrast, setting the sharp articulation of the cylinders against warm, cave-like textures, thereby enriching the spatial experience through a journey of materials, textures, and colours. #OfficeArchitecture #LondonDesign #BureauDeChange #InteriorDesign #WorkspaceDesign #ColourfulOffice #ArchitecturalInnovation #AdaptiveReuse