Dutch studio AMO emphasised the "paradoxical dichotomy" between office interiors and the natural world for the Prada Autumn Winter 2024 menswear show, which featured a plexiglass runway above grass and streams.

AMO, the research and creative studio of architecture office OMA, created the scenography for the 14 January show at the Rem Koolhaas-designed Fondazione Prada during Milan Fashion Week.

The arts centre's Deposito space was covered with forest-like swathes of real grass interspersed with rocks, pebbles, leaves and running water to emulate natural streams.

In stark contrast, AMO constructed a clear plexiglass runway mounted onto a gridded structure that was positioned above the unmanicured grass.

"The studio created a set design juxtaposing an office interior with a natural landscape," said Prada, which is headquartered in Milan.

Uniform rows of familiar black swivel chairs snaked across the geometric runway, providing seating for the guests and creating pathways for the models.

Embedded in the ceiling, office-style strip lighting was reflected across the plexiglass in rigid patterns, while mist was released into the space for an atmospheric effect.

On the edges of the set, AMO installed walls formed from recognisably corporate blue panels, often found in office environments.

One section, where guests entered the runway, featured whole booths created with the panels, complete with large desks, swivel chairs and desktop computers emblazoned with the Prada logo on their otherwise blank screens.

Presented by the fashion house's co-creative directors, Miuccia Prada and Raf Simons, the show's looks echoed the contrasting scenography.

Classic suit-and-tie pairings finished in neutral textiles were combined with more vibrant pieces such as swimming caps and goggle-like sunglasses crafted as a nod to the outdoors.

"This collection is about something basic – the emotional instinct to remain attached to something we know, the cycles of nature," said Prada.

"There is a simple assertion, of a deep and essential human need to connect with the world around us," continued the brand.

"Demonstrating the paradoxical dichotomy between two coexisting worlds [offices and nature], this show explores fundamental truths of humanity, our natural instincts and our emotional needs."

Longtime-collaborators AMO and Prada have been creating catwalks together at Fondazione Prada since 2004, including the brand's previous Autumn Winter menswear show, which took place below a retractable ceiling that moved to reveal a series of art deco chandeliers.

More recently, the studio also designed the scenography for Prada's Spring Summer 2024 menswear show – an aluminium-clad space with slime falling from the ceiling to form liquid walls.

The photography and video are courtesy of Prada.

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Texas studio Method Architecture has completed an office for itself in Houston with maximalist design, vibrant colours and a mural at its centre.

The 8,612-square foot (800-square metre) studio was completed in 2023 with a reception area, open office plan, private and collaborative meeting spaces and staff lounges.

Located in the mixed-use East River development, designed by architecture studio Page, the office was designed to serve as an inspiration source for the studio's clients.

"Our approach was to pursue maximalism with the goal of creating an environment where our clients would feel safe expressing their bold and innovative ideas with us," Ashley Bettcher, Research and Design Specialist with Method Architecture told Dezeen.

"Creativity has no limits and great design doesn't necessarily need to cost more. Method's new Houston office perfectly encapsulates that mantra."

The "ego-free" focus of the design is a nearly 50-foot multi-wall mural by local artist David Maldonado, known for creating nearly 20 pieces of public artwork throughout Houston.

With pops of magenta, cobalt, and yellow, the mural features icons from the city and state like the skyline, a rocket for Johnson Space Center, a bluebonnet as the Texas state flower, and the neighbouring Buffalo Bayou.

The artwork also slips in custom motifs representing the studio, such as Method's rubber duck mascot.

"This feature piece of artwork helps set the tone for the remainder of the office including bold colors, geometric patterns and shapes and a secondary mural designed and installed by Maldanado featuring drip paint in mirroring colorways located at the back of the office," the team said.

The mural is complemented by a 3D-printed wall installation behind the reception desk composed of the studio's signature "M" logo and the raw ceiling with exposed mechanical lines all painted a vibrant shade of fuchsia.

Light grey flower-like acoustic baffles hang from the ceiling adding to the maximalist design. Light blue bicycles are mounted on one wall as another unique installation.

From the reception area lounge, clients pass through a half-arched portal – created with custom millwork and embedded lights – into the main office space which includes rows of desks over custom greyscale carpet.

Hotel desk stations accommodate hybrid work styles for both in-office and at-home work.

"Cozy architectural work booths are nestled amid the bustling breakroom and office areas, offering a quiet refuge for more private work, private conversations or meals with coworkers," the team said.

The workspace is flanked by six meeting rooms: a large creative conference space, three medium-sized conference rooms and two smaller huddle spaces.

The all-white conference room was left intentionally blank to showcase the client's material selections with tunable white lights to adjust the light temperature for each project.

An M-shaped window cutout opens the conference room to the rest of the office.

In the break room, bright blue suede fabric adorns the walls to provide an unexpected texture and pale blue lamp shades – reminiscent of the shape of inverted cupcake liners – serve as a geometric juxtaposition to the rounded banquette boxes.

"Plush, psychedelic-inspired fabrics in meeting booths and distinctive light fixtures keep the space feeling light and fun to inspire creative design," the studio said.

In addition to being designed for flexible workflows and teams, the space features multiple sustainable and WELL features like ample daylighting, repurposed materials and ergonomic furniture.

Other recently completed projects in Houston include Nelson Byrd Woltz's grassed park that bridges a six-lane highway and Modu's design for a wellness building with a self-cooling exterior.

The photography is by Ana Larranaga, Method Architecture.

Project credits:

Architecture: Method Architecture
MEP: Telios Engineering
General contractor: Burton Construction
Furniture: AGILE Interiors, MDI, OP,
Flooring: Interface, Shaw Contract
Tile: Trinity Surfaces, La Nova
Textiles: Knoll Textiles
Masonry: Upchurch Kimbrough
Demountable partitions: DIRTT
Countertops: CAMBRIA
Mural: David Maldonado
Lighting: Lighting Associates Inc.
Signage: ARIA Signs

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Texas studio Michael Hsu Office of Architecture adapted a 110-year-old bungalow into an office for technology and bio-science investment firm 8VC in Austin.

Completed in 2023, 8VC's new Austin headquarters are located on a half-acre lot along South Congress Avenue, a busy entertainment district of the Texas capital.

Originally constructed in 1912, the home was once a brothel and had many renovations, becoming the first building south of the city's Colorado River to have power.

"This project preserves one of the few remaining stately houses on South Congress," Michael Hsu, founder of his eponymous studio, told Dezeen. "The design takes cues from its past by providing a fresh take on vintage inspirations and opens up the space to accommodate modern uses."

Using the client's desire for "an office that felt like a home," the team revamped the two-storey house into a 4,845-square foot (450-square metre) workspace with multiple production, meeting, and gathering spaces — including a 557-square feet (52-square metre) clubhouse tucked at the back of the property.

The preserved exterior of the building draws on the home's original stately design but was updated and sealed in a dark matte finished stucco with low-profile dark window frames.

Relocating the entry around the side of the property with a grand wrap-around plaza, the home's original screened porch was traded for a glazed exterior corner that connects the exterior and interior spaces.

The ground floor consists of multiple indoor and outdoor gathering spaces. The interior is organized around a central enfilade and two hearth spaces inspired by the original brick chimneys.

The rich, warm-toned interior has a "sophisticated study-like atmosphere is achieved through the careful selection of materials and color-mapped palettes, including walnut wood floors, lime wash paint, striking wall coverings, plaster arches and marble finishes," the team said.

Plaster arched openings pass from the white central lounge to jewel-toned gathering spaces – one of which features a ribbed black fireplace that appears to melt into the floor in front of a marble coffee table.

"The furnishings, a mix of vintage and modern pieces with luxe fabrics and textures, create a sense of intimacy."

Designed to be "luxurious but not ostentatious", the office features textured and sculptural accents like a leather-wrapped reception desk by David Ambrose and a grand chandelier by Karen Hawkins that hangs in the centre of the staircase.

Above, the plan was reorganised with a large open desk layout in the southern corner along the glazed wall and private offices lining the northwestern and northeastern walls.

"The interior was inspired to feel fresh but like it was original to the house," the team said with "multiple moments of surprise and intrigue depending on where you are in the space".

Between the main office and the separated clubhouse is a large outdoor gathering area shaded by the heritage tree canopy that the team preserved during construction.

"It was important to us that the building and its design reflect the values of our company and our mission," 8VC founder Jake Medwell told Dezeen. "It took years to find and build out the right place and we are very happy with the outcome."

Recently, Michael Hsu Office of Architecture adapted a 1930s church in Austin into a studio for argodesign.

The photography is by Chase Daniel.

Project credits:

Landscape: MHOA
General contractor: The Burt Group
MEP: AYS
Structural: Structures
Owner's rep: Darrell Arevalo, Urban Terra
Waterproofing: Acton
Civil: WGI
Signage: BIG

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New York studio Civilian has designed the headquarters for a documentary production company in Manhattan's Flatiron District, which includes an art deco-influenced screening room.

The offices for award-winning Sandbox Films are located in a landmarked 1920s neo-gothic skyscraper, and provide the company with its first dedicated workspace.

Spread across 4,200 square feet (390 square metres) of space, the program includes an open-plan reception area that doubles as an events space, a conference room, private and open offices, and production and editing suites.

There's also a 22-seat screening room with a Dolby Atmos sound system, in which the team and their visitors can preview the completed or in-progress cuts.

The non-profit documentary production company makes cinematic science films, many of which have won or received nominations for prestigious awards.

Among them are Fire of Love, which was nominated for Best Documentary Feature at the 95th Academy Awards in 2022; Emmy-winning Fathom; Sundance winner All Light, Everywhere; and Fireball, co-directed by Werner Herzog.

"Inspired by [our] clients' love for the craft of storytelling, the space was informed by the grandeur of the amenity-rich yet intimate early movie houses of Stockholm and Amsterdam, art deco cinemas, the architectural colour gestures of Danish modernist designer Poul Henningsen, and the vanished world of interwar New York conjured by the project's Broadway address," said Civilian.

The reception area revolves around a circular stone-topped bar, which demarcates a staff pantry area by day, and can be used for serving food and drinks for events.

"With an active roster of screenings, events and a residency program for independent filmmakers, the space acts as an office as well as a dynamic center of gravity for New York's nonfiction film community at large," the team said.

A custom double-sided, Pierre Chareau-inspired boucle and velvet sofa sits opposite a pair of refinished Milo Boughman swivel chairs.

Marquee lights are installed in rows along the sides of the existing ceiling beams, with additional sconces mounted on the plastered pantry wall.

Structural columns have been wrapped in travertine cladding to highlight thresholds between the different spaces.

On either side of the reception, acoustic partitions with glass panels and mint-green frames cordon off the bright conference room and a private office.

Furnishing the conference room is a custom-designed meeting table that combines a solid ash frame and a high-gloss curved lacquer top, surrounded by vintage Tobia Scarpa Sling Chairs.

From reception, a neon-lit burgundy door leads into the screening room, where three tiers of seating face the large screen like in a mini movie theatre.

The cushioned seats are upholstered in soft powder-blue fabric, which contrasts with walnut wainscoting, and sound-absorbing brown wool wall panels that conceal the equipment.

Each chair has an individual armrest table for placing drinks or writing notes, complete with a small light created in collaboration with Lambert et Fils.

More private offices, sound-proofed editing suites and an open workspace are accessed via a short L-shaped corridor.

In the communal work area, sit-stand desks feature white oak divider panels and are topped with a stone ledge for displaying objects and plants.

"This project has given us an opportunity to draw from so many inspiring references, from its iconic Broadway location to historic theatre architecture, to create an elevated and layered space that supports the work Sandbox is doing to uplift documentary film talent," said Civilian co-founder Ksenia Kagner.

"We also felt it was important to be responsive to the changing priorities of the modern workplace, creating open, multipurpose spaces that nurture interaction and foster a sense of community," she added.

Civilian was founded in 2018 by Kagner and Nicko Elliott, and the designers have since completed projects ranging from the transformation of Detroit's historic Book Depository into a headquarters for tech company Newlab, to the renovation of a historic Bed-Stuy townhouse for themselves.

The photography is by Chris Mottalini.

Project credits:

Client: Sandbox Films (Simons Foundation)
Client rep: Cushman and Wakefield
Civilian scope: Interior design, creative direction, furniture design
Architect of record: LB Architects
Mechanical engineer: WB Engineers
AV engineer: Spectra
Acoustic engineer: WSDG
Production studio consultant: Tom Paul
Contractor: L&K Partners

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Melbourne-based Studio Edwards has completed a workspace for creative agency Today Design using recycled and off-the-shelf materials that could be reused in the future.

Located on the 12th floor of an office block in Melbourne's Collingwood neighbourhood, the Today Design Workspace features partition walls made from OSB (oriented strand board) and translucent corrugated fibreglass.

Furniture was built from scaffolding poles and timber boards, while sheets of recycled denim and sail cloth help to improve acoustics.

Ben Edwards, architect and co-founder of Studio Edwards, said the project was designed for disassembly.

"The goal was to create a workspace that leaves zero waste in its wake, constructed entirely from readily available materials without applied finishes," he stated.

"This means no plasterboard, no laminate and no MDF."

Another key aspect of the design is flexibility. The layout incorporates spaces for individual focus work, collaboration and meetings, but it can be reconfigured if required.

Most of the partition walls and tables are mounted on castors so that they can be easily moved around, while a track system provides flexible lighting overhead.

The layout of the Today Design Workspace is deliberately non-linear, organised around a looping circulation route that largely follows a diagonal trajectory through the 900-square-metre space.

Despite its irregularity, the layout was planned to ensure that all partitions match the standard material sheet size, minimising the need for cutting.

Casual seating areas were built into some of the partition walls.

These were formed of custom-made quilted denim cushions rather than upholstery, which makes them easier to recycle.

"The arrangement of spaces within the workspace is intentionally informal, creating a contrast with the building's rigid rectilinear column grid," explained Edwards.

"Circulation pathways between these spaces are purposefully designed to encourage interaction and collaboration among teams," he said.

The colour blue is a recurring theme throughout the space.

Much of this comes from the use of denim. Sheets of this textile cover much of the building's exposed concrete shell, held in place by magnets, while rolls of denim form a semi-circular reception desk.

A blue stain was also applied to the timber beams that provide the structural framework.

This colour contrasts with the warm, earthy shades of the OSB and the sisal flooring that features in some of the meeting rooms.

Studio Edwards designed furniture to suit the collaborative nature of Today Design's workflow.

Two-tone project tables have built-in"toolboxes" filled with pens and sticky notes, while a large kitchen table integrates a continuous task-lighting channel. These are accompanied by cast aluminium chairs.

Other highlights include a kitchen with a stainless steel worktop, a magazine library with a neochrome effect and a flexible gallery and events space.

"Today Workspace stands as a testament to sustainable design and collaborative ingenuity, a space where creativity thrives in harmony with the environment," added Edwards.

Studio Edwards is co-directed by designer Nancy Beka. Other projects by the studio include the modular NTS Space office, also in Collingwood, and the "jewel-like" Vision Studio eyewear store in Glen Waverley.

The photography is by Peter Bennetts.

Project credits

Architect: Studio Edwards
Building contractor: McCormack
Services contractor: Aston Consulting
Structural engineer: FORM Engineers
Project management: Facilitate Corporation
Furniture fabrication: James McNab Design
Lighting: Sphera Lighting

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Xokol has won Dezeen Awards 2023 interiors project of the year following the announcement of all nine interiors category winners, which were revealed at this evening's ceremony.

The nine winners awarded in Dezeen's annual awards programme are located in nine different countries including Canada, Switzerland, Italy, UAE and China.

Xokol crowned interiors project of the year

Xokol by Ruben Valdez Practice and ODAmx won the prestigious interiors project of the year award, sponsored by Moroso. It was also named restaurant and bar interior of the year.

The interiors master jury praised the restaurant in Guadalajara for understanding the distinct characteristics of its environment.

"Xocol understands the place where it lives and the importance of designing in a specific way for a specific location," said the master jury. "The result of this understanding is deep and poetic."

"The restaurant uses an unconventional and beautiful combination of Mexican and European design references to create a cross-cultural dining space that is not gregarious – it is elegant and respectful," it continued.

Winning restaurant Xokol was up against projects that included an office building with a sinuous roof in Abu Dhabi, a minimalist office for an artist in Barcelona and a family lodge with rammed earth walls in South Africa.

View the winning interiors projects on the Dezeen Awards website or read below:

Interiors project of the year and restaurant and bar interior of the year: Xokol by Ruben Valdez Practice

The winning interiors project of the year is a converted mechanic's workshop into an ash-coloured restaurant in Guadalajara, Mexico. Located in the neighbourhood of Santa Tere in Guadalajara, Xokol is a communal dining experience where the boundaries between diners, staff and food preparation are blurred.

The restaurant features dark grey stucco coverings throughout the interiors and black clay comal ovens on full display for guests.

"The use of materials in Xokol is unexpected," said the master jury. "The suspended corn contrasts with the dark walls and softens the interiors."

"The project's low cost makes it very disruptive and innovative, demonstrating an ability to make more with less."

Read more about Xokol by Ruben Valdez Practice ›

Highly commended: Ikoyi by David Thulstrop

Located in London, Ikoyi is a 150-square-metre restaurant by Copenhagen-based designer David Thulstrup.

Thulstrup drew on spice-making processes when designing the interior for Ikoyi using a material palette of copper, stone, steel mesh, leather and oak.

"The studio demonstrates a tasteful use of materials and detail suited to the environment and the brutalist building in which the restaurant resides," said the judges.

"The delicate choice and material combinations are well-fitted to the high-end cuisine offering."

This category is sponsored by Nude Glass.

Read more about Ikoyi by David Thulstrop ›

Home interior of the year: Tembo Tembo Lodge by Studio Asaï

A family lodge featuring rammed earth walls and an organic colour scheme in South Africa by Paris-based Studio Asaï won home interior of the year.

Located close to the Sabie River on the western edge of Kruger National Park the South African home is informed by the termite nests and natural dolmens of Kruger Park.

The building was made from locally sourced, rammed-earth mixed with a bonding agent to make the material less porous and crumbly.

The judges said: "The variety of locally sourced materials and the humility of the surrounding natural environment make this a wonderful example of a luxury home for a traditional family."

This category is sponsored by Planner 5D.

Read more about Tembo Tembo Lodge by Studio Asaï ›

Hotel and short-stay interior of the year: Six Senses Rome by Patricia Urquiola

Milan-based designer Patricia Urquiola won hotel and short-stay interior of the year for her conversion of a palazzo in Rome. Circular elements and traditional Italian materials are used throughout the earthy-toned hotel and spa.

The master jury hailed architect Urquiola for the "complexity and scale of a project like Six Senses Rome".

"The historic Palazzo Salviati Cesi Mellini is a very special piece of architecture and Patricia and her team have completed a superb restoration, creating a hotel which differs from the usual Roman and Italian hospitality building offerings," said the judges.

Read more about Six Senses Rome by Patricia Urquiola ›

Highly commended: Som Land Hostel by RooMoo Design Studio

Chinese design studio RooMoo was highly commended for its construction of a hostel in Shanghai using reclaimed materials found on-site including recycled bricks and bundles of sticks.

The hostel surrounded by national forests and rivers nods towards the natural landscape and local traditions.

"The offering of Som Land being a hostel is improbable and fantastic," said the jury. "It is important to identify and recognise new innovative projects such as this one, with a typology so different to the rest of China."

Read more about Som Land Hostel by RooMoo Design Studio ›

Workplace interior (small) of the year: Studio Reisinger by Isern Serra

A pared-back office to reflect digital artist Andrés Reisinger's minimalist aesthetic in Barcelona won workplace interior (small) of the year.

Spanish architecture and interior design studio Isern Serra kept to a material palette of concrete, quartz and stainless steel to create Reisinger's workspace.

"Reisinger's studio is functional and gives importance to rough architecture," said the jury. "The use of concrete tonality is very enveloping and warm."

"The design details give the studio a work and comfort-balance, with the outside lighting softening the interior spaces," they continued.

Read more about Studio Reisinger by Isern Serra ›

Workplace interior (large) of the year: Government Office by Agata Kurzela Studio

Dubai-based Agata Kurzela Studio redeveloped a heritage building with an undulating roof in Abu Dhabi to create offices for an Emirati government bureau.

Designer Agata Kurzela restored the building's original features and accentuated local materials throughout the project such as rough plaster, patinated mild steel and woven palm mats known as "safeefah". The master jury thought the project was "unexpected" given its location.

"The radial distribution of the working space is reminiscent of an Italian city, creating a clean intuitive layout," said the master jury.

"The use of platforms interconnected by staircases creates new spaces without suffocating the existing ones."

This category is sponsored by Woven Image.

Read more about Government Office by Agata Kurzela Studio ›

Retail interior (small) of the year: Gallery Shop at the Art Gallery of New South Wales by Akin Atelier

An immersive curved resin installation designed by Akin Atelier in collaboration with surfboard designer Hayden Cox won retail interior (small) of the year.

The earthy hues of the translucent bio-resin were achieved by pouring layers of colours into custom moulds.

"It is such a challenge to design a space which can stand on its own and break away from the larger space in which it lives," said the master jury.

"Akin Atelier took cues from materials such as sandstone, a natural material which maintains enclosure and natural light, and stainless steel, informed by the building's structure," they continued.

"The earthy hues give a sense of warmth and luxury. The curved bookshelf is a simple and delicate response to what could have been a cold space."

Read more about Gallery Shop at the Art Gallery of New South Wales by Akin Atelier ›

Retail interior (large) of the year: ToSummer Beijing Guozijian by FOG Architecture

A fragrance store with exposed wooden roof trusses and columns in Beijing won retail interior (large) of the year. FOG Architecture revamped the 500-square-metre courtyard house using clay brick to clad the interior walls as a contemporary interpretation of the old brickwork in the original building.

"With online shopping becoming more common it is great to create a physical space which is connected," said the judges

"This project refurbishes a deep urbanistic Chinese structure in Beijing, championing history and preservation."

Read more about ToSummer Beijing Guozijian by FOG Architecture ›

Health and wellbeing interior of the year: Paste by Studio Author

A dental practice in Toronto with warm burl woods, coloured marble and velvet-upholstered seating won health and wellbeing interior of the year.

Modelled on a hotel lounge, Paste Dental uses digital technology such as 3D printing to provide a more luxurious dentist experience.

"This high-tech dental practice changes the everyday perception of a healthcare space," said the judges. "The studio took a risk and proved that you can make healthcare warmer and welcoming, and put patients at ease."

Read more about Paste by Studio Author ›

Exhibition design (interior) of the year: The Golden Age of Grotesque by Didier Fiúza Faustino / Mésarchitecture

French-Portuguese architect Didier Fiúza Faustino won exhibition design (interior) of the year for his shrink-wrapped display for the late artist Paula Rego.

Named The Golden Age of Grotesque, the scenography emphasises Paula Rego's contemporary work and echoes the world's violence she describes.

"This exhibition design is a brilliant idea which can be used for other installations and projects, clearly created by designers without stealing the limelight from Paula Rego's artwork," said the master jury

"The design decisions make the paintings and the protruding scenography shine symbiotically."

Read more about The Golden Age of Grotesque by Didier Fiúza Faustino / Mésarchitecture ›

Dezeen Awards 2023

Dezeen Awards celebrates the world's best architecture, interiors and design. Now in its sixth year, it has become the ultimate accolade for architects and designers across the globe. The annual awards are in partnership with Bentley Motors, as part of a wider collaboration that will see the brand work with Dezeen to support and inspire the next generation of design talent.

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Dezeen's latest lookbook explores eight interiors – from bright, airy residential spaces to cool, open-plan offices – illuminated by perforated brick walls.

Perforated brick walls are often used as a cooling strategy in warmer climates. This lookbook highlights their effect on the lighting and shading of interior spaces and how they can be used to create a playful, light atmosphere.

This is the latest in our lookbooks series, which provides visual inspiration from Dezeen's archive. For more inspiration see previous lookbooks featuring homes with light-filled kitchens, sculptural wooden staircases and airy, pared-back loft conversions.

Studio by the Hill, India, by Mind Manifestation

This converted apartment in Pune, India – designed by architecture studio Mind Manifestation to house the studio's office – uses perforated bricks to create a well-lit and ventilated workspace.

Bricks was used extensively across the flooring and complemented by green lime plaster walls.

"The material palette has been tastefully chosen so as to match with the different shades of the hill throughout the year," Mind Manifestation explained.

Find out more about Studio by the Hill ›

Cuckoo House, Vietnam, by Tropical Space

Cuckoo House, designed by Tropical Space, is a two-storey home situated atop a cafe in Da Nang, Vietnam, encased by a shell made from local clay bricks.

Living spaces on the upper floor feature perforated brick for privacy and ventilation, with the design resulting in a playful chequered lighting pattern across the wooden and concrete interior.

Find out more about Cuckoo House ›

Wall House, Vietnam, by CTA

Square perforated bricks salvaged from nearby buildings sites are used on the exterior of CTA's Wall House in Bien Hoa, Vietnam.

Stacked in an irregular formation, the punctured bricks filter sunlight and air into the space, creating dotted shadows across the plant-filled double-height living room.

Find out more about Wall House ›

Gadi House, India, by PMA Madhushala

Gadi House in Maval, India, by PMA Madhushala is a compact arrangement of volumes and courtyards.

Dimly-lit courtyards and living spaces are illuminated by pockets of sunlight accessed through perforations in the brick and stone walls.

Find out more about Gadi House ›

Intermediate House, Paraguay, by Equipo de Arquitectura

The Intermediate House by Paraguay-based studio Equipo de Arquitectura is a narrow residence in Asunción organised around an open-air courtyard.

Manually pressed, unfired bricks form the perforated street-facing facade – drawing sunlight and air through the vaulted brick-roofed dining room and into adjacent spaces.

Find out more about Intermediate House ›

The Termitary House, Vietnam, by Tropical Space

Patterned shadows decorate the dimly-lit brick and wood interior of The Termitary House in Da Nang, Vietnam, designed by Tropical Space.

Inspired by earthen termite nests, the studio used perforated brick on the facade and internal walls to bring natural light into the interiors during the day and draw in artificial light at night.

Find out more about The Termitary House ›

Cloud House, Australia, by Dean Dyson Architects

Australian studio Dean Dyson Architects designed the Cloud House – a two-storey home in Malvern – using an exterior layer of grey, perforated brickwork.

Intended to create a "private oasis" for the clients, the perforated brick pours light into the interior living spaces, with passive ventilation enabled by operable windows.

Find out more about Cloud House ›

Tropical Shed, Brazil, by Laurent Troost Architectures

Located on a long, narrow plot in Manaus, Tropical Shed is a plant-filled office with a centralised courtyard designed by Brazilian studio Laurent Troost Architectures.

Interlocking bricks – repeated throughout the design – form a perforated wall in the double-height office to create a cool work environment decorated with playful shadows.

Find out more about Tropical Shed ›

This is the latest in our lookbooks series, which provides visual inspiration from Dezeen's archive. For more inspiration see previous lookbooks featuring homes with light-filled kitchens, sculptural wooden staircases and airy, pared-back loft conversions.

The post Eight bright and airy interiors illuminated by perforated brick walls appeared first on Dezeen.

Bright white plaster clads the exterior of a 1960s concrete building that has been turned into the self-designed studio of Baldridge Architects, which acted as the designer and contractor.

Called Burnet Road Offices, the project involved the adaptive reuse of a small commercial complex along a main street in Austin.

Dating to 1961, the complex, which consists of three semi-connected structures, had served a range of functions over the years.

"The spaces had housed a TV showroom, offices, a thrift store, a motorcycle dealership, a car wash, a gym and even a vape lounge," said local studio Baldridge Architects. "Once loved, these buildings had suffered from years of neglect and ad-hoc adaptive reuse that had masked their potential."

Baldridge Architects, which was founded in 2005 by architect Burton Baldridge, was formerly housed in an Austin office building it had renovated on West Lynn Street. That space won multiple design awards, but it no longer met the firm's needs.

"As the firm's projects have grown in size and complexity, so have the firm's space needs," the team said.

The firm saw potential in the ageing site on Burnet Road and purchased the three structures there, which total 5,200 square feet (483 square metres).

The firm set aside 2,750 square feet (255 square metres) for its own office, and designated the remaining square footage as leasable office space for two design-related tenants.

Baldridge Architects acted as both the designer and general contractor – a return to its roots, as the studio began as a design-build firm but shifted gears in 2010.

"While the firm has no intention of returning to its design/build roots, the project was an amazing experience for the firm, notwithstanding the surreal quality of completing it during the global pandemic," the team said.

The team prioritised working with friends in the construction industry as it made significant changes to the complex, both inside and out.

On the exterior, crisp-white plaster was added to the original concrete masonry. The concrete masonry units are arranged in an irregular fashion known as "shadow block".

Energy-efficient glass was provided by the California company Panelite, whose founder is a longtime friend of Baldridge.

Within the architectural studio, the team created a series of "residential nests".

The office contains a lobby, a conference room with a materials library, two private offices, an open-plan work area, a kitchenette and bathrooms.

The material palette includes maple flooring and premium drywall. Built-in desks were fabricated of powder-coated steel, white laminate and maple.

Bright finishes and high-quality lighting help create a feeling of spaciousness – particularly in areas where the ceiling height is just under eight feet (2.4-metres). In the open work area, original roof trusses were left exposed.

The conference room was fitted with a piece of Macassar ebony furniture imbued with meaning – a newly built table that was originally designed by American architect Peter Gluck for one of his projects, the Floating Box House in Austin.

Baldridge formerly worked for Gluck in New York, and the Floating Box House was the project that brought him back to Austin, where he had attended college. Baldridge had the table built for his new studio.

Other recent projects in Austin include a concrete office complex by West of West that experiments with "beautiful roughness" and the studio of Michael Hsu Office of Architecture, which features fabric wall coverings paired with industrial details.

The photography is by Casey Dunn.

Project credits:

Architecture, interiors and contractor: Baldridge Architects
Structural engineer: Duffy Engineering
Electrical engineer: Llyod Engineering
Structural/decorative steel and windows: Drophouse
Plaster: Sloan Montgomery
Finish carpentry: Enabler, Nick Tragus
Pavers: Arcon, Inc
Automation: Total Home Technology
Painting: Kenny's Painting
Drywall: ZA Drywall
Furniture and rug help: Joel Mozersky Design
Energy-efficient glass: Panelite

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Promotion: the need for well-considered focus spaces will come to the fore in workplace design in 2024, driven by the uptake of artificial intelligence, according to office pod brand Framery.

Framery says that the increase in AI in the workplace will result in it taking more responsibility for mundane, repetitive tasks, resulting in the need for additional focus spaces in open-plan offices to help support employees' deep and focused tasks.

"If it happens how it's expected and AI takes more responsibility for repetitive tasks, the office design should reflect this development and support deep, focused work," said Tomi Nokelainen, head of Framery Labs, the company's research and innovation unit.

According to Framery, while post-pandemic hybrid office design placed an emphasis on the creation of collaborative spaces and "flashy common areas embodying organisational culture", the next phase of this evolution will centre on creating areas that minimise distraction and allow for focused work.

"It's noteworthy that employees value focused working spaces beyond collaborative spaces," said Nokelainen. "With work complexity on the rise, there is a heightened demand for both acoustic and visual privacy."

The company points to the findings of research company Leesman, which has reported that workers are still choosing to stay at home for solitary work. Leeman's research suggested that some working activities were "better supported at home" including individual-focused work and planned meetings.

However, Framery says that when employees have the option to work from home, that may not be sufficient to fulfil their productivity needs.

"It can't be assumed that all employees have the luxury of a dedicated home office room, or are willing to invest in expensive desks or ergonomic chairs," said Nokelainen.

Framery, a Finnish brand, was one of the first to enter the office pods space in 2010, creating soundproof booths that drown out external distractions so that employees can undertake focused work or conduct video conferencing calls.

According to Framery Labs' research, focus spaces are the number one desired perk for employees that would draw them into working in the office rather than at home and they address distractions to focused work, for example, noise.

Only 33 per cent of employees report finding noise levels satisfactory in their workplace and dissatisfaction with noise has the strongest correlation to an employee saying that the design of their workplace does not support their personal productivity.

This can be especially consequential for neurodiverse people, who constitute around 15 to 20 per cent of the global population and who can have a greater sensitivity to sensory stimuli, according to the brand.

With workplaces becoming more inclusive, the next step will be to design them to function as "a catalyst not a barrier to productivity", said Nokelainen, with a recognition that different people have different needs.

"There are no one-size-fits-all focus spaces – they can be everything from silent open areas, library-like spaces, private offices or pods," said Nokelainen. "Each role and industry has their own special needs that must be taken into account."

These considerations can be addressed with products like the Framery One, Framery's bestselling office pod. A single-person workstation for focused work that is also optimised for virtual meetings, it includes soft lighting and adjustable ventilation to help create a personalised environment.

In a closed pod like this, neurodiverse people can apply "sensory integration techniques", said Nokelainen which means incorporating the sensory tools or approaches that promote calm and focus for them.

There are also multi-person pods like the Framery Q Flow, one of the newest models. It is designed to help enable workers to achieve the "flow" state of mind, where work feels effortless and time switches off, and includes a height-adjustable electric table so that users can shift positions without interrupting their thought process.

The office pods come with Framery Connect, an integrated workplace management tool that supplies detailed data and analysis around how often and when they're being used.

Framery says it prides itself on the quality of its soundproof office pods, as well as having been among the first to bring the product category to the market. The company launched 13 years ago after its founder – Samu Hällfors – devised a solution to address the distraction caused by his boss's loud phone calls.

"Our founder and CEO Samu Hällfors invented the office pod category in 2010," said Framery. "Now we have over 200 competitors globally. To ensure we stay the market leader we are relentlessly innovating to engineer the most advanced pod in the world."

Framery also has a sustainable and responsible ethos and has made a commitment to converting to a circular business model.

To find out more about Framery and its products, visit the brand's website.

Partnership content

This article was written by Dezeen for Framery as part of a partnership. Find out more about Dezeen partnership content here.

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Design studio Kin has created the Edinburgh office interior for global law firm Dentons, featuring a communal rotunda with no doors and an open-plan bar.

Manchester-based Kin designed the office at 9 Haymarket Square – a mixed-use development in Edinburgh.

The studio sought to "challenge the conventional approach to design for legal practices" when creating the interior, which includes a central rotunda designed as a casual place to gather.

Built from Scottish oak, the round structure features a circular footprint to counterbalance the existing building's angles and straight lines.

"We wanted it to have a homely familiar feeling with no physical doors, just a series of connected spaces," Kin director Matt Holmes told Dezeen.

The rotunda was also partially clad with acoustic panels made from recycled plastic bottles, which were fitted to absorb sound and reduce ambient reverberation from around the rest of the office.

Illuminated, amphitheatre-style seating was positioned in the middle of the rotunda, while individual meeting booths were placed on its perimeter.

The welcome desk was framed by oversized statement arches set within a boxy timber shelving unit.

Elsewhere, Kin added an open-plan bar to the office, made from bespoke wooden rods and solid terrazzo.

"The bar was designed to act as a focal point for the client space – somewhere for people to gravitate around as they leave the concierge desk," said Holmes.

"A visit [to Dentons] is not just a business meeting, but an experience," he added.

Throughout the office, the studio opted for orange and green hues for working areas and used both smooth geometric tiles and more tactile surfaces.

"The materiality draws inspiration from Scotland's abundant natural landscape through warm timbers and rich and textured fabrics," said Holmes.

"Whilst balancing them against the warm tonal colour palette and strong geometry of Edinburgh's built environment, the rooftops and tenement tile patterns provided so much inspiration."

Kin worked with local craftspeople when building the project.

Other offices designed to make their occupants feel at home include a real estate office in Tokyo created by Flooat to be "as stress-free as possible" and Mason Studio's self-designed office in Toronto that also doubles as a space for community programming such as exhibitions and other events.

The photography is by Amy Heycock.

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A brick, steel and timber structure is left exposed in this office interior in Sydney, which local firm Cox Architecture has revamped to house its own studio.

Cox Architecture removed previous alterations to the structure, which occupies five floors of the heritage-listed Metcalfe Bond Stores warehouse in Tallawoladah, to highlight its original features and complement them with pared-back, flexible workspaces.

"Our objective was to do more with less, balancing the poetic with the pragmatic," explained the studio.

"Restrained interventions allow the heritage to be the hero and minimise the project's embodied energy," it continued. "Our starting point was a process of reduction, removing non-heritage elements to create clarity."

The interior is defined by the original steel and timber structure's columns and beams that have been painted white, and the brickwork of the outer walls that are left exposed.

New elements such as glass doors and walls, room dividers, curtains and furniture were chosen to touch the existing structure "as lightly as possible", and feature alongside dark-wood carpentry and gallery-style lighting tracks.

The workspaces themselves are designed to be flexible and "hackable", allowing areas to be reconfigured and subdivided easily by staff.

This includes a forum space on the fifth level of the building, which has a wall lined with magnetic whiteboards and can be used as anything from a collaborative workshop space to a presentation area for 200 people.

Alongside it is a kitchen with a backdrop of exposed brickwork and two long counters topped with unsealed brass that will patinate over time.

A black-steel stair leads up to a mezzanine level above containing further desk spaces. This sits at the top of the building, lit by skylights in the apex of the pitched roof.

"Anchored by a generous kitchen, a flexible forum space is a magnet for serendipitous exchange between Cox's own people and the wider design community," said the studio.

"The majority of elements within the space are movable, creating an experimental, nimble workspace allowing teams the autonomy to control their space and future-proofing the studio as the workplace evolves," it continued.

Facing the street, Cox Architecture created a "shopfront window", giving staff the opportunity to populate vitrines with the studio's work.

Cox Sydney Studio has recently been shortlisted in the large workplace interior category of Dezeen Awards 2023. Another office interior completed by the studio is the Midtown Workplace in Brisbane, which features a large, plant-filled atrium with by a weathered-steel staircase.

The photography is by Nicole England and Cameron Hallam.

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Promotion: buying office pods instead of building meeting rooms could save companies in the US around $30 billion by 2030, according to research by soundproof booth manufacturer Framery and real-estate investor CBRE.

Post-pandemic working habits are driving a transformation in office layout and design worldwide says Framery.

More people working from home means employers are scrambling to use costly office space more effectively, while the increasing prevalence of video calls has resulted in growing demand for small, acoustically insulated meeting spaces.

"Office occupiers are investing more and more into flexible spaces and different types of adjustable spaces to meet the demand of flexibility and to attract their workforce back to the office after the pandemic years' remote working," said CBRE's Jussi Niemistö.

A study by Framery and CBRE found that as well as offering options for changing office setups, pods are more cost-effective than constructing new meeting rooms.

CBRE compared the costs associated with getting one-, four- and six-person Framery office pods with the cost of building meeting rooms of equal size in different cities around the world.

It found that meeting pods tended to be significantly cheaper – with constructing equivalent meeting rooms costing 55 per cent more on average.

Building a permanent phone room in a New York office is 155 per cent more expensive than getting a one-person Framery booth, according to the study.

A separate study by real-estate firm Cushman & Wakefield found that more than 41 per cent of office space in the US is in need of refurbishment in order to support hybrid working by the end of the decade – around 241 million square metres.

Framery's analysis based on CBRE's research indicated that building new meeting rooms in that amount of space would cost more than $85 billion. By comparison, the same area of Framery pod space could be purchased for around $55.5 billion.

Framery CEO Samu Hällfors also argues that meeting pods reduce office running costs.

"Pods are compact and make better use of existing space," said Hällfors. "They allow for greater flexibility in rearranging and reconfiguring offices and they can be moved to a new location when needed."

"That all greatly reduces the lifetime costs associated with running an office, especially in larger cities with high-priced real estate," Hällfors continued.

Founded in 2010, Framery claims to have invented and sold the world's first office pod, and its Framery O is the world's best-seller.

There are now more than 200 pod manufacturers around the world, according to Hällfors.

"The increasing demand for these office pods isn't coming so much from management as it is from employees themselves," he said. "Reimagining the workplace in these innovative, cost-effective ways is what is going to get employees excited to return to the office."

To view more about Framery and its products, visit its website.

Partnership content

This article was written by Dezeen for Framery as part of a partnership. Find out more about Dezeen partnership content here.

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Indian architecture studio Workers of Art has converted a former storage space into its own plant-filled office, using recycled and repurposed waste materials in almost every aspect of its design.

Called WOA Second Home, the office is located in Kochi, Kerala, and occupies a 1,450-square-foot (135-square-metre) concrete structure that was previously used for storing tiles.

Aiming to "underscore the necessity of the curtailment of waste output in architecture," Workers of Art (WOA) made use of materials that had been "relegated to landfill" including concrete board, PVC pipes and acrylic sheets, to create a workspace that would reflect the studio's ethos.

"The design celebrates the value of materials that might have otherwise been discarded, creatively forming patterns and combining different elements to breathe new life into the space," said the studio.

"For instance, odd-shaped waste tiles are harmoniously mixed and matched, finding their new home in the powder room. A strikingly repurposed tile piece also elevates the entry steps, underscoring the studio's attention to detail and innovative flair," it added.

Organised across one floor, the entrance to the office leads into a large space lined with a zig-zag of ferrocement desks along the eastern wall, next to a meeting table and sample board at the centre of the room and a more private workspace to the west.

A new partition with a large arched opening and blackout curtain leads through to a breakout area and facilities space containing a locker area, kitchen and bathroom.

"The design of the workstations, which meander through the shared workspace, was strategically planned to encourage teamwork while also allowing for individual space," WOA co-founder Priya Rose told Dezeen.

"The philosophy was to create a workspace that feels like a 'second home' – evident in the thoughtful design elements that prioritise comfort, aesthetic pleasure, and a sense of belonging," she added.

Custom black light fittings on the ceiling were created by repurposing lengths of PVC pipe, while bespoke planters were made using ferrocement lined with blue plastic barrels.

The existing tile floor in the building was retained, with areas that had become cracked removed and infilled with microcement to create contrasting dark grey geometric areas.

Throughout the studio, discarded antiques and over 100 species of local plants were introduced to bring a "homely" quality to the space.

WOA Second Home has been shortlisted in the workplace interior (small) category of Dezeen Awards 2023.

In Madrid, designer Lucas Muñoz used upcycled junk and construction waste to create nearly every interior element of the Mo de Movimiento restaurant.

The photography is by Ishita Sitwala. 

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Architecture studio Terroir has turned an abandoned 1960s office into its own workspace in Hobart, Australia, reusing the existing structure and timber framework.

Terroir designed the office as "a small experiment that challenges the paradox of sustainable architecture", adding as little as possible – with the only new elements being electrical cabling for power and internet.

The 192-square-metre offices is divided by wooden framework retained from the previous fit out, which was revealed by stripping away old wall finishes.

Some existing walls and partitions were removed and reconfigured into a desired layout, instead of acquiring new materials.

"We asked whether we could produce a workspace that is driven by Terroir's commitment to supporting the interactions of people in place, but in a way that uses less resources than ever before – by using no new resources at all," Terroir's founding director Scott Balmforth told Dezeen.

"By re-using everything, we had to be open to some wit and humour in some of the unconventional staging of work activities, with the peek holes and nooks and windows adding a layer that we would likely not have explored in a conventional fit out."

Spread across one level, meeting rooms and office spaces were organised around a central corridor, with a communal work area located at the rear and a waiting area at the entrance.

Windows and cubby holes within the framework were designed as playful connections between adjacent work spaces, while glass panels were used to separate the communal area and meeting rooms.

Terroir complemented the timber floors and partitions with lightly coloured walls featuring paint strips that highlight cracked plaster as a celebration of the buildings previous life.

The lack of decorative finishes and rough surfaces was designed to add character and charm to the office interior.

The studio's low carbon approach extended to the furniture, with waste timber reused to create an office bench as well as shelving units.

Terroir is a collective of architects and urbanists operating between Australia and Denmark. The project has been shortlisted in the workplace interior (small) category of Dezeen Awards 2023.

The photography is by Brett Boardman.

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A stack of meeting rooms and a moss-covered wall overlook the atriums of Here + Now, a pair of office buildings in England refurbished by architecture studio Hawkins\Brown.

Informed by changing attitudes to workplace design following the Covid-19 pandemic, the two buildings have been renovated with a focus on wellbeing and a connection to nature.

They are located within a wider business park in Reading, formerly used by Microsoft.

Connected by a bridge at their centre, the two buildings contain different facilities. One of them, named Here, offers space for more established companies, while the other, named Now, contains offices for smaller companies and start-ups.

"Here + Now is located on a business park, not in a city centre, which provides users with a much closer connection to nature and therefore better opportunity for activity and wellbeing," Hawkins\Brown partner Massimo Tepedino told Dezeen.

"The idea is that companies can scale up or down and thereby stay on the campus for longer – this ultimately helps to create a sense of community," he added.

While the two buildings share a similar material and colour palette, the finishes of each were slightly different based on its tenants.

The approach to the Now building focuses on more cost-effective, flexible spaces, while the Here building is finished to a higher specification.

Each of the two buildings features a large arrival atrium designed to evoke a sense of "wonder".

In the Here building, this space has a stack of meeting pods described by Hawkins\Brown as a "treehouse", while dehydrated moss-covered balconies animate the atrium in Now.

Shared by both buildings are a range of on-site amenities, including a gym and treatment rooms, as well as a "lifestyle manager" who organises events and workshops.

"The benefit of having two buildings share amenities is that office spaces can accommodate a wide range of budgets, while everyone benefits from best-in-class amenities and the opportunity to socialise with established professionals and young entrepreneurs," explained Tepedino.

The glass and metal structures of the existing buildings have been treated internally with wooden panelling, which complements new wooden seating areas and nooks.

Particular attention was paid to the colour scheme, with a muted palette intended to evoke the nearby natural landscape and create a relaxing atmosphere.

"We know that colours can facilitate, regulate, and even influence people's behaviour – our colour palette takes its cues from the natural landscape and compliments the neutral tones of the existing buildings," explained Hawkins\Brown.

"The bathrooms take inspiration from spas and hotels, with green shades and bold graphics create a strong visual connection to nature and a calming environment."

Here + Now has been shortlisted in the large workplace interior category of Dezeen Awards 2023.

Other projects recently completed by Hawkins\Brown include a student hub at Queen's University Belfast with RPP Architects and the transformation of the historic Central Foundation Boys' School in London.

The photography is by Jack Hobhouse.

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Lush plants and gravel beds feature in the Tokyo offices of real estate company Mitsui & Co, which local interior studio Flooat has designed to be "as stress-free as possible".

The workspace is located on the third floor of a 1980s office block in Chiyoda, a special district of Tokyo that is also home to the Imperial Palace.

Flooat set out to bring new value to the outdated building, creating a working environment that could be "cherished and used for a long time".

"In this project, we aimed to create a space that is considerate to both people and the environment by updating the charm of an old building and showing its new value in Tokyo, where there is a notably high rebuilding rate," the studio told Dezeen.

The practice was presented with a space that was dark and awkward, with a corridor running down the middle of a long, narrow floor.

Flooat's solution involved reducing the interior to a "skeleton" and eliminating the corridor to create a semi-open space for Mitsui & Co's employees.

The remaining walls were adjusted to a height and position that would not block any natural light.

"The walls are constructed to match the architectural module, giving a sense of depth while dead-end flow lines have been eliminated so that the space can be viewed from various angles," the studio said.

"The result is a harmony of function and aesthetic with a clean, simple look."

The surrounds of the windows were deepened and lined with grainy matt-finish teak to bring warmth and character to the office while softening the direct sunlight.

The same timber was also used to wrap around walls, floors, windows and doors.

"To create harmony in the space, we selected trees with similar characteristics," Flooat said. "Employees spend a lot of time in the office, so we aim to create a natural space that is as stress-free as possible."

Flooat used partitions at various heights, alongside different floor levels and furniture heights to create dedicated areas for different modes of working.

Sofas and low tables were installed close to windows, allowing visitors to sit and take in the outside world in a relaxed environment.

Long communal tables provide space for focused work while another area serves as a lounge where Mitsui & Co's staff can mingle with others in the building.

"Instead of sitting in the same seat all the time, we have created an environment where people can move around, creating opportunities for communication and a natural flow of people in the office," the studio said.

Different zones are demarcated via narrow tracts of gravel laid into troughs in the floor.

"Borders are indicated in such a way as to give every area its own independence, evoking the pleasing features of a Japanese landscape garden with a tea house," the studio said.

"The pebble is a sign for switching spaces, a modern representation of the uniquely Japanese way of communicating signs."

Plants with lush green foliage introduce a soft organic element to the space, providing a link to nature within the city.

"We placed large plants on the symbolic tables where people tend to congregate," the studio said.

"We also considered the shadows created by the trees as an element of comfort. Organic, natural shapes also help to reduce tension and create a cosy atmosphere."

A cavernous meeting room pod is set into one of the partition walls, enveloped in a grey textile surround that was chosen for its sound-absorbing qualities.

"This gives the impression of a cave," the studio said. "Once inside, the space gives a sense of security and allows people to concentrate on communication. It's a place where you don't have to worry about other people's eyes and voices."

For the furniture, Flooat chose enduring design pieces that date back to before the building's construction in 1983, in a bid to create a sense of timelessness.

"We wanted to revive the interior of an old building and choose furniture that would be appropriate for a place that will still be used in the future," said Flooat.

"We used furniture in the lounge space that was designed in the 1960s, for example, and is still being produced today."

Mitsui & Co's office has been shortlisted in the small workplace interior category of this year's Dezeen Awards.

Also in the running is the office of digital artist Andrés Reisinger, with surreal details that nod to his otherworldly renderings, and the library of the Cricket Club of India, which is nestled amongst tree-like wooden columns.

The photography is by Tomooki Kengaku.

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Interiors firm Agata Kurzela Studio has reworked the top floor of a heritage building in Abu Dhabi to create offices for an Emirati government bureau, which oversees major public architecture projects.

Located in the capital's waterfront area of Khor Al Maqta, the workspace is housed inside the former Armed Forces Officers' Club with its distinctive concrete shell designed by French architect Roger Taillibert.

Recently redeveloped and rebranded as the Erth complex, the development now houses a hotel with sprawling sports facilities as well as several offices in its central building, called The Club.

On the very top level of this building, Dubai-based Agata Kurzela designed a workspace for an Emirati government bureau that works on "the most prestigious developments in the UAE", although the designer says she "cannot reveal" its name.

Her studio added a mezzanine level under the roof to house exhibition spaces, where upcoming architecture projects can be presented, while workspaces are located on the floor below.

Kurzela says this was necessary as the bureau experienced an unprecedented period of growth as the project unfolded, meaning the space had to be adapted to accommodate 120 people rather than 88 as originally planned.

"Once the ambitions outgrew the available space, we expanded vertically by adding functional platforms interconnected by staircases," Kurzela told Dezeen.

Previously inaccessible gravelled roofs were resurfaced and opened up to serve as breakout areas. The practice also added spaces for prayer rooms, nursing rooms and ablution areas for performing ritual cleansing before prayer.

In the entrance area, a bold new volume made of recycled mild steel houses two converging staircases to create a connection to the exhibition level above.

"We needed to provide a reception space open to the main building while providing privacy to the main office," says Kurzela. "The volume was a response to both compositional and functional needs."

"This bold sculptural element creates a beacon that signals the entrance and brings order to multiple competing geometries of the original building."

The steel cube also houses a women's prayer room and an office on the lower level while the men's prayer room takes the form of a smaller cube that is perched on top.

This second prayer room was carefully proportioned to be half the size and half of the opacity as the steel volume below, with its walls made of suspended aluminium chains instead of solid metal.

"It has volumetric qualities when seen from the outside while bringing a sense of privacy to the space it contains," the designer said. "The daylight that filters through adds lightness and mysticism."

The practice sought to celebrate and restore to prominence the building's original features, including the dramatic undulating roof.

"The building's floating roof shelters a structure that originally had a very clear order, visible on the original plans," says Kurzela.

"That logic was at times obscured by random subdivisions and often lost to the visitor through the sheer volume of the building. We felt our opportunity lay in providing visual guidance and clarity, and for the space to feel like a natural part of the building."

The designer took the decision not to add ceilings above the open offices, helping to minimise material waste and allow daylight to permeate these spaces.

"Before the refurbishment, the space felt murky, but now it benefits from the skylights and panoramic window, with views towards the Grand Mosque," she said.

The studio also used super-thin LED light strips designed by Davide Groppi, which measure up to 17 metres long, to bring illumination to areas where recessing lights in walls, floors or ceilings were impossible.

Throughout the project, there was an emphasis on locally produced elements including acoustic glass partitions, furniture in the executive areas and cushions woven by a collective of Emirati artisans using a traditional technique called sadu.

The material palette brings together contrasting textures including rough plaster, patinated mild steel and woven palm mats, known as safeefah.

"It brings about a sense of familiarity, mixed with a sense of awe found in Ken Adams's movie sets for the James Bond series," says Kurzela.

The government office has been shortlisted in the large workspace interior category of this year's Dezeen Awards alongside 210 Euston Road by Universal Design Studio.

The photography is by Sebastian Böttcher.

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Promotion: technology brand HP has expanded its DesignJet plotter printer series with the addition of three 36-inch models suitable for office or home use.

The T850, T950 and XL 3800 plotters were created specifically for the architecture, engineering and construction industries to print technical drawings, plans, maps and renders.

Following the sleek style of the brand's other DesignJet printers, the plotters were created to streamline and suit the environment of any home or office interior.

HP designed the devices to adapt to different environments by offering attractive designs and integrated technology with the aim of improving work-life balance, productivity and creativity.

The matte black T850 stands on table legs and offers an optional sling-style sheet organiser that can be attached to the base of the device.

Following a similar structure, the T950 printer features a fixed-sheet organiser and comes in a white and grey colourway.

The XL 3800 has a box-like shape that includes two drawers, a stacker and a 15-inch monitor to ease the process of managing projects.

HP says it focuses on improving the sustainability of its products, manufacturing the XL 3800 from 33 per cent recycled materials and the T850 and T950 from 35 per cent.

The brand has also introduced other sustainably-focused features to printers, including using cardboard-based cartridges and the ability to schedule the device to power on and off.

Each device is compatible with HP's Click software, enabling collaborative and remote work, and offering real-time previews to easily visualise the end results.

The T850 and T950 devices are also compatible with HP's app, which lets users automate their tasks and print remotely from their phones and tablets.

For more information about HP's DesignJet series, visit the brand's website.

Partnership content

This article was written by Dezeen for HP as part of a partnership. Find out more about Dezeen partnership content here.

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Dezeen Showroom: workplace furniture company Room has created a single-person acoustic pod that provides solo workspaces in open-plan offices.

The first product designed in Room's catalogue, The Phone Booth is characterised by its trio of sound-dampening material layers that work together to reduce noise by 30 decibels, according to the brand.

The booth is clad in sound-blocking MDF and lined with sound-absorbing PET felt made from recycled plastic bottles. 100 per cent natural wool finishes also help to control noise levels.

There is an LED light mounted in the ceiling along with two ultra-quiet fans that keep the air inside clean. Both the light and fans are controlled by a smart sensor.

The booth is delivered flat-packed and can be assembled in an hour by two people using only one tool, and it can also be moved between locations easily once assembled given its flexible design.

The Phone Booth comes in two colourways, light and dark, and punctuated with oak accents.

Product: The Phone Booth
Brand: Room
Contact: hello@room.com

About Dezeen Showroom: Dezeen Showroom offers an affordable space for brands to launch new products and showcase their designers and projects to Dezeen's huge global audience. For more details email showroom@dezeen.com.

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Universal Design Studio put a modern spin on the design conventions of bank buildings when creating the headquarters for cryptocurrency firm Copper inside a Richard Rogers-designed office in London.

Copper – a fintech company that helps financial institutions to securely store and trade cryptocurrencies – wanted to break away from London's financial districts and instead set up its office inside Soho's Broadwick House.

The building was originally completed by the Richard Rogers Partnership in 2000 and was renovated last year before Copper brought in Universal Design Studio to devise the interiors.

The local practice introduced familiar materials such as marble and walnut into Copper's HQ to "provide a sense of assurance".

These are contrasted with more contemporary elements including stainless steel, kinetic screens and dynamic light boxes that help to create "an uncanny and cinematic environment".

"The design approach draws in part upon historic icons of banking architecture through a contemporary lens, to create a familiar space that feels safe, whilst also pushing the boundaries on expectations," the practice said.

"Being able to contain that within an architectural landmark is very special."

The lobby features Jesmonite wall panels, referencing the marble-wrapped entrances found in more traditional banks.

By contrast, a gold desk, alcove and gridded lightbox ceiling give a cinematic feel to the lobby and "allude to some of the more unexpected design elements further up the building", according to Universal Design Studio.

"This idea of bringing together two distinctive finishes that are different recurs throughout the building, to echo the safe and trusted nature of finance with a new digital future," the practice said.

Rogers's original architectural concept for the building focussed on transparency, with glazed facades providing high levels of light penetration.

Universal Design Studio sought to work with this vision, creating light-infused workspaces with a focus on natural materials.

"The main workspaces for the Copper team are light, with a connection to the street level around the perimeter, playing to the strengths of the original facade design," the studio said.

"But given the nature of what Copper do, an element of privacy was also essential."

To achieve this, the studio designed a more opaque "Copper Core" that runs through the entire building, punctuating each floor and containing private spaces such as meeting rooms and quiet rooms.

Set away from the exterior facade, the meeting rooms in the core of the building are inevitably less light-filled than the main work areas.

To create spaces that still felt inviting, Universal chose to panel the walls with walnut, harnessing the tactility of this natural material to add a feeling of safety and familiarity.

Stainless steel thresholds were added to create a sense of arrival, as team members move away from general working areas into the Copper Core.

In another nod to the concept of privacy, Universal designed a copper-toned curtain that is found on each floor level, running the full perimeter of the facade.

"Operated digitally, each floor's curtain closes in unison," the studio said. "The curtain was also conceived as a type of visual security, locking down the building at night."

Visiting clients are received on the sixth and seventh floors of the building where the meeting rooms take on a hospitality focus, with bar and banquette-style seating capitalising on Broadwick House's views across the city.

"These areas are styled on a members' club to serve the Copper team and its clients," Universal Design Studio said.

"The sixth floor has a focus on gathering both physically and digitally. Cinematic experiences are again utilised in this space with dramatic sliding digital screens for large events and presentations."

Other unconventional interiors belonging to financial institutions include Hana Bank in Seoul with its "floating" meeting room and Citibank Singapore, which was designed to resemble a giant conservatory.

The photography is by Ed Reeve.

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Michael Hsu Office of Architecture has adorned its studio with wood-and-fabric lined walls and industrial details in Austin in order to create a material "representation" of its work.

Located in Austin's Rosedale neighbourhood, the 10,750-square-foot (1,000-square metre) studio combines elements of residential and warehouse architecture.

"The new studio provides us with the additional space we needed and is a physical representation of our process. The spaces are designed to facilitate how we work now – allowing for different modes, sizes, and shapes of collaboration." founder Michael Hsu said.

"We wanted to design a space for our team to develop curiosity and creativity while being surrounded by a community of talented people."

It was completed in July 2022 for its growing team. Michael Hsu Office of Architecture occupies the first and third floors of the three-storey building.

The exterior is wrapped in locally crafted terracotta block along the base and dark-coloured horizontal cladding around the top floors that is punctured by large windows.

The rectangular plan is bisected by a large pale green exterior staircase with a slatted roof to shade it from the Texas sun. Wooden soffits warm the exterior material with subtle blade signs directing circulation.

Inside, exposed steel trusses – painted white – add an atmosphere of industry to the space, while the thin black window frames and mullions provide delicate contrast.

"The spaces allow for different modes, sizes and shapes of collaboration across a larger footprint," the team said. "Humble materials were used in beautiful and unexpected ways."

"Bespoke furnishings and curated artwork throughout the space reflect a commitment to collaboration with MHOA's favorite fabricators and artists."

The ground floor – with conference rooms designated for entertaining clients scattered within the buzz of the office – prioritizes finish and formality with bold monochromatic colours.

The entry lounge is wrapped in light grey routed wooden wall panels and adorned with a vibrant painting by Patrick Puckett and a custom light fixture by Warbach Lighting in collaboration with artist Brandon Mike.

Grey drapes and scarlet-coloured velvet furniture serve as a plush alternative to the clean lines of the custom spalted maple and polished aluminium reception desk.

The open-plan workspace is full of light with Calacatta Gold Borghini marble and soft white details set off by raw white oak flooring and walnut desktops and millwork.

The casual workspace is juxtaposed with the "formal dining space" of the conference rooms. Draped in sapphire silk and mohair wall coverings, the conference rooms have custom tables by Michael Wilson and Drophouse, vintage chairs and suspended metallic light fixtures.

Upstairs, the light-filled elevator lobby has playful art inclusions like Shawn Smith's pixelated deer head sculpture and Hsu's vintage Ducati motorcycle.

The third floor serves as a collaborative space for the designers with "a hands-on material lab and a generous lounge and kitchen designed to support social connection".

A custom mint-green and chrome Litmus Industries cabinet divides the space and serves as an intimate moment within the open space full of combined white desks.

"It was important to the team to represent expertise and show exceptional hospitality to clients while being inclusive and accommodating to MHOA's designers," the studio said.

The office's affinity for soft jewel-toned furniture placed in large industrial spaces is evident in its 2019 design of Shake Shack's headquarters in New York and the recent conversion of a 1930s church for Argodesign's Austin office.

The photography is by Chase Daniel.

Project credits:

Architecture + interiors, FFE selection and procurement: Michael Hsu Office of Architecture
Custom light fixture: designed in collaboration with Warbach Lighting and artist Brandon Mike
Custom tables: Michael Wilson and Drophouse
Custom millwork and reception desk: Litmus Industries
Artists: Patrick Puckett, Denise Prince, Clare Grill, Seung Yul Oh, Dorota Jedrusik, Hugo Pernet and Paolo Arao

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US studio Atelier Cho Thompson has redesigned the shared spaces for an office building in Boston, borrowing shapes and materials from its history for new interior elements.

The project involved reimagining the communal areas at 179 Lincoln Street, a full-block building in the city's Leather District that was constructed as a shoe factory in 1899.

Atelier Cho Thompson looked to this history to guide the design of areas at the margins of the building, including the under-utilized lobby space, a dark central core, and empty pocket spaces on each of five floors – all totalling 8,000 square feet (743 square metres).

"We unearthed and amplified the building's rich history while creating a space that is responsive to the needs of the post-pandemic workplace," said studio c0-founder Ming Thompson.

Work began with removing the layers of previous renovations, including vinyl tile and commercial carpet, which had left areas "dark and generic".

The team uncovered original terrazzo floors in some areas and worked with experts to restore any sections that were damaged.

They also looked to the arched geometry and detailed ornamentation of the building's historic facade for interior design cues.

The arches are repeated in the lobby as grooved patterns across the hand-troweled plaster walls, and again at a smaller scale around the white oak front of the marble-topped reception counter.

"With a modern sensibility, we developed a language of detail that brought elements of the exterior into the building's core," Thompson said.

"In that transformation, we brought a playful spirit, bringing massive forms down to human size and creating juxtapositions of materials, patterns, and scales."

Shiny black floors contrast the pale colour palette used across all other surfaces, while brass – chosen to match the building's mail chute – provides a bright accent on railings, drawer handles and other details.

Lighting fixtures by Katy Skelton comprise globe-shaped components attached to thin brass supports, in a variety of linear configurations.

In other "in-between" communal areas, red brick walls and columns are exposed beneath skylights.

A series of brass-topped counters are scattered through these spaces, creating spots for casual conversation between colleagues.

Banquettes and benches also provide opportunities for group and collaborative work outside of typical meeting rooms.

These are upholstered in dusty pink leather as a nod to the building's shoe-making past.

"This project responds to the changing landscape of office life by offering opportunities that go beyond what we can experience in only working from home," said Thompson.

"With a hospitality approach, the spaces of the project offer a fresh, welcoming, and inclusive place to spend time with colleagues."

Reimagining historic buildings as contemporary workplaces is a common challenge for architects and designers, and refreshing communal or public-facing spaces is typically an impactful place to start.

Similarly, GRT Architects overhauled the entrance to the art deco Fashion Tower in New York, restoring its facade and modernising the lobby.

The photography is by Jared Kuzia, unless stated otherwise.

Project credits:

Client: EQ Office
Architect: Atelier Cho Thompson
Lighting designer: Katy Skelton

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Local studio Lab La Bla sourced diabase rock from a nearby mine and created seating from MDF and recycled cork for the interior of energy company E.ON's headquarters in Malmö, Sweden.

Lab La Bla designed the headquarters' reception area, coat room and lounge area, while also creating furniture, sculptures and other accessories across nine floors of the 22,000-square-metre building.

The studio aimed to create a sequence of space that had variety, while taking inspiration from sources including airport terminals.

"Creating work for an office that houses 1,500 employees is both challenging and inspiring," co-founders Axel Landström and Victor Isaksson Pirtti told Dezeen.

"It's about creating spaces and functions that cater to the many while offering a mix of focus, creative and social environments, so it's really about designing for the masses without making it boring or generic," they added.

"There's a current fascination about airport interiors in the studio, so for the reception area we drew from that source of inspiration."

In the reception area, the studio created a set of sunny yellow furniture made from medium-density fibreboard (MDF) covered in nylon fiber.

"The overall project for us is sort of a reaction to dysfunctional and non-sustainable processes inherent within our industry," the studio explained.

"For the reception area MDF and screws have been coated with repurposed nylon fiber using a technology commonly seen in the automotive industry, resulting in furniture that celebrates leftover material but without compromising on durability."

For the building's central atrium, Lab La Bla designed an unusual bench that features a gloopy stone decoration resembling an oil spill.

This was created using diabase stone, which is famous for its blackness and was mined nearby in southern Sweden. The process of creating it was informed by its setting at an energy company headquarters.

"Since electricity and magnetism are essentially two aspects of the same thing – and E.ON being an electric utility company – we thought it suitable to introduce magnetism as a modelling tool," Landström and Isaksson Pirtti explained.

"The shape of the piece comes from dropping a lump of magnetic slime on top of a conductive material," they added. "The slime seemingly randomly slump and drapes over a metal bar before settling in its final shape."

Lab La Bla then scaled this shape up and hand-sculpted the shape from a single block of diabase, which was finally sandblasted and polished.

"We see this process as an adventurous exploration in making a physical representation of the invisible force that shapes our world," Landström and Isaksson Pirtti added.

The studio also turned brick beams, left over from the construction of a school in Malmö in the early 1900s, into umbrella stands, and sourced mouth-blown glass panels from one of the few remaining producers of the material.

This was used, together with dichroic glass, to create a three-metre-high glass sculpture with a graphic pattern that depicts a CT-scan of a wood-fibre material.

Lab La Bla also created decorative vases and glass sculptures using molten glass blown into tree trunks that had been hallowed by fungal decay. The trunks were sourced from E.ON's own local heating centre.

These trunks "serve no industrial purpose, but are burnt for energy by E.ON and used for teleheating for Malmö," the studio said.

"We borrow these tree trunks to blow glass in them, before returning them to their final purpose."

In the headquarters' lounge areas, the designers created modular sofas made from ground-down wine corks sourced from restaurants.

"The modular cork sofa uses a unique process where 100 per cent recycled cork is sprayed onto a foam structure, proudly incorporating signs of imperfection into the design while bringing superior durability and sustainability to your furniture," Landström and Isaksson Pirtti said.

To the designers, the aim of the interior design was to use disused or forgotten materials, as well as ones that were recycled and recyclable.

"We took a conscious decision of picking hyper-ordinary materials such as MDF and aluminium to pinpoint and educate people about cyclic and sustainable qualities inherent in the processes of creating these materials," the studio said.

"We often try to celebrate the beauty and intrinsic qualities of everyday, industrial materials otherwise consigned to temporary or low-cost construction solutions," it added.

"We wanted to design objects which require significant time and skills from craftspeople, usually reserved for expensive, rare and high-quality materials – to some of the very inexpensive and found materials that we used throughout the project."

Lab La Bla's designs have previously been shown at the Moving Forward exhibition at Stockholm Design Week and as part of the Metabolic Processes for Leftovers exhibition in Malmö.

The photography is by Lars Brønseth.

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The offices that Montreal's Ivy Studio has designed for digital advertising agency Cardigan include a mesh-wrapped mezzanine and a "futuristic" basement within a former bank building.

For Cardigan's expanding team, Ivy Studio has renovated a stone building that was built as a bank in 1907, in the Rosemont area of Montreal.

The structure has had many uses, including most recently a religious establishment, and boasts plenty of historic architectural details.

While the upper floor is a residential condo, Cardigan occupies 1,250 square feet (116 square metres) across the ground and basement levels – spaces with very different ceiling heights and light conditions.

"One of the main challenges of working with the building was the contrasting ceiling heights between each floor," said Ivy Studio. "This made the spacial blocking very important at the start of the project."

To benefit from the 16.5 foot (5 metres) clearance and abundance of natural light, all the workstations are positioned on the ground level.

However, the floor plate was not sufficient to accommodate all 25 employees as well as meeting rooms, so the studio took advantage of the ceiling height and added a mezzanine.

This addition was placed in a corner to avoid blocking the arched windows, and was painted entirely white to accentuate the bright and airy atmosphere of the space.

The structure is made from perforated steel mesh, allowing light to enter the phone booths and meeting rooms tucked underneath, and a gap was left between the mesh and the glass partitions behind to make space for planters.

Additional workstations are located on top of the mezzanine, which is curved at its corner. "The newly-built mezzanine structure interprets the curves of the existing space without competing with them," Ivy Studio said.

To let even more light in, the boarded window arches were reopened to their original form, while the parquet flooring was replaced with natural oak to retain the warmth.

Meanwhile, in the basement, low ceiling heights and a lack of windows called for an entirely contrasting strategy.

"It is a different universe of its own," said Ivy Studio, which took a "futuristic, in your face" approach to the sub-grade space.

This level accommodates the bathrooms, kitchen, lounge and storage, and features a mix of plastered ceilings, ceramic walls and epoxy floors.

In the kitchen, all of the surfaces are coloured baby blue, while the adjacent bathroom block is completely grey.

Across the kitchen island, a circular mirror faces an opening that's exactly the same shape and leads into a room painted in orange.

"The spaces are all monochromatic, to increase the visual impact of their intense colors but also help camouflage the imperfections of the existing building," said Ivy Studio.

The office's levels are linked by two staircases: an older one made from wood and a newer minimal design that emerges from under an arched portico.

Both are painted navy blue and are intended to reflect Cardigan's contradicting "hard-working yet playful values".

Ivy Studio's portfolio of projects in its home city spans from workspaces and restaurants, to a spinning studio and a dry cleaners.

Recently completed interiors by the firm include a creative hub populated with pink and purple elements, and a renovated eatery that was damaged in a fire.

The photography is by Alex Lesage.

Project credits:

Design and architecture: Ivy Studio
Construction: Group Manovra

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Danish studio Norm Architects has worked with pale wood, red bricks, sandstone and stainless steel to create the interior of The Office Group's Chancery House workspace in London.

Located above the subterranean Silver Vaults market in London, the 1953 building was given a retrofit by dMFK Architects with a new interior by Norm Architects for The Office Group (TOG).

It now houses workspaces as well as a gym, a yoga studio, a cafe, a library, event spaces and saunas in an 11,612-square-metre space.

Norm Architects drew on the building's existing design when creating the interiors, which it says are rooted "in the spirit of the building".

"In this effort to draw in what was already there, we have integrated the traditional red bricks of the facade in the interior in a modern way," Norm Architects' Sofie Thorning told Dezeen.

"This way, the chosen materials are more accentuated than the ones we normally work with, but still with our usual focus on creating comfortable and calm spaces through the use of natural materials," she continued.

The ground floor was reconfigured by dMFK Architects to improve the flow of the building, with the entrance to Chancery Lane made larger.

This level holds the cafe as well as lounge areas, which were decorated by Norm Architects using mainly wood and brick materials.

Floor-to-ceiling glazed walls offer views and access to two interior courtyards, which also let light into the building.

"By working with natural forms, materials and colors we create spaces that feel good, look good and that last," Thorning said.

"When combining soft and hard materials like textile and bricks, the space feels stimulating to the user, while also exuding this warmth that is so important in order to both work and relax in the spaces of the house."

The same material palette was used for the workspaces, which are located from the first floor and up in the eight-storey building.

Norm Architects also restored some existing materials in the building's communal spaces.

"The dominant materials, colours and patterns of the space all stem from the existing building, [which is] why red bricks, sandstone, concrete, and stainless steel are at the center of attention," Thornig explained.

"Moreover, we have preserved existing terrazzo elements in staircases and hallways, while mirroring the green elements of nearby parks within the internal courtyards."

In addition, the studio wanted to nod to Chancery House's location above the Silver Vaults by using silver-coloured materials.

"Since the London Silver Vaults are a big part of the building's history and will continue to be so, we knew right away that we wanted to pay homage to it in the interior," Thorning said.

"We decided to introduce both brushed and polished stainless steel to the material palette as a representation of silver, carrying it out as details and joinery throughout the building."

The pale wood and red brick used throughout the building were matched with rustic textures, jute rugs and bobbled pillows to add to the natural feel of the interior.

The building's exterior was clad in WasteBasedBricks, which incorporate a minimum of 60 per cent recycled building waste. On Chancery House's roof terrace, warm rust-red steel garden furniture matches the red hue of the brick walls.

"We wanted to create a project that was mindful of the character of the area, capturing the spirit of the place in the hope that it will serve the neighborhood as a hub grounded in its context," Thorning concluded.

Norm Architects often works with natural materials. Other projects by the studio include a "hotel in the sky" in Japan and an inside-out-greenhouse restaurant.

The photography is by Jake Curtis.

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Promotion: workplace furniture brand Allsteel's latest showroom in Chicago is designed to showcase its latest products and share new workplace concepts  through architectural features and experiences.

Designed by Partners by Design and located in the Fulton Market district in Chicago, the 24,000-square-foot Experience Center houses more than 150 products by Allsteel, Gunlocke, HBF, HBF Textiles, Normann Copenhagen, Zilenzio and Corral arranged across various workspace environments.

Functioning like neighbourhoods, these workspaces were designed to reflect evolving work behaviours with spaces for working together, apart, or somewhere in between.

They include micro-collaborative spaces within the larger environments, an executive retreat space, an all-day cafe, an open-concept lounge area designed to feel like an extension of the outdoors and a lab where customers can test products and materials first-hand.

Allsteel said that its Experience Center was a move away from a traditional showroom format – where the only function is to showcase product – towards a place for education, inspiration and collaboration.

"We wanted to design a place that would celebrate and encourage collaboration, be a destination for education and inspiration, be an experience for our clients trying to solve meaningful workplace challenges and transform their ways of working," said Allsteel's director of brand and marketing Natalie Johansen Murray.

"We partnered and consulted with a wide range of local and national designers and creative visionaries to bring this space to life," Johansen Murray continued.

"Each of our partners along the journey really challenged us to reimagine the role of a traditional contract furniture showroom – pushing us to explore and bring forward new architectural features and experiences."

Products incorporated range from a flexible kit-of-parts that enable office layouts to be easily extended or adapted along with the needs of a growing business to a collection of accessories inspired by the traditional Shaker rail-and-peg system that allows workers to store and display objects that express their individuality.

Allsteel welcomed partners, clients and industry leaders to the new showroom for the first time at this year's Fulton Market Design Days from 12 to 14 June 2023.

"We are thrilled to open our doors and welcome our clients, the design community and commercial real estate professionals to our new Experience Center," said Johansen Murray.

"Throughout the entire design journey, we focused on developing a space to celebrate and encourage collaboration, a space that is designed to help our clients and design community do more."

The Allsteel Experience Center is located at 345 N Morgan, third floor, Fulton Market District, Chicago, IL 60607. Take a 360-degree tour of the Experience Center or visit Allsteel's website for more information.

Partnership content

This article was written by Dezeen for Allsteel as part of a partnership. Find out more about Dezeen partnership content here.

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Dark blue meeting rooms surround an atrium filled with globe-shaped lights at the offices of a Minneapolis tech company, which locally based Studio BV created in a former biscuit factory.

Studio BV created the 40,000-square-foot (3,700-square-metre) space for Our Family Wizard, an app designed to assist with co-parenting after divorce, inside the historic Loose Wiles Building in Minneapolis's North Loop neighbourhood.

As the company's first "real" office, it was important for the designers to imbue the spaces with its branding and personality, to help build a sense of identity, as well as entice those used to working from home into the workplace.

"The company had grown during the pandemic and wanted to find a new office that would be a draw for the employee mix and for people to come together and create relationships," said Studio BV.

The building was once home to the Sunshine Biscuit Company, which produced snacks like Cheez-Its and Animal Crackers, and the team was keen to retain many of its original features.

"The historic components of the building reflect the past, old methods, rough textures," they said. "These components are embraced and in response we bring natural, and organic textures and color to the places where teams gather and connect."

Some of the exposed brick walls were left untreated, while concrete columns, ceiling beams and ductwork were painted white.

Meanwhile, colours lifted from Our Family Wizard's visual identity were introduced to assist with wayfinding and to inject personality.

Dark blue paint was applied to the large meeting room walls, and a paler shade lines smaller one-on-one booths.

Both hues were chosen for sofa upholstery in the lounge and breakout spaces that ring the upper level.

A large two-storey atrium in the middle of the floor plan brings extra daylight from the upper clerestory windows down into the lower levels.

On one side of a central brick structure, the atrium void is occupied by a chandelier of globe-shaped pendants, suspended on individual wires at different heights.

On the other, wooden bleacher-style seating for large team gatherings connects two lower levels, descending to one of two bar areas at its base.

The second bar, located on the upper level, features booth seating divided by perforated panels as well as cafe chairs and tables.

"The unique character of this historic building is enhanced by the new office and amenity areas," said Studio BV founder and CEO, Betsy Vohs.

"The old historic ovens and openings are used to connect people between the floors. The large volume of space is flooded with daylight from the large windows and clerestory glass."

Offices for technology companies have come a long way since the slides and foosball tables of the dot-com boom.

Recently completed examples include a Southern California workplace linked by black staircases and a repurposed power station in Singapore

The photography is by Corey Gaffer.

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London designer Camille Walala has worked with carpentry workshop Our Department to fit out her own studio with a no-holds-barred version of her colourful design style.

Electric blue floors, graphically patterned cabinetry and a kitchenette with cartoon-like proportions feature in the space, which is located in the Regent Studios building off Broadway Market in East London.

The seventh-floor space attracted Walala and her studio manager Julia Jomaa with its sweeping views.

Knowing they would be in no hurry to vacate, the duo took their time with the design, working side by side in the studio for over a year while adjusting the position of their space-dividing furniture until they arrived at a layout with the perfect functionality for them.

Once they decided to embark on the interior design, it was not a given that they would embrace Walala's signature bold colour palette, as they worried about it potentially clashing with future work.

"We were like, how colourful should we go?" Walala told Dezeen. "Should we keep it quite simple or should we actually go for it?"

But ultimately, she says the desire to feel inspired by their workspace and "inhabit the aesthetic fully" won out.

The studio is divided into two rooms – one for "clean" computer-based work and the other for "messy" activities such as painting and model making.

Walala and Jomaa created a 3D model of the interior in SketchUp before bringing in their favourite carpenters" Our Department – a studio specialising in design and fabrication for the creative industries – to realise the design.

The duo of Simon Sawyer and Gustave Andre built all of the elements in the space with a focus on achieving clean lines and pure block colours along with maximum functionality.

For the cabinetry, they used doors made of melamine-faced medium-density fibreboard (MDF) and applied a decorative technique they had used on previous Walala projects.

This involved CNC-cutting shapes out of thin MDF, before spraypainting and precisely glueing them onto the doors to create a graphic pattern while avoiding the fuzzy lines that can sometimes come from painting directly onto surfaces.

In the kitchen, the group worked together to exaggerate proportions as much as possible, with Walala saying she dreamed of achieving a "Bart Simpson kitchen" through elements such as chunky handles and bold grout.

"We designed the Lego House a few years ago, this really colourful house," she explained. "Especially the kitchen in that space was really quite bold and almost like a cartoon, and we thought we should do something similar in our studio."

By contrast, a more subtle feature is the double sliding door between the studio's two rooms, which consists of a transparent fluted screen set within a black frame.

While it may be less attention-grabbing, Jomaa says the mesmeric effect of the fluted panels sliding against each other is like a "little animation of colour".

There are also a few natural wood elements throughout the interior such as tulipwood desk legs to balance the liberal use of colour.

As with all residents of Regent Studios, Walala will need to return the rented space to its original condition when her studio eventually leaves, so there are no permanent fixtures and everything is designed to be dismantled.

Even the central "wall", which contains floor-to-ceiling storage on one side, is freestanding. But the team used kitchen-unit feet to wedge it against the ceiling for stability.

Walala and Jamaa have been working together for eight years and started off sharing a desk in a basement studio. Their recent projects have included murals, installations and a proposal for a car-free Oxford Street.

Walala is often seen as being part of the New London Fabulous wave of maximalist designers, alongside Yinka Ilori, Morag Myerscough and Adam Nathaniel Furman.

The photography is by Taran Wilkhu.

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Toronto interiors firm Mason Studio has redesigned its offices to offer community programming like exhibitions, events and other public-facing activities.

Mason Studio relaunched its workspace as a new hybrid office and cultural hub to serve "the greater good" during the DesignTO festival earlier this year.

As well as an office for the studio's team members, the building in Pelham Park now operates as a gallery space, community library, fabrication hub, experimentation space for non-profits and a coffee bar to name a few.

"Today's office is no longer just a place for work, but rather a space for conversation and discourse, a space for inspiration and rejuvenation, and a space for community to get involved, and gather and share knowledge," said the team.

The two-storey, industrial style building is largely decorated white, with curtains used to divide the various spaces and functions.

A double-height atrium can house artworks and installations, which are able to be suspended from the ceiling beams.

Among the areas within the building is a plant-filled study garden upstairs, where stools and chairs are placed around mossy tables that sprout foliage from their centres.

"The greenery and natural elements of the garden create a sense of tranquility, which helps reduce stress and improve overall well-being," said Mason Studio.

An open materials library can be utilised by local architects and designers, and a "give-one-take-one" book library is open to all community members.

Mason Studio also hosts storytime sessions for the children of their team and other community members. "This experiment was a reminder of how vital play is as a tool to socialize, learn and focus — even in the workplace," the team said.

During the annual Toronto design festival DesignTO, Mason Studio hosted a series of installations and activations to create a space where visitors "could experience an optimistic vision of the future".

For example, a temporary pay-what-you-want cafe donated any funds collected to local non-profit organisations.

"These types of new amenities not only stimulate local economies but also contribute to the cultural vitality of the community," said Mason Studio.

The inaugural art installation in The Gallery at Mason Studio, a collaborative effort named Full Moon Reflected On The Ocean At 01:34, comprised a giant glowing orb that was reflected on sheets of fan-blown mylar fabric.

In March 2023, the studio partnered with Toronto-based contemporary art gallery Cooper Cole Gallery to present works by emerging BIPOC and marginalised artists in the space.

Then in April, The Gallery at Mason Studio hosted Canadian artist Kadrah Mensah's exhibition titled Surely, You're Joking, which included video, sculpture, and installations intended to normalise digital body manipulation.

Mason Studio was founded over a decade ago by Stanley Sun and Ashley Rumsey, who have since completed projects that range from a cloud-like installation to the interiors of the Kimpton Saint George hotel.

The most recent edition of DesignTO, Toronto's citywide celebration of design, took place from 20-29 January 2023. Find more design events, talks and installations on the Dezeen Events Guide.

The photography is by Scott Norsworthy.

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For our latest lookbook, we've picked eight interiors that are blanketed in shades of red that include an office in Belgium, a bar toilet in London and a mansion in Mexico.

The colour red is most commonly associated with activity, passion, sexuality, love and joy. In this lookbook Dezeen has highlighted ways in which interior designers and architects have used the colour in different interior settings.

Red terracotta tiles cover the interior of a home in Barcelona and red-tinted glass creates a glowy magma-like hue within the interior of a home located at the base of a volcano.

This is the latest in our lookbooks series, which provides visual inspiration from Dezeen's archive. For more inspiration see previous lookbooks featuring terraces and balconies, marble-lined bathrooms and cave-like interiors.

Barn House, Norway, by Jon Danielsen Aarhus 

Oslo based-architect Jon Danielsen Aarhus designed a gabled shed that sits on the grounds of a retired couple's home in Lillehammer, Norway, which is used for painting, sculpting, craft and as additional living space.

The entrance hall of the gabled shed was covered entirely in red, including its window frames. The colour was chosen specifically to contrast against the structure's raw timber exterior.

Find out more about Barn House ›

AEtelier office, Belgium, by Studio Anton Hendrik Denys

In Belgium, Studio Anton Hendrik Denys and Steen Architecten transformed an industrial office building and added colourful graphics and bold hues to define areas across the interior.

The kitchen-cum-bar of the office was blanketed in an orangey-red hue, including its floor, walls, ceiling, fixtures and furnishings, which signifies and zones areas of the interior without the need for partition walls.

Find out more about AEtelier office ›

Social House, Brussels, by WAW Architects

A vibrant red covers cabinet doors, drawers, floors, walls and the ceiling of a shared staff kitchen at a social services centre in Brussels, which was designed by WAW Architects.

The centre is located within a former orphanage and was converted into offices by the architecture studio. Bright hues were used throughout the interior to colour code the office space with red extending from a kitchen to an adjoining corridor.

Find out more about Social House ›

SOMA, UK, by Cake Architecture and Max Radford

Located within a basement in London's Soho, speakeasy-style bar SOMA was designed by Cake Architecture and Max Radford.

The restroom of the underground bar was painted bright red and paired with wooden fixtures and trimmings that were used to surround doorframes and recessed shelving in each of the cubicles.

Find out more about SOMA ›

House in Sant Antoni de Vilamjor, Spain, by Arquitectura-G

Red was used as a running theme across this family home on the outskirts of Barcelona. It was designed by local studio Arquitectura-G and sits directly on top of a pre-existing garage.

Red features both inside and outdoors with many materials used across the exterior similarly used to decorate the interior, such as red bricks, red corrugated panelling and clay tiles.

Find out more about House in Sant Antoni de Vilamjor ›

Collective/Collectible, Mexico, by Masa

Rich tones of red blanket the walls and floors of this abandoned mansion in the Lomas neighbourhood of Mexico City, which was used as the setting for an exhibition by gallerist Masa.

The 1970s home was decorated with furniture designed by 16 Mexico City-based designers and architects, including Esrawe, EWE Studio and Frida Escobedo. The interior features a grand staircase that was topped with a red runner.

Find out more about Collective/Collectible ›

Lookout House, US, by Faulkner Architects

Although this room has no physical red elements Lookout House was fitted with red-tinted glass that provides the interior with a glowing red hue when light penetrates through the home.

The home is located in Truckee, California at the foot of Lookout Mountain volcano. It was designed by Faulkner Architects who wanted to mimic the colour of cooling magma within the home.

Find out more about Lookout House ›

Fox Head Inc, US, by Clive Wilkinson Architects

A bright red interior was selected as a focal feature for the offices of a motocross apparel company in California. The headquarters was designed by Clive Wilkinson Architects which transformed a 7,600-square-metre warehouse into a flexible workplace.

A conference room at the headquarters was enclosed with red-tinted glass and fitted with a deep red carpet. A large white table and matching chairs, which have a bright red upholstered seat, were placed at the centre of the space.

Find out more about Fox Head Inc office ›

This is the latest in our lookbooks series, which provides visual inspiration from Dezeen's archive. For more inspiration see previous lookbooks featuring terraces and balconies, marble-lined bathrooms and cave-like interiors.

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And And And Studio has overhauled the offices for one of LA's top entertainment law firms, opting for a look that's "more akin to a hotel lobby".

The firm, which represents several Hollywood actors, tasked And And And Studio founders Annie Ritz and Daniel Rabin with designing interiors for its offices in Century City, a commercial district south of Beverly Hills.

The design studio convinced the clients to stay in their current building rather than move – a decision that required a complete redesign of the 22,000-square-foot (2,044-square-metre) space and the gutting of the interiors to make room for a brand-new layout.

The clients required over 30 private offices within the floor plan, so it had to compromise on the size of the rooms to leave enough area for lounges and other communal facilities.

"The goal was for Ritz and Rabin to make the space feel airy, open and more akin to a hotel lobby than an office," said the studio.

"[The lawyers] traded slightly smaller private offices in order to provide the entire office with inviting and functional communal spaces."

Visitors arriving at the wood-panelled reception area are met by a counter wrapped in glossy oxblood Rombini tiles from Mutina, which also surround curved columns in meeting spaces.

Bassam Fellows sling lounge chairs and an Angelo M Marble Table from Alinea Design Objects were also placed in reception, setting the tone for the rest of the interiors.

Furnishings found throughout pull references from a variety of design styles, including art deco and 1970s, as seen in the Brasilia chairs by Menu, sofas by Arflex, and a Phillipe Malouin sofa for SCP.

Brown and yellow velvet upholstery in the lounge spaces also nods to the 1970s, while in the kitchen, green marble forms the countertop, backsplash and open shelving.

"The 1970s-inspired design transcends through warm wood tones, and bold-hued gold and green fabrics," said And And And Studio.

Designing and executed during the Covid-19 pandemic, the team was met with various hurdles during the project, which resulted in multiple last-minute changes.

"[Our] approach to the re-design of this office embraces the goals and ethos of this law firm, giving a unique design to the space that is distinct," And And And Studio said.

"This goal was met with several challenges due to the pandemic, creating delays and changes, specing and re-specing products, all while balancing a tight timeline."

Ritz and Rabin's studio has offices in both Los Angeles and Toronto.

Other law office designs include one created by Studio Arthur Casas for a firm in São Paulo with a chocolate-coloured space that's brightened by hundreds of books, while Vladimir Radutny Architects used minimal white partitions to divide a lawyers' office in Chicago.

The photography is by Chris Mottalini.

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Local firm Daniel Boddam Studio has transformed a warehouse in Australia into a workplace for landscape design practice Wyer & Co, bringing nature into the space by using greenery and natural materials.

"I saw the project as an extension of Wyer & Co's desire to bring in nature," said Daniel Boddam, founder of Daniel Boddam Studio.

"Sustainability was discussed with the client from the outset and informed every aspect of the design – from materials and furniture to services and staff amenities."

Large green plants at the entrance were used to conceal the building's oversized dark steel doors, with the aim of reducing the scale and softening the red brick industrial warehouse.

A sandblasted limestone floor was extended from the building's exterior to the interior to connect the spaces.

At the front foyer, a large miniature date palm (Phoenic roebelenii) reaches towards the skylight above, reflecting the tone of the entrance garden.

Behind the foyer is a gallery used for client presentations, industry events, talks and workshops. A series of bespoke, honey-coloured plywood cabinets decorate the space and showcase materials the studio uses in its work.

Throughout the office, workstations and meeting rooms were clad in various natural materials. Pine plywood, Tasmanian oak, walnut and sandblasted limestone create a warm palette that has been subtly embellished with cork and brass.

Downstairs, an underground staff area holds plywood lockers and a kitchen space, and was designed to encourage staff to gather and socialise away from their desks.

Swiss cheese plants (Monstera deliciosa) were selected as the main indoor plant and used to trail the walls and ceilings to create a green environment over time.

Custom pots made with milled steel and finished in a clear powder coat nod to the industrial origin of the warehouse.

Daniel Boddam Studio also curated a series of locally designed and crafted furniture for the workspace, including its low-lying Booham chair and the Wave sofa and armchair in the welcome foyer that nod to the coastal location of the office.

A meeting room opposite the foyer features the studio's Geo Long table, accompanied by a custom-designed cabinet.

"The result is a quiet and considered interior that harmonises with the Australian landscape and celebrates the artisanal; a testament to simplicity, comfort, calmness and wellbeing," Boddam concluded.

This project was longlisted in the small workspace interiors category of Dezeen Awards 2022.

Elsewhere in Australia, Dane Taylor Design has completed a multipurpose garden room in New South Wales with a compact form clad in charred wood, while Matt Gibson Architecture + Design has transformed a Victorian home in Melbourne's suburbs with a faceted extension clad in black metal.

The photography is by Pablo Veiga.

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A refined palette of oak, plaster and steel defines the interior of the Liewood headquarters in Copenhagen, Denmark, designed by local practice Norm Architects.

The pared-back 2,200-square-metre office was conceived to give prominence to Liewood's colourful, Scandi-style children's clothes, toys and homeware.

"With the ambition to create a comfortable space with a somewhat understated character, we worked to let the space obtain its significance through the thoughtful use of tactile elements such as textured plaster walls and contrasting elements like oakwood and steel," explained Sofie Bak, an architect at the practice.

Staff enter the five-floor office via an airy light-filled lobby that is anchored by a rounded counter, roughly washed with sandy-beige plaster.

Cone-shaped pendant lights are strung along the ceiling while oversized stone tiles are laid across the floor, helping to "emphasise the grandeur" of the space.

A pre-existing staircase curves up to the first floor, which accommodates a showroom. This part of the building formerly served as a production hall, with a vast scale that could easily feel empty and unwelcoming, according to Norm Architects.

To counter this, the practice constructed what it describes as a "warm wooden core" – a house-shaped oakwood volume with built-in shelves for showcasing Liewood's products.

Large, plaster-coated display plinths are dotted across the rest of the room. At the back is a short flight of wide, wooden stairs where staff can sit and chat throughout the day.

More products can also be presented here on bespoke podiums that, thanks to cut-outs at their base, are able to slot onto the steps.

The building's first floor also contains The Parlour – a kitchen and dining area where Liewood employees can enjoy meals together. It features a large travertine table, a series of plump grey sofas and graphic art pieces by the Danish designer Sara Martinsen.

Work areas throughout the rest of the HQ are furnished with practical desks and storage units that match the off-white walls, while meeting rooms are fronted with panes of glass to foster a sense of openness.

As the building's original staircase didn't extend all the way to the fifth floor, Norm Architects installed a spiralling set of white-steel steps.

These grant access to a space the practice refers to as The Apartment: a secondary showroom designed to have a more intimate, homely feel.

Elsewhere, Norm Architects recently took its minimalist aesthetic off-shore when designing the interiors of the Y9 sailing yacht, decked out with supple suede furnishings and wood-panelled surfaces.

The photography is by Jonas Bjerre Poulsen of Norm Architects.

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Architecture studio BoND has designed the New York headquarters for Brazilian fashion brand PatBo, which features pink scaffolding and rugs based on drawings by Roberto Burle Marx.

The office and showroom for PatBo occupies a 7,000-square-foot (650-square-metre) loft, which spans the entire seventh floor of a historic building on Fifth Avenue.

As the brand's global headquarters, this space serves multiple purposes: showcasing the brand's apparel; providing office space for staff; hosting buyers and events.

"Our biggest challenge was to divide the space according to the showroom's new program while keeping its loft-like openness," said BoND co-founder Noam Dvir.

To create partitions that double as displays, the designers chose scaffolding elements on which clothing can be hung and shelving can be installed.

"They are so readily available, so New York in their character, and very easy to adapt to different conditions," said Daniel Rauchwerger, BoND's other co-founder. "Moreover, they're inexpensive and have a younger, fresher feel that works so well with the spirit of a PatBo studio."

Scaffolding has been used in a variety of retail environments for its versatility and ease of installation, including a bright yellow Calvin Klein store transformed by Raf Simons and Sterling Ruby, and a boutique for Wardrobe NYC designed by Jordana Maisie.

Painted pale pink in the PatBo showroom, the industrial scaffolding takes on a more feminine appearance, which sets the tone for the rest of the showroom.

Curved couches, pleated pendant lamps and tambour panelling all add to the soft aesthetic and further align with PatBo's brand expression.

Circular fitting rooms surrounded by curtains allow clients to try on the colourful clothing in the main showrooom.

A second showroom area for hosting buyer appointments and casting calls includes minimal clothing racks with brass rails and oak frames.

This space is closed off from the reception, but still visible through large glass panels that allow light from the exterior windows to pass through.

Private offices along the far side of the loft also feature glass doors for the same purpose, and add to the feeling of openness and transparency throughout the showroom.

"It's not meant to be too precious or delicate, but rather a place where a group of creative professionals can feel encouraged to move things around and make it their own," said Dvir.

Atop the wooden floors are rugs based on the drawings of Brazilian modernist and landscape architect Roberto Burle Marx, designed in collaboration with São Paulo-based Punto e Filo.

Colourful furniture and potted plants also contribute to the Brazilian vibe in the space, and complement PatBo's vibrant garments.

At the back of the showroom is a bar area, featuring a pink stone counter with rounded corners, and a sink placed within a curved niche that has mirrored sides.

"This is a space that combines elements of office, retail, and hospitality," said Rauchwerger. "With that, it is able to serve as a real embassy for PatBo as a brand."

Rauchwerger and Dvir, both former journalists, founded BoND in 2019 after working as architects at OMA, WeWork and more.

Their studio's previous projects have included the renovation of a dark Chelsea apartment into a light-filled home.

The photography is by Blaine Davis.

Project credits:

Project team: Daniel Rauchwerger, Noam Dvir, Liza Tedeschi

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Architecture studio KOT Architects has designed a creamy showroom-cum-office inside a new building in Tel Aviv for French fashion house Dior.

Situated on the 17th floor of a newly built office block, the showroom, which features a large birch plywood bookcase and neutral colours, was designed to simulate the comforting feeling of a home.

"The raw and rugged urban surroundings amplify the contrast between the various materials used and accentuate the cosy and inviting ambience within the space," KOT Architects founder Kfir Galatia-Azulay said.

"The approach was to conceptualize the space as a home with distinct zones to create a welcoming and secluded environment, distinct from that of a conventional office or store," Galatia-Azulay told Dezeen.

KOT Architects employed a colour scheme consisting of off-whites and beiges with brass accents to create a warm and cosy atmosphere.

These work together with white travertine stone, polished white marble, raw concrete and natural birch wood materials to create a clean and sophisticated look, which the studio said embodies the "elegance" associated with the Dior brand.

The studio arranged the showroom and the employee rooms – which include a kitchenette and a private office – as a series of multi-functional "versatile spaces" across the L-shaped space.

A wooden bookcase was used to create a partition in the middle of the floor plan, with one side providing employees with room for events and networking and the other for clients to try on clothes.

"The challenge was to optimize an L-shaped area with two wings – one for the company's offices and another added wing for the showroom space," Galatia-Azulay said.

"The objective was to establish a versatile space that accommodates various commercial activities while upholding the brand's values."

Elsewhere, KOT Architects added a spherical light fixture into the ceiling above a travertine table, which was custom-made in its Tel Aviv studio.

Meanwhile, perfume bottles, candles and mannequins sporting Dior garments are displayed on in-built shelving units and on chunky, beige plinths.

Seating is provided by bleaker-style benches which employees can sit on during presentations, armchairs clad in creamy fabrics and matching plump ottomans.

Dior is one of the most well-known fashion brands in the world. According to the curator of the V&A museum's exhibition Dior: Designer of Dreams Oriole Cullen, Dior's founder "helped to define an era".

The fashion house's most recent runway show at Paris Fashion Week took place beneath a hanging kaleidoscopic installation by artist Joana Vasconcelos, which was decorated with fabrics from the collection.

The photography is by Amit Geron.

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A variety of black staircases dogleg and spiral between the levels of this office in Southern California, designed by global firm Behnisch Architekten.

Tasked with bringing personality to a four-storey "developer box", Behnisch Architekten transformed 110,000 square feet (10,220 square metres) for an undisclosed client.

"We had the opportunity to work with a great client to transform this ubiquitous building type into a dynamic work environment, which promotes connection and collaboration," said the studio.

The building shell, measuring 120 by 240 feet (37 by 74 metres), features glass facades and an elevator core at its centre.

The team began by carving up the continuous floor plates to open up the levels to one another – allowing in more light and creating visual connections between multiple spaces.

On opposite sides of the core, they created two "eccentrically-shaped atriums" by staggering the walls of meeting rooms on the different storeys.

"A pair of hairpin-shaped stairs are situated in each atrium and connect users between office levels two to four, promoting inter-level exchange, but also serving as a sculptural element within the space," said the studio.

Voids were also created in opposing corners, each containing a spiral staircase treated with the same solid black balustrades and light wooden treads as the doglegged ones.

"The multitude of options between levels allows users to move freely from floor to floor," Behnisch Architekten said. "These voids also add communication and transparency between previously disconnected floor plates."

Lounge areas also occupy the corner voids, which offer social spaces for employees and are flooded with light from the dual-aspect glazing.

Private offices are situated around the building's perimeter so that users are afforded light and views.

Closer to the elevator lobbies, conference and meeting rooms feature glass walls, allowing some to overlook the atria.

For wayfinding and booking, every meeting room is named after a river, while lounges are represented by lakes.

Each floor corresponds with two continental regions, which are identified through custom-designed wood artworks and photography.

Amenities for staff at ground level include a bouldering wall that wraps the core and is connected to a gym and a game room.

A large dining hall features pale materials and a slatted wood ceiling also found in other areas of the building.

Stefan Behnisch established Behnisch Architekten in Stuttgart in 1989 with his late father Günter Behnisch. The firm now has additional offices in Los Angeles, Boston and Munich.

It has completed a variety of different building typologies over the years, from kindergartens, schools and laboratories, to offices for Adidas and an academic building at Harvard University.

Behnisch was interviewed about his firm's projects as part of Dezeen's Virtual Design Festival in 2020.

The photography is by Brad Feinknopf and Nephew.

Project credits:

Project team: Kristi Paulson (Partner in Charge), Daniel Poei (Director/Project Lead), Tony Gonzalez, Vera Tian, Laura Fox, Eric Hegre Apurva Ravi, Victoria Oakes
Consultants: John A. Martin & Associates (Structural), Loisos + Ubbelohde (Lighting/Daylighting), ARUP (Fire/Life Safety, Acoustical, Audio/Visual), ACCO Engineered Systems (Design-Build - Mechanical/Plumbing), Morrow Meadows (Design- Build – Electrical), Pinnacle (Design-Build - Audio/Visual), Ockert and Partners (Graphics), SPMDesign (Custom-fabricated Artwork)
General contractor: DPR Construction

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Bespoke furniture with a mid-century feel can be rearranged to alter the use of this office space in north London, which interior design studio The Mint List has created for a music management company.

Camilla Kelly of The Mint List designed the headquarters for management company Everybody's, which recently upgraded to larger premises on the ground floor of a former shipping depot.

Architect Duncan Woodburn developed plans to reconfigure the large, light-filled unit as an open-plan workspace including a high-ceilinged entrance along with a kitchen and dining area.

For the interior scheme, Kelly worked closely with Lucy Tudhope of Everybody's, ensuring the focus was on retaining the building's existing character and creating a flexible workspace with a midcentury feel.

"We wanted to ensure that we respected the modernist nature of this industrial site, whilst integrating a sense of creativity that was absolutely key for the client," Kelly said.

One of the main challenges was zoning the large space to create different functional areas. This was achieved using custom-built joinery to separate self-contained yet open-plan spaces.

Much of the joinery is modular, allowing the space to be reconfigured if required. Large storage units at the entrance are accessible from both sides and completely movable so they can be rolled away to create an open event space.

Most of the time, the units serve to separate the office from the entrance area and provide staff with a degree of privacy from visitors.

The main workspace is flooded with light that enters through the building's glazed frontage. It contains desks and bespoke oak credenzas that can also be easily moved to completely clear the open-plan room.

At one end of the office is a kitchen with built-in storage, including coloured drawers and cupboard fronts that complement the African sapele wood joinery.

The kitchen contains bar seating next to the windows and a dining space arranged around a three-metre-long leather-topped artist's table.

A full-height glazed wall specified by the client separates the workspace from private offices and a cloakroom on the ground floor, as well as a mezzanine that houses an acoustically sealed meeting room and a lounge for playing music.

"The brief was a seamless, vertical grid of glass," explained Kelly. "So we helped to translate that in terms of the finishes – textured glass to obscure vision through to the office and a beautifully finished oak frame that complements the midcentury scheme."

Throughout the project, The Mint List applied a palette of tactile and honest materials including sapele wood, oak, concrete and burnished brass.

A colour scheme based on natural hues including greens, creams and earthy browns adds visual richness to the spaces.

The office's Marmoleum flooring is a custom design that subtly separates the space into different zones. The renewable material was chosen for its excellent acoustic properties in order to help absorb sound within the open spaces.

Bathrooms located on the ground floor feature retro sanitary- and brassware complemented by playful tiles, with each wall laid in different patterns and colours.

Other recent office makeovers in London include Office S&M's self-designed studio inside a former paint-making workshop and creative agency Ask Us For Ideas' Soho office, which is split across two diametrically opposed floors.

The photography is by Dave Watts.

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Bold graphics and a tall media wall are among the features in the TPG Architecture-designed home office for North America's National Hockey League, which spans five floors in a new skyscraper.

The project is located in One Manhattan West, a glazed, 67-storey tower designed by SOM. The building is part of an emerging mixed-use development atop railroad tracks in the city's Far West Side district.

The NHL occupies floors 23 through 27, encompassing a total of 160,000 square feet (14,864 square metres). About 600 employees work in the office.

Local firm TPG Architecture – which has designed several NHL projects since the 1990s – aimed to create a flexible and high-functioning work environment that captures the spirit of the professional ice hockey league.

"We set out to develop a connected, tech-enabled workplace that showcases the NHL's commitment to its players, fans and employees," the architecture studio said.

"The result is an inspiring office that features memorable moments throughout, immersing both staff members and their guests into the League's culture."

The league was started in 1917 and consists of 32 member clubs – 25 in the US and seven in Canada. The organisation was formerly based in a tower on Sixth Avenue in Manhattan.

The new headquarters encompasses a range of spaces, including private offices, open workspaces, meeting rooms, media suites, social areas and a cafeteria that doubles as a "town hall". The main entry and executive suite are on the 27th level.

To unify the different areas, the team used a black-and-white scheme with pops of colour – a move inspired by the NHL's logo, which consists of a monochromatic shield.

Interior finishes include concrete flooring, beige carpeting and warm-toned wood.

Floors are connected by a feature staircase lined with an 18-foot-tall (5.5-metre) media wall. Games, graphics, social media feeds and staff announcements are showcased on the wall.

NHL memorabilia is found throughout the headquarters, including a wall with pucks signed by players, a partition made of hockey sticks, and a corridor lined with uniforms from the league's member clubs.

One area features a freestanding glass pane with an etching of the Stanley Cup trophy.

"This area is great for visiting players to come in and take part in media interviews and other content-capturing activities," the team said.

The work zones offer plenty of opportunities for group activities, which was somewhat lacking in the league's former headquarters.

"We interspersed more collaborative environments to boost productivity," the team said.

"Huddle booths, whiteboards with tabletop seating, and informal lounge areas are found throughout the office."

Other spaces in the headquarters include a Player Safety Area, where games are monitored in real-time and video clips are created for disciplinary review. The office also has a newsroom, broadcasting studio and editing suites.

TPG Architecture was founded in 1979 and is based in New York City. Its extensive portfolio of office projects includes the conversion of a former tobacco factory in North Carolina into an advertising agency.

The photography is by Eric Laignel.

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Architecture practice Office S&M has completed its own office inside a former paint-making workshop in Hackney, London.

With an entire wall of material samples and areas for modelling and sketching, Office S&M's workspace aims to act as a laboratory to support its ongoing exploration of materials "that are both practical and fun."

The studio, headed by architects Catrina Stewart and Hugh McEwen, frequently experiments with materials and colour.

For its own office, complementary shades such as electric blue, yellow, red and green, were combined.

"For this workspace, we particularly used an electric blue and a bright yellow to contrast with each other and make the space larger," McEwen told Dezeen.

"At the same time, because the workspace is south facing, we used the blue to cool the light and even out the warmth of the sun when looking at samples or drawings."

The office features a separate meeting room acoustically isolated with sheets of recycled plastic bottles.

The plastic-bottle wall also works as a point of light thanks to the bulbs it contains inside.

"For our own office, we decided to use another common waste material, plastic bottles, but reimagined, to build a soundproofed meeting room," said Stewart.

"The recycled plastic insulation is easy to work with, and irritation free, compared to traditional insulation."

The space was divided into areas focused on collaboration, discussion and making to reflect Office S&M's commitment to community-led design.

"We live in east London, and do much of our work in the areas near where we live and work," said McEwen. "This gives us really local knowledge, so we can make sure projects have the most impact and can give back to the area."

Additionally, Office S&M added plants, air purifiers and ergonomic workstations that intend to maintain the well-being of its occupants.

Other projects by the studio include a rental home for a young property developer that aims to offer a solution to London's rental market, and the renovation of the Mo-tel House, a residence that features pale colours and bathroom counters made of discarded milk bottles and chopping boards.

The photography is by Ellen Christina Hancock.

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Spanish architecture and interior design studio Isern Serra kept to a material palette of concrete, quartz and stainless steel to create this pared-back office for Reisinger Studio

Located in the Poblenou neighbourhood in Barcelona, digital artist Andrés Reisinger's studio is surrounded by several other creative's offices and is designed to reflect the artist's minimalist, dreamlike style.

"The concept behind the interiors of my studio was to create a space that complements and doesn't compete with the uplifting spirit of my work," Reisinger told Dezeen.

"I wanted the studio to be like a canvas, with a kind of identity that I could play with," he added. "The space is inspired by my work's aesthetic, with seemingly surreal details amidst the light and bright studio."

Purchased as an empty shell, the Barcelona-based team decided to leave parts of the original space intact such as the concrete pillars while the ceiling was left exposed.

Natural tones and textures were introduced through paint and flooring to create an airy and monochromatic yet soothing feel.

"First the colour and texture of the walls were chosen," Isern Serra told Dezeen. "They are finished with a quartz-based paint in the form of a paste," he added.

"A natural finishing of micro-cement for the flooring was chosen to have the same tone and textured effect," Serra said.

The team then went about filling the space with office equipment and furnishings, paying close attention to sourcing locally made items that reflect the sculptural work of Reisinger Studio.

A large concrete table, which functions as a workspace and dining table was made on-site and stands in the middle of the studio.

It was produced in a hue that sits between millennial pink and beige – a colour that has become synonymous with Reisinger's work. A similar shade can be seen throughtout Reisinger and architect Alba de la Fuente's virtual residence Winter House.

Around the table is a set of chrome metal stools custom-made by designer Julia Esque that complement the stainless steel staircase which curls up the floor above.

Also in the area below the mezzanine, is a kitchen made entirely of stainless steel that features an integrated hydraulic push-to-open storage system.

On the upper floor, which is fronted by glass, Andrés Reisinger has a private office with a wooden desk for meetings. Plush pink seating here adds a touch of warmth. A separate shower and toilet are also situated on this floor.

"The goal was to create a space that would inspire, rather than distract, from the work being produced," explained Reisinger.

"I imagined the studio as a blank canvas, a place where my team and I could come to experiment, evolve and grow our ideas and projects."

Argentinian designer Andrés Reisinger founded Reisinger Studio in 2018. The artist is best known for the Hortensia chair, a bulbous pink armchair made with CGI that went viral on Instagram.

He also made headlines for his collection of "impossible" virtual furniture, which sold for $450,000 at auction.

The photos are courtesy of Reisinger Studio.

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Luca Nichetto has converted a 1940s villa in Stockholm into a studio to display his designs in a domestic setting and provide a comfortable working environment for his team.

The Italian designer's studio was previously based out of an apartment in the city's Midsommarkransen neighbourhood. But when the landlord wanted to raise the rent, Nichetto decided to relocate to a larger property in a nearby suburb.

"I didn't really need to look for another space in the city centre because it's not that important for us as we work globally," Nichetto explained.

"A week after beginning to search, I saw on the real estate market what is now the Pink Villa. It was simply perfect and I made the offer."

The Pink Villa is a typical 1940s wooden house with a gabled roof and a large garden. Nichetto bought the property in 2021 and began adapting the interior to make it suitable for use as a studio.

"I didn't want a conventional studio space but rather a space that could be a studio, a showroom and a domestic property to be used on the weekends by my family and during the week by my team," the designer told Dezeen.

The villa takes its name from its distinctive pink exterior, which was given a fresh coat of bubblegum-pink paint to maintain its characterful presence on the street.

The property's existing three bedrooms were transformed into a private office for Nichetto on the first floor and a meeting room and tailor's workshop on the ground floor, which his wife uses on the weekends.

A corridor leads from the entrance to a bright living room that looks onto the garden. An opening beyond the stairs up to the first floor connects with the simple custom-built kitchen.

Along with Nichetto's office, the upper floor contains a second bathroom and a large open workspace that facilitates flexible use rather than incorporating dedicated workstations.

The interior features a pared-back palette of materials and colours that provide a neutral backdrop for a selection of products and furniture designed by Nichetto for brands including Offecct, Cassina, Arflex and Bernhardt Design.

"I wanted to give a touch of warmth and I did that using colour and volumes," the designer said. "I particularly chose materials culturally connected with the south of Europe and very deliberately mixed them with Scandinavian features."

In the living area, pale-pink walls and white-painted floors contribute to the light and airy feel. Nichetto's Banah sofa for Arflex and Soufflé mirror for La Manufacture are among the playful designs that bring character to this space.

Upstairs, the main office spaces feature furniture such as Nichetto's Torei low table for Cassina and Nico armchair for Bernhardt Design. His office contains the Railway table for De Padova and Robo chairs by Offecct.

One of the key qualities that attracted Nichetto to the property is the spacious garden, which includes a terrace furnished with his Esedra table and Pluvia chairs for Ethimo.

The basement garage was converted into a self-contained guest suite called the Chalet, which includes a living room, bedroom and bathroom with a Swedish sauna.

Since the renovation was completed in April 2022, the Chalet has hosted international visitors including art directors, photographers and designers.

The property's location close to a park and to the water was another reason it appealed to Nichetto, who said he enjoys the proximity to nature and the good relationship he has established with his neighbours.

A housekeeper was hired to look after the studio and to prepare meals for the team, adding to the sense of it hybrid space that is both domestic and designed for work.

"It's like being in a family: we all have lunch together and there are no fixed workstations to work," he explained. "Moreover, whoever comes to visit us, if he wants, can stay and sleep. The idea is to create a sense of community."

Luca Nichetto established his multidisciplinary practice in Venice, Italy, in 2006 and continues to run a studio there alongside his main office in Stockholm. Nichetto Studio specialises in industrial and product design as well as art direction for design brands.

Nichetto's recent work includes a series of home fragrances for Ginori 1735 and his first foray into fashion accessories in the form of the apple-leather Malala handbag.

The photography is by Max Rommel.

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IKEA's innovation lab Space10 has worked with interior designers Spacon & X to transform the ground floor of its headquarters into a library and community space, with a look that is meant to recall a simple kiosk.

Located in a former fish factory in the city's Meatpacking District, Space10's offices now include a library of 100 future-focused books, a snack bar and a design shop, alongside an existing gallery and event space.

While the ground floor was already used for community-facing events, Space10 set out to expand the offering beyond "temporary" interactions and create a space that people could access at their leisure all day.

"We wanted the ground floor to play a much stronger role in our mission to involve the many and diversify our perspectives," Space10 designer Kevin Curran told Dezeen.

"By opening a new library for the public, we suddenly have a space that feels alive, warm and welcoming, and it lets visitors spend as much time here as they like and explore Space10 on a daily basis."

The studio worked with its long-time collaborators Spacon & X on the interior design, which references kiosks and particularly the newsstands of New York to create an accessible setting.

According to Spacon & X co-founder Svend Jacob Pedersen, the aim was to create a welcoming space where "nothing should be too curated or feel precious".

"It was important for us to work with understated but recognisable cultural symbols through materials and form so that the project itself encourages interaction and is perceived as public," Pedersen said.

"From the beginning, the classic New York newsstand was a big inspiration as its layered setup with only the magazine's headline and title visible piques curiosity and almost demands visitors to pick them up and browse," Pedersen continued.

"Furthermore, you can pick up a soft drink from the fridge, a souvenir cup from the shelves or some gum at the counter – an informal invitation to stay and browse."

This approach extended to the furniture choices, which blend custom pieces with more everyday designs, along with playful accessories such as metal pencil trays that recall hot dog holders.

"We shopped generic, almost iconic, cafe aluminum chairs and tables that many will recognise from their preferred kebab joint or touristy cafe, almost as an universal welcome sign," said Pedersen.

Among the custom pieces are shelves and seating with wooden cylindrical frames held together by looped steel joinery. The joinery is typically used to partition cattle farms and was partly chosen to reference the building's location in the Meatpacking District, where meat businesses were formerly based.

The modular shelving for the library is finished with bright fabric pockets made of Hallingdal 65, a blend from Danish company Kvadrat with wool for durability and viscose for brilliance.

At the centre of the kiosk space is Spacon & X's industrial-looking Super Super table, made of sheets of bolted aluminium, and suspended above it is a custom lighting design made of upcycled office ceiling lights set in a wooden frame.

The studios chose materials and furnishings with the aim of reducing the carbon footprint of transportation and supporting the local economy, selecting metal for its durability and aluminium in particular for its recyclability.

They also sought to cultivate an aesthetic that could be replicated at Space10 projects around the world with local and preferably upcycled materials.

The library at the space features 100 books curated by Space10 on the subject of how to build a better future for people and the planet. These will be supplemented with titles put forward by guest curators and the community.

The building also includes two private floors for the Space10 team — an upper office area and a basement fabrication laboratory and tech studio.

Space10 will open the doors of the ground floor to the public on January 26. It plans to host two exhibitions each year and keep all its events free to attend.

Space10 and Spacon & X have worked together since 2015, when Spacon & X designed the first version of Space10's office. They later updated those offices together in 2019 to move away from an open-plan design.

Space10 works "with and for IKEA", functioning as an independent innovation lab whose research feeds into the brand's future planning.

Its recent projects have included the Carbon Banks NFT concept designed to inspire better care for furniture and the Updatables concept for upcycling furniture using artificial intelligence.

Photography is by Seth Nicolas.

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Montreal-based Ivy Studio has turned a former print shop into offices and creative spaces, with a "work in progress" aesthetic punctuated by colourful moments.

MAD Collectif organises global fashion, art and design events, and after rebranding from Groupe Sensation Mode in 2022, the company decided to look for a new base location for its team.

Eventually, it found a 3,600-square-foot (334-square-metre) space on the ground floor of a two-storey building in The Village area of Montreal, which became the MAD Creative Hub.

"The objective for the new location was to focus on creativity and collaboration and for it to be used not only by their team internally but also by their multiple partners and collaborators – a flexible space made for sharing ideas and working together," said Ivy Studio.

Built in 1939 as a print shop, the long space only has windows on its street-facing facade.

This dictated a layout where public areas are located in the front, while private rooms are situated towards the back.

A two-foot difference in the floor level helps to define these two zones.

In both areas, colourful accents including vintage sofas and chairs stand out from the existing walls, plumbing and ventilation equipment which were all painted white.

Spaces are intentionally meant to look unfinished, with exposed metal studs, track lighting and unpainted metal door frames all adding to this appearance.

"The 'work in progress' aesthetic makes it feel as if the place is undergoing a constant evolution and mirrors the brand's new forward-thinking approach," said architect Philip Staszewski, one of the four Ivy Studio co-founders.

Visitors enter a cafe featuring a richly coloured marble bar counter, which starkly contrasts the white ceramic tiles that cover the surrounding four-foot-high (1.2-metre) partitions and the entire floor.

A banquette follows the wall and runs underneath the window, its cushions covered in textured purple velvet.

Pink and orange poufs accompany galvanised steel tables, and lilac bar stools serve the counter, together providing a flexible and informal space for employees and events.

On the other side of an enclosed stairwell that divides the plan is another naturally lit area used for photoshoots, exhibits or pop-up shops. Comfy purple chairs offer additional seating here.

A 16-foot (4.9-metre) ramp leads up to the raised level, where rows of open desks are positioned next to the periphery walls.

"The ramp leading towards the back is meant to be an experience of its own," said Ivy Studio. "The narrow ceramic-clad passage is placed beneath a series of linear lights, giving the impression of walking down some version of a runway."

Private offices and meeting rooms are formed by partition walls that present pink fibreglass insulation behind clear polycarbonate panels.

The insulation helps to soundproof the small rooms for employees taking calls, particularly during events or parties taking place in the front.

Ivy Studio has completed several projects in its home city, each playing with colour in a different way.

They include a restaurant with a green marble pizza oven, a co-working office featuring mint green and burgundy hues, and a spinning studio dominated by black.

The photography is by Alex Lesage.

Project credits:

Design and architecture: Ivy Studio
Team: Gabrielle Rousseau, David Kirouac, Guillaume B Riel, Philip Staszewski
Construction: Gestion Gauthier Construction

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Slovakian architecture studio DF Creative Group has converted a former heating plant in Bratislava into a cultural centre, complementing its industrial structure with a series of contemporary additions.

The heritage-listed Jurkovič Heating plant, originally designed in the 1940s by Dušan Jurkovič, was formerly part of the Apollo Refinery.

While the rest of the refinery was demolished, the former heating plant now sits at the centre of the Sky Park Masterplan by Zaha Hadid Architects, which completed its first phase in 2020.

Following an invited competition, DF Creative Group, led by architect Martin Paško, was awarded the project to convert the plant into a space that would combine co-working offices with public exhibition, events and hospitality areas.

Looking to celebrate the original industrial structure of the plant, DF Creative Group approached its retrofit as the creation of distinct contemporary structures within its original, historic shell, organised around the full-height turbine hall at its centre.

Between the vast, exposed concrete volumes of the former hopper heaters, steel-link bridges and glass walls create new routes and lines of sight through the building.

"The architectural solution uses the void interior space in the boiler room and the turbine hall for the construction of new independent structures, while creating new areas and floors consistently offset from the original building," explained the practice.

"This concept makes it possible to separate and distinguish historical constructions from new ones, while simultaneously embracing and respecting history and harmony," it continued.

The ground floor of the building has been reimagined as a "living square", focused around a skylit atrium that extends the entire height and length of the building.

A restaurant, cafe, contemporary art gallery and multi-functional hall are all organised around the ground floor atrium, in between the existing columns of the original structure.

Above, five floors of co-working spaces occupy a newly-created glass envelope that overlooks the central void, with black steel-link bridges connecting spaces between the large concrete hoppers.

The office interiors have been finished with minimalist, contemporary detailing to create a contrast with the historic backdrop of the plant, with lighting fitted directly to existing trusses or walls and complemented by simple furniture and planting.

"The intervention highlights many historical construction details, including the structure's original rugged columns and three cominant hoppers," explained the practice.

"The reconstruction created an original representative space with materials in their original 'roughness' and colour," it continued.

At the top of the building, a roof terrace provides visitors with views out over the newly developed Sky Park, where three new apartment towers by Zaha Hadid Architects sit within a green landscape.

"The new design is a symbol of the former plant, a symbol of Sky Park, and a symbol of the capital, Bratislava, itself," said the practice.

The project is one of several recent schemes across the world transforming former power plants into new cultural spaces that celebrate their industrial heritage.

In China, ARCity Office adapted the concrete frame of a power plant into a new, glazed community hub, while in the UK, London's iconic Battersea Power Station recently re-opened following its transformation into shops, offices and apartments.

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Diez + Muller Arquitectos has extended the corporate offices of an industrial company in Ecuador with a sinuous concrete structure.

The new office building was designed for Novopan, the largest particle-board manufacturer in Ecuador. Initially, the client commissioned local studio Diez + Muller Arquitectos for a five-storey building on a parking lot across a street from the factory in Quito.

"Upon arriving at the site, we identified an opportunity by finding an elongated and irregularly shaped slope next to the existing factory, which would allow us to develop the same project in only two floors," Diez + Muller Arquitectos explained.

The program follows the outline of a nearby highway, wrapping around the road and factor so that the industrial buildings are partially hidden from view.

"We managed to make the new offices the face of the company in the city, reducing the strong presence of industrial sheds and generating a new, more humane and friendly scale," said the architects.

In the irregular space left between the existing and new buildings, the architects included a courtyard that forms a connection between the factory and office spaces.

"The project takes advantage of the 'residual' spaces between the office building and the factory to insert support and service areas," explained the studio, which is led by Gonzalo Diez and Felipe Muller.

At the centre of the building, a double-height atrium lit by playful, circular skylights serves as a gathering point for the company's employees.

It features tiered seating, large indoor trees and an area for workers to socialise.

"A central atrium integrates the two floors and is where there is the greatest physical and visual communication in the building," Diez + Muller explained.

"[It was] conceived not only as the heart of the project, but also where the organization's social activities take place, and above all motivating users to connect, to meet and share," the studio added.

The offices themselves are organised along the length of the building, which the studio said allows for easier collaboration between the company's various departments.

Because of the building's narrow floor plate, nearly every office receives natural light and views of the city in the distance. The interiors are lined with wood panels that were manufactured by Novopan.

The panels cover the walls, floors, and ceilings, bringing some contrast to the exposed structural concrete elements.

"Inside, the concrete skeleton is visible, defining the space without make-up or additions and being complemented only with details and furniture manufactured in the plant itself," said Diez + Muller Arquitectos.

The building's facade was completed with a system of vertical louvres, which help protect the interiors from the harsher afternoon sun. This is also helped by the concrete floor slabs, which project out beyond the windows and shade the facade.

Other industrial buildings include a new factory for the lighting company RBW, which occupies the former IBM Campus in Kingston, New York, and a former cable factory in Helsinki that has been converted to dance studios and performance spaces by JKMM and ILO architects.

The photography is by Jag Studio.

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Swiss studio Christ & Gantenbein has completed its upgrade of UK House on Oxford Street, adding a baroque-influenced lobby informed by the building's history.

The renovation of the Grade II-listed building aims to respond to the need for communicative corporate architecture. Designed to be a welcoming "place of arrival", the new lobby combines the baroque themes from the existing building with modern elements.

"We conceived this lobby as a location full of hospitality, with a unique mix of baroque and techno-futuristic elements," said Christ & Gantenbein's founding partner Emanuel Christ.

"The result is a creative spatial identity and generous sequence of rooms that offer high-quality experiences for the tenants and visitors alike."

Christ & Gantenbein's renovation expands upon the building's conversion into an office block during the 1970s.  The structure still features two of its original baroque facades, which partially inspired the design of the new lobby.

"We worked with this history to generate our vision of corporate architecture in the 21st century: bold, futuristic, open, communicative, yet steeped with history," said the studio.

Large windows framed by bronzed metal at the front of the building draw upon the surrounding retail facades of Oxford Street. The lobby is accessed through a pair of revolving glass doors with frames of chromed stainless steel, which offer views of the mirrored columns inside.

Inside the lobby Christ & Gantenbein placed a front desk and a coffee point, along with an ancillary space that can be used for meetings. A work by artist Wolfgang Tilmans features on the right wall of the space.

A marbled floor made from black and white stone spans the space, forming a checkered pattern which references the history of the building.

A metal grill ceiling divided into a more subtle grid mirrors the checkered pattern of the floor, spanned by linear lighting elements that illuminate the lobby.

With "apse-like" endings that project slightly into the lobby, the walls mimic the original baroque forms of the building. The walls are covered in neutral ceramic tiles which act as a subtle backdrop to the space.

Mirrored columns reflect the patterns from the floor through the lobby, while polished chrome elements, including the elevator doors, feature throughout the space.

Beyond the lobby, the addition of new staircases and elevators has connected the entry hall to a basement space featuring a separate lobby for cyclists and a multi-level bike storage space. Black and white patterns on the epoxy floor mark the route to the bike store, transitioning into a circular pattern to mark the entry to the changing space.

Other facilities on the level include showers and lockers, along with hyper-modern elements designed by the studio which have been arranged throughout the functional space.

Founded by Emanuel Christ and Christoph Gantenbein in 1998, architecture studio Christ & Gantenbein was named Architect of the Year in Dezeen Awards 2018.

Other projects recently completed by the studio include a multifunctional workspace in Germany and a museum for chocolate brand Lindt.

The photography is by Thomas Adank.

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Shades of pink, purple and yellow run through the workspaces that Brazilian studio Gema Arquitetura has designed for skincare brand Sallve in São Paulo.

Sallve's offices, studios and labs sit above the company's inaugural retail space in an existing five-storey building in the city's Pinheiros neighbourhood.

The studio transformed 1,500 square metres of space, spread across an elongated floor plan that allowed for a flow to be created between the different levels.

"Focal points organise and direct the user's trajectory, in a path that welcomes from the street and leads along the floors," said Gema Arquitectura, which has offices in São Paulo and Belo Horizonte.

These focal points include splashes of bright colour on walls, floors and furniture, immediately visible when entering the building.

The chosen hues echo those used across Sallve's product packaging and visual identity to align the space closely with the brand.

"We immersed ourselves in the brand, its positioning, vibration and sought a language that represented the company in a true, uncomplicated and unique way," Gema Arquitectura said.

From the front door, a corridor is lined in glossy bold purple film on one side, and bands of yellow and pink paint on the other.

The ground floor includes areas for greeting guests, flexible meetings, making coffee and product testing.

Pastel-toned tables and chairs are available for casual working, while further desk space is accessed through a row of bespoke pivoting screens framed in pale yellow.

One level up are Sallve's laboratories for developing skincare formulas, where the interiors continue the same colour scheme used in a more clinical environment.

Meeting rooms and creative studios on the upper storeys are demarcated by glass partitions and feature pink and purple carpets.

Elsewhere in the building, the carpet was removed to reveal terrazzo floors that were restored. Ductwork and services were left exposed across the concrete ceilings throughout.

Bathrooms were expanded to be more comfortable, and now include enclosed stalls, benches and large mirrors.

On the exterior, the building's front facade was covered in a wavy metallic veil, while walls that define the property boundaries were painted white.

Separate entrances to the store and the workspace were clearly defined, and are set back from the street to create a welcoming forecourt.

"Intuitively, the building expands into the surroundings, seeking an affective connection with the city and the people," said Gema Arquitetura.

"Fluidity and dynamism define the space, in a tailoring of design, building this identity through simple and real connections."

Other skincare and wellness brands have similarly used their office interiors to reflect the visual identity of their products, from Goop's soothing HQ in Santa Monica to Aesop's "simple and elegant" workspaces in London.

The photography is by Felco.

Project credits:

Architecture: Gema Arquitetura
Constructor: Its Informov
Responsible architects: Nara Grossi, Priscila Almeida, Joseana Costa
Team: Giuliana Mora, Renan Merlin, Luiza Langeani

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Australian architecture practice Alexander & Co has created its own office inside a Victorian-era property in Sydney.

Situated a stone's throw from Bondi Beach, Alexander House acts as a "design laboratory" where Alexander & Co's team can meet, collaborate and find space to work independently.

The homely office occupies a semi-detached property that dates back to the Victorian period. Though the practice decided to preserve the building's original facade, its interior was completely remodelled to function as a modern workspace.

Staff enter the office via a ground-level vestibule with rammed-earth walls before climbing a flight of stairs to reach the open-plan living and dining area on the first floor.

One half of the space is dressed with an angular olive-green sofa, a glossy coffee table and a puffy grape-coloured armchair.

The other half of the room is occupied by a double-height kitchen. At its centre is a chunky breakfast island crafted from pink-hued concrete, around which the team can congregate for meals, client catch-ups or company events.

Additional seating is provided in a "cafe-style" area at the edge of the room, which features a custom leather seating banquette, cane chairs and a couple of tables.

Concertina glass doors at the rear of the kitchen open up onto a courtyard. This houses a pool and an ice bath alongside a collection of mottled stools and side tables that were custom-made out of waste generated from the building's renovation.

"Beauty can be found in the irregularities and developing patinas that have resulted from incorporating handmade and natural materials throughout our new space," explained the practice.

"Blemishes, cracks and connections – they are all magic and inform our storytelling through scale and detail."

Directly above the ground floor is a generous mezzanine level that accommodates a cosy library space where Alexander & Co can host more intimate meetings.

The room's bookshelves and kidney-shaped table are crafted from walnut wood, while chocolatey leather curtains are suspended in front of the doorway.

The narrower end of the mezzanine was turned into a quiet work area for up to five people, finished with a thickset concrete ledge for laptops.

The upper floor of the building was made into a bright loft-esque space. Here there's an events room and a bedroom suite, where visiting team members from other offices can stay.

Traditional workstations can be found down in the basement along with Alexander & Co's materials library.

From this level of the building, you can also access the landscaped back garden, which will be used during the summer for alfresco gatherings.

All four levels of the building are connected by a concrete staircase with brass balustrading and a dramatic seven-metre-long pendant light dangling through its central void.

Alexander House is one of six projects shortlisted in the small workspace interior category of this year's Dezeen Awards.

Others in the running include F.Forest Office by Atelier Boter, which sits within a glass-fronted building in a Tawainese fishing village, and Samsen Atelier by Note Design Studio, which also serves as a wine bar.

The photography is by Anson Smart.

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Dezeen Showroom: office furniture brand Narbutas has released a variety of workplace furniture on Dezeen Showroom, including a collection designed for impromptu meetings.

Narbutas collaborated with interior designer Annie Lee on the ZooZoo collection, which consists of a tall coffee table and matching poufs intended to facilitate informal meetings.

The table comes in two sizes and shapes – one with a small round top and the other with a larger elliptical top – accompanied by upholstered poufs on castors that can be stowed beneath the table when not in use.

The two pieces can be painted in any desired colour and the poufs' seat can be upholstered in a range of fabrics and materials.

Italian designer and architect Paolo Pampanoni created the Zedo desk for Narbutas, which is designed to be used either in isolation or in a chain of combined work stations in both residential and workplace settings.

The desk has attachable supplementary add-ons including acoustic panels, shelves and drawers that make the desk easy to personalise according to the user's needs.

Narbutas teamed up with Baldanzi & Novelli Designers to develop the North Cape executive chair, aiming to create a task seat that is elegant and sophisticated.

The chair has a tall backrest, characterised by the presence of irregularly spaced horizontal bands, which can be upholstered in a range of fabrics and materials.

The brand has built upon its range of Silent Room acoustic pods by releasing a version that has a glass rear wall in place of acoustic panelling for greater transparency in the workplace.

Users can still use the booths for their original purpose – for focused individual work, holding small meetings and making calls – without blocking out natural light from nearby windows or glass partitions.

Baldanzi & Novelli designers worked with Narbutas to combine certain characteristics of room dividers, storage units, whiteboards and workstations into one piece of multi-use furniture.

The resulting item, Worklab, is highly versatile and durable thanks to its metal construction, and easily repositioned via the castors attached to its base.

Narbutas is a furniture company that designs and manufactures storage, acoustic products, seating and desks for offices and workplaces.

The brand was founded in 1991 and is based in Lithuania.

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British architecture practice Squire and Partners and office design firm Modus Workspace have retained the ornate cast-iron columns and glazed tiles of a 19th-century warehouse in London while turning it into a contemporary workspace.

Located in London's Victoria, the Greencoat Place building was originally used as a warehouse, storeroom and food hall for the Army & Navy Stores – a military cooperative turned department store that was acquired by House of Fraser in 1973.

Now, the building belongs to serviced office provider Fora and houses a mix of workspaces and amenities including a fitness studio, a colourful terrazzo bar and a vertical farm on the lower-ground level, where fresh produce is grown for workers to take home or eat for lunch.

Two historic halls sit at the heart of the building – one serving as a flexible communal space for events or casual meetings, while the other is a workspace flooded with natural light from a skylight above.

References to the building's past can be found throughout its interiors. This includes carefully preserved mouldings and glazed tiles, some featuring marine details in a nod to Army & Navy Stores' history as a military cooperative, which supplied officers and their families with price-controlled goods.

The building's cast-iron columns and original steel doors were restored along with the vaulted ceilings on the lower ground level. In places where the original brickwork was exposed, the design team deliberately left layers of paint behind to visualise the renovation process.

Modus Workspace chose a soft, calm interior palette to contrast with the building's industrial shell. Lime-washed oak was paired with richly textured fabrics and arch-shaped details, which echo the arches in the original halls.

Colourful mosaic tiling unearthed in neighbouring residential buildings was reinterpreted in the flooring of the office's communal spaces, introducing colour and pattern.

Open lounge spaces provide a calm environment to relax and collaborate while a series of video call booths are equipped with integrated lighting designed to show people in their best light.

Video call facilities are also available in every meeting room to cater to hybrid working patterns, while secure cycle storage, changing facilities and showers promote an active commute or lunch break.

In line with biophilic design principles, the interior combines plenty of planting, daylight and natural materials in a bid to enhance occupants' wellbeing.

To make the Victorian building more energy efficient and minimise its operational emissions, the architecture firm installed new glazing, sensor-controlled lighting and a variable refrigerant flow (VRF) system, which only circulates the minimum amount of refrigerants needed during a single heating or cooling period.

Greencoat Place has been shortlisted in the large workspace interior category of Dezeen Awards 2022.

Two former industrial buildings are also in the running for the title – Dyson's global HQ housed in a Singapore power station and a shared workspace, which is set in the generator building that once supplied Bristol's tram system.

The photography is by Jack Hobhouse.

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