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      Building meeting rooms costs 55 per cent more than buying office pods according to research

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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.
      The coronavirus pandemic triggered a sea change in office layouts”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.
      The research indicates that many offices will need to be refurbished to accommodate new working demandsIt 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.
      CBRE’s research indicates that meeting pods are a far cheaper option than constructing new meeting roomsFramery’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.
      Framery claims to have manufactured the world’s first meeting pod”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.
      The study looked at costs of building meeting rooms in cities across North America, Europe and AsiaThere 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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      WOA designs own studio space using materials that had been “relegated to landfill”

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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.
      WOA has converted a former storage space into an office in Kerala”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.
      The design uses recycled and repurposed waste materialsA 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.

      Terroir revamps 1960s Tasmanian office “using no new resources at all”

      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.
      A large arched opening forms a new partition within the officeWOA 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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      Terroir revamps 1960s Tasmanian office “using no new resources at all”

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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 office workspaces are organised around a central corridorThe 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.
      Windows create social connections between adjacent workspaces”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.”
      The office fit out by Terroir features existing timber frameworkSpread 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.

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      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 character and charm to the office interior.
      Office shelving and a bench are made from recycled timberThe 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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      HawkinsBrown renovates Reading offices to create a “connection to nature”

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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 HawkinsBrown.

      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.
      HawkinsBrown has renovated a pair of offices in Reading called Here + NowConnected 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,” HawkinsBrown 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.
      A moss-covered wall overlooks an atrium in the Now buildingWhile 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.
      Wood has been used to form seating areas and quiet nooksEach 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 HawkinsBrown as a “treehouse”, while dehydrated moss-covered balconies animate the atrium in Now.

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      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 two buildings are connected by a bridgeThe 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.
      The project is located on a business park”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 HawkinsBrown.
      “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 HawkinsBrown 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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      Japanese garden design informs Tokyo real estate office by Flooat

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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”.
      Mitsui & Co’s office is set in a 1980s office block”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.
      Design studio Flooat used teak wood to line walls and floorsThe 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 same timber was also used to clad the newly deepened window surroundsThe 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.”
      Comfortable seating areas were created next to the windowsFlooat 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.

      Flooat creates “fluctuating landscape” inside publishing office near Tokyo

      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.”
      Different floor levels and gravel beds help to delineate areasPlants 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.”
      The natural grain of the wood serves a decorative functionA 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.
      A meeting room pod is integrated into one of the partition walls”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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      Chain curtains enclose prayer room inside Abu Dhabi government office by Agata Kurzela Studio

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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.
      A steel volume next to the entrance of this Emirati government office (above) leads up to a mezzanine level (top image)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.
      Workspaces are housed on the lower floorHer 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.
      The steel unit houses two staircases and a women’s prayer roomPreviously 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.
      The men’s prayer room is surrounded by metal chains instead of walls”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.”

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      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.”
      Designer Agata Kurzela created a bespoke foldable boardroom table for the officeThe 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.”
      Reconfigurable tables allow narrow and curved spaces to be maximisedThe 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.
      Much of the furniture was locally producedThroughout 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.
      Bespoke vanity mirrors in the bathrooms combine matte and translucent surfacesThe 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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      Headquarters of crypto company Copper designed to “provide a sense of assurance”

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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.
      Copper’s headquarters are located in the Richard Rogers-designed Broadwick HouseThe 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”.
      Copper-toned curtains provide a sense of privacyThese 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.”
      Private meeting rooms are set back from the facade at the core of the buildingThe 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.
      The building’s new “Copper Core” is clad in dark timberRogers’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.
      Lightbox ceilings provide dramatic illumination”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.”

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      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.
      Meeting rooms are panelled with walnut woodTo 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.
      The interiors were designed to inspire a sense of trust and securityIn 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.”
      The top floors were designed for hosting clientsVisiting 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.”
      Guests can take in the views from banquette-style seating boothsOther 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 outfits self-designed Austin studio with “humble materials”

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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.
      Michael Hsu Office for Architecture has completed its self-designed Austin studio”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.”
      The project features bespoke touchesIt 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.
      Exposed steel trusses add an atmosphere of industry to the spaceThe 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.
      Scarlet-hued velvet furniture contrasts with various industrial accents”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.”
      A painting by Patrick Puckett decorates the entry loungeThe 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.
      The casual workspace is juxtaposed by more “formal” conference roomsGrey 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.
      These rooms are draped in sapphire silk and mohair wall coveringsThe 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.

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      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.
      A mint-green and chrome Litmus Industries cabinet divides the space”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 ArchitectureCustom light fixture: designed in collaboration with Warbach Lighting and artist Brandon MikeCustom tables: Michael Wilson and DrophouseCustom millwork and reception desk: Litmus IndustriesArtists: Patrick Puckett, Denise Prince, Clare Grill, Seung Yul Oh, Dorota Jedrusik, Hugo Pernet and Paolo Arao

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