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    Emil Eve Architects uses mid-century colours in homey office for Drama Republic

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    Distinct shades of green, orange and blue give character to this workplace, designed by Emil Eve Architects for the production company behind TV shows including the BBC’s Doctor Foster and Netflix’s One Day.

    Drama Republic gave Emil Eve the task of refurbishing its office in London’s Holborn.
    The redesign gives the company a more homey workspace, combining a mid-century-inspired colour palette with textural materials including oak and fluted glass.
    The colour palette includes mid-century-inspired shades of blue, green and orange”This is a working office, but also needs to be pleasant for clients to visit,” said Emma Perkin, Emil Eve co-founder.
    “We had to create a design that was practical but also welcoming and comfy,” she told Dezeen.

    “Often workplaces have a very limited palette; we consciously introduced a mid-century mix of greens, blues and oranges against warm white walls and natural wood. The slightly muted shades mean it’s bright but still calm.”
    Existing glass partitions were moved in line with the new floor planDrama Republic’s brief called for a mix of flexible work areas, including large desks for collaborative working, meeting rooms that support video conferencing, and lounge areas where staff can take calls or read through scripts.
    Emil Eve replanned the office layout to improve the flow between these different spaces.
    A new lobby features partitions crafted from hardwood and fluted glassThe architects were keen to reuse existing materials and furniture where possible, so glass partitions that surrounded the previous meeting rooms were simply moved in line with the new floor plan.
    A lobby was created, with new partitions designed to match the proportions of the existing ones. These were crafted from Sapele, an African hardwood with a warm reddish-brown tone.
    The custom-made desks integrate pinboard screensStorage was also installed, in custom-made wall units that provide bookshelves and hidden cupboards.
    “The office has really good natural light but had never been properly organised, so it felt cramped and ad-hoc,” said Perkin.

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    “Drama Republic didn’t want it to feel corporate, so we used our experience from residential projects to design well-considered joinery which maximised storage,” she explained.
    “There were lots of cables and lights, plus big office equipment like printers; we had to find a way to tidy things away but still have them accessible.”
    Meeting rooms are designed to support video conferencingCustom-made work surfaces include desks with bespoke pinboard screens, as well as meeting and coffee tables.
    All the chairs from before were reused, with the exception of the lobby sofa and the meeting room armchairs.
    Wall units provide both open shelves and concealed storageThe flooring is oak in a herringbone pattern, while lighting is provided by coloured glass ceiling lights and curvy pendants.
    “These are unusual specifications for an office but they work just as well and feel automatically more homey,” added Perkin.
    Poster and photos from Drama Republic productions decorate the wallsThe space is completed by framed photos and posters from Drama Republic productions, including Black Earth Rising, The Honourable Woman, Wanderlust and The Irregulars.
    Perkin and her partner and Emil Eve co-founder, Ross Perkin, established their studio in 2009. Their own office is a retrofit of a brutalist building in Hackney. Last year, one of its projects won London’s Don’t Move, Improve! competition.
    The photography is by Rachael Smith.
    Project credits
    Architect: Emil Eve ArchitectsContractor: Harbour Joinery WorkshopJoinery: Harbour Joinery Workshop, Thomas Collier StudioPaint: Edward Bulmer, Paint and Paper LibraryTiles: Mosaic FactorySofa and armchairs: Loaf

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      Snarkitecture overhauls New York law offices using “elevated” stud walls

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      Architecture studio Snarkitecture has updated the New York offices of legal firm Jayaram Law, adding elements with wavy cutouts and furniture from a new collection with Made By Choice.

      The overhaul of Jayaram’s 3,800-square-foot (353-square-metre) space in Manhattan’s Flatiron District forms part of the company’s artist residency program and continues a longstanding relationship with Snarkitecture.
      A continuous, wavy wooden edge forms a portal into the Record Room at Jayaram Law’s officesThe studio, founded by artist Daniel Arsham and architect Alex Mustonen, reimagined the offices as a collaborative space for creative work and made multiple interventions to the layout.
      “Our approach was to unify the space and create a layout emphasising openness, flexibility, and scattered moments of reflection and privacy,” said the team.
      Snarkitecture reinterpreted “the ubiquitous stud wall as an elevated millwork piece” to create the freestanding structureA key decision involved bringing warmth to the industrial-style space, which features exposed ceilings and concrete tile flooring.

      This was achieved by introducing wood, acoustic panels, rugs, curtains, and upholstered pieces “that added more comfort and softness to the space”.
      A window provides a view from the workspace into the Record Room, which displays various Snarkitecture ephemeraAt one end of the floor plan, Snarkitecture built a room using a simple wooden framework to create a library and display area.
      “One of our key design moves is reinterpreting the ubiquitous stud wall as an elevated millwork piece,” the team said.
      In the centre of the offices is a lounge area known as The CommonsThe semi-enclosed space, named the Record Room, has a window that looks onto the open-plan workspace and is accessed via a portal with a continuous wavy outline.
      “We wanted this room to feel unexpected and immersive, thus creating a theme around a ‘Listening Lounge’, featuring an environment with wood shelvings, a record player, and vinyl records,” Snarkitecture said. “Its shelves also host archival items, publications, design objects, and ephemera from Snarkitecture and Jayaram.”
      The open workspace is furnished with long desks that together create room for 24 to 32 peopleOther stud-wall elements with amorphous cutouts form moveable display cases and room dividers, used particularly to define a central lounge known as The Commons.
      Wavy edges are also found on the Autex acoustic panels hung vertically in rows from the white-painted ceiling above the seating area.
      A conference room was created by merging three smaller private offices”It is a comfortable spot with low lounge seating, lush greenery, and an area rug that creates a space for collective gatherings and intimate conversations,” said Snarkitecture.
      On either side, communal workspaces with 15-foot (4.6-metre) custom birch plywood tables accommodate 24 to 32 people.
      Acoustic panels were added above the lounge area to dampen the sound in the industrial-style spaceAlong the perimeter is a glass-fronted conference room that was created by combining three private offices into one space.
      Built-in millwork provides a TV niche for conferencing and stores general office supplies, while a curtain wraps the space to dampen echoes.

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      Throughout the Jayaram offices, Snarkitecture included furniture from its new collection in collaboration with Finnish brand Made By Choice.
      Pieces including dining chairs, lounge chairs, small round tables and a large conference table all feature the studio’s signature wavy edges and cutouts.
      Several furniture pieces from Snarkitecture’s collection with Made By Choice can be found throughout the officeSeveral works from Snarkitecture’s Broken & Sculpted Series created with the Italian brand Gufram are also dotted around the office.
      The pink, broken mirrors introduce hints of colour, while the studio’s Slip chairs with wonky legs and a slanted seat for Portuguese brand UVA add even more whimsy.
      Pink mirrors from a collaboration with Gufram introduce hints of colourSince starting Snarkitecture in 2008, Arsham and Mustonen have worked with brands including Kith, Billionaire Boys Club, COS and Caesarstone on retail interiors and immersive installations.
      In New York City, the studio has previously filled a gallery with lights that resemble “large lollipops” and created an exhibition space at Hudson Yards to allow the public to explore its experiments.
      The photography is by Harlan Erskine.

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      Ceremony of Roses offices by 22RE feature 1970s-influenced meeting spaces

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      Los Angeles studio 22RE has included a “huddle room” that resembles a sunken living room at the offices for a creative music agency.

      The offices within a 1950s factory in Culver City were designed for Ceremony of Roses, an artist merchandising and brand services company for top music creatives.
      A minimalist white oak counter welcomes visitors to the Ceremony of Roses officesWorking with creative director Madeline Denley of creative consultancy Never Far Studios, 22RE completely overhauled the 7,000 square feet (650 square metres) of space to create four executive offices, six communal desks, a showroom, a conference room, a huddle room and a listening room.
      “The project was a full-scale, wall-to-wall customisation where we got to dig into functional priorities while maximising visual appeal and comfort,” said 22RE principal Dean Levin.
      The main communal workspace features aluminium desks atop a raw concrete floorThe main communal workspace occupies a large, lofted central room illuminated by skylights between the exposed wooden ceiling rafters.

      Reaching past a minimalist white oak reception desk, the open area features custom aluminium desks and cabinets accompanied by Eames Management chairs atop a raw concrete floor.
      Executive offices are visible through glass panelsOn either side, open and closed storage is provided by millwork cabinets and titanium travertine shelves.
      A row of executive offices, visible through tall glass panels, are furnished with a mix of French and Italian modernist pieces.
      A maple-panelled conference room is furnished with a burl wood table and Pierre Jeanneret chairsA freestanding structure built from dark-stained white oak houses a conference room, which holds a burl wood table and six Pierre Jeanneret floating-back chairs.
      Maple wall panels complement the brown carpet, and a spherical Akari lamp is suspended overhead to give the space a warm glow.
      White oak and titanium travertine, which appear throughout the project, were used to craft the kitchenOn the other side of the communal work area is a kitchen, where the same material palette of white oak and titanium travertine continues.
      A matte aluminium dining table with matching curved-back chairs – another set of 22RE custom designs – provides a space for employees to eat and congregate.
      22RE custom-designed the matte aluminium dining table and matching curved-back chairsThe listening room is decorated entirely in a chocolate brown hue, with walnut panelling, carpet and upholstery on the built-in, U-shaped sofa all carefully chosen for a monochrome effect and optimum acoustics.
      “The ceilings maximize sound quality, with angles implemented to reverberate music as top creatives gather to experience albums – which also accessorize the shelved wall – on vinyl,” said 22RE.

      And And And Studio brings 1970s elements to Century City Law Office

      The “huddle room” is modelled on a 1970s sunken lounge, evidenced by its low wraparound sofa modules upholstered in pale green mohair.
      A custom aluminium table referencing designs by Oscar Niemeyer was placed in the center and a vintage Akari light by Isamu Noguchi hangs above.
      An acoustically optimised listening room is decorated entirely in chocolate brown”The space’s soft and hard, warm and cold elements amplify the contrast of the warm wood and industrial materials that are apparent across the office interiors,” said the studio.
      In stark contrast to the rest of the office, bathrooms are enveloped floor-to-ceiling in vibrant blue, including three-inch Japanese ceramic tiles.
      In contrast, the bathrooms are enveloped floor to ceiling in vibrant blue22RE’s previous projects include a golf clothing boutique in Miami with pale-green stucco surfaces informed by the sport and the city.
      Other offices in LA with unexpected interiors include the Century City offices of an entertainment law firm, which also have a 1970s vibe.
      The photography is by Yoshihiro Makino.

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      Mithun completes airy, colourful interior for office in Austin

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      Pops of colour and a bar with an entrance hidden by a bookcase have been installed in a software company’s office interiors, recently completed in downtown Austin by Seattle-based architecture studio Mithun.

      Spanning five storeys, the 157,000-square foot (14,585 square metres) office houses diverse work and amenity spaces for Atlassian Inc, an Australian company that develops products for software developers and project managers.
      Mithun has completed colourful office interiors for Atlassian Inc in AustinCompleted in 2022, the office is housed in a building shell designed by Gensler, while Mithun was responsible for the interior architecture of the workspace, collaboration areas, focus rooms, cafes and kitchen spaces, lounges and rooftop patio.
      “Atlassian creates collaboration software, so at the very core of their culture is a focus on fostering collaboration,” said Mithun partner Elizabeth Gordon.
      The office is housed in an exterior by GenslerAccording to Gordon, the team prioritized flexibility, inclusivity and sustainability.

      The studio created an environment that inspired social connection with people-centred spaces for in-person and hybrid collaboration and amenities for networking as Atlassian’s team re-establishes a workspace.
      The team prioritized flexibility, inclusivity and sustainabilityRather than delineating floor space with individual workstations, the design opens the rectangular office along the glazed exterior for collaborative zones with moveable furniture, dividing curtains and integrated technology that “empower workers to curate their own day-to-day journey”.
      The spaces are separated by warm wooden bookshelves set into the structural grid that rounds into a ceiling detail before running down the other side of the space.
      Moveable furniture and open floor plans encourage collaborationFocus rooms – provided for individual, head-down work – are arranged in rows as a transition from the open workspace to the central core with circulation and facilities.
      Lit from a large skylight, a feature stair climbs through the building, connecting the workspaces to the amenities, which include a music-inspired coffee shop and “living room” with a stage for events and an indoor-outdoor happy hour area that connects to a secret, Texas-themed bar through a hidden bookcase.
      It includes focus rooms, shower and parent suites, all-gender restrooms, meditation rooms and a wellness studio”Indoor-outdoor connections throughout provide access to fresh air, support outdoor work and help promote movement throughout the day,” the team said. “The variety of unique destinations serves to surprise and delight workers while fostering a sense of community.”
      In terms of inclusivity, the design incorporates elements that create a “safe and inviting space for all Atlassian employees” – like the installation of art and accessories from Austin-based artists of color and LGBTQIA+ creators.

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      Wayfinding was integrated in the form of large-scale custom murals by local artists that lend identity to each floor. Additionally, custom bottle chandeliers serve as an abstract reference to Texas bottle trees.
      The office also includes single-occupant, all-gender restrooms, shower and parent suites, meditation and ablution rooms and a multi-purpose wellness studio that can hold classes from local fitness instructors.
      A bar is accessed through a bookshelfThe project is targeting a LEED Gold standard with high-performance systems and sustainable materials.
      “The design for Atlassian Austin incorporates biophilic principles in many different ways – with new skylights above the stairwells that let sunlight pour in across different levels, with views in and views out, and with the use of plants and natural materials and textures,” said Mithun partner Lisa Scribante
      Other office projects that have recently come online in Austin include Michael Hsu’s self-designed architecture studio and a renovated 110-year-old bungalow for a tech investment firm. West of West also completed a concrete office complex in one of the city’s industrial neighbourhoods.
      The photography is by Jasper Sanidad.
      Project credits:
      Interior architecture: MithunCore/shell: GenslerClient: AtlassianGeneral contractor: Harvey Cleary BuildersFurniture dealer: CRIPlants: Texas TropicalCustom installations: SarabiFurniture: Coalesse, Hightower, Studio TK, Keilhauer, Spacestor, Hem, Hay, Andreu World, Muuto, TON, Emeco, WCI, Blastation, Fritz Hansen, Carl Hansen & Son, Uhuru, Bend Goods, Offecct, Grand Rapids, Sossego, Herman Miller, Schiavello, Davis, Bernhardt Design, Watson, Fogia, Bludot, Kettal, PedraliMaterials: Luum, Maharam, Kvadrat, Carnegie, Kirei, Filzfelt, Pollack, HBF Textiles, Clay Imports, Shaw Contract, Flor, Wineo, Stone Source, Caesarstone, Foresso, Daltile, Cambria, Jujupapers, Katie Kime, Wolf Gordon, ArmstrongLighting: Rich Brilliant Willing, Schoolhouse Electric

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      Studio Edwards adopts zero-waste strategy for Today Design office in Melbourne

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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.
      The office provides a workspace for creative agency Today DesignFurniture 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.
      Partition walls and tables are mounted on castors for flexibility”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.
      Scaffolding poles provide furniture and screensMost 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.
      Built-in seats feature quilted denim cushionsCasual 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.

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      “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.
      Rolls of denim form a semi-circular reception deskThe 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.
      Blue is a recurring colour throughoutA 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.
      Two-tone project tables feature built-in “toolboxes”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.
      The kitchen includes a table with a continuous task-lighting channelOther 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.
      Translucent fibreglass screens are fixed to a blue-stained timber frameworkStudio 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 EdwardsBuilding contractor: McCormackServices contractor: Aston ConsultingStructural engineer: FORM EngineersProject management: Facilitate CorporationFurniture fabrication: James McNab DesignLighting: Sphera Lighting

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      Studio BV converts Minneapolis biscuit factory into offices for Our Family Wizard

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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.
      A large atrium filled with glass globe lights sits at the centre of the buildingAs 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.
      Some of the factory’s brick walls were left exposed, while ceilings and ductwork were painted whiteThe 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.”
      Lounge areas and breakout spaces ring the upper floorSome 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.
      Clerestory windows bring light into communal workspacesDark 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.
      Perforated panels separate seating booths in the upper-level barA 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.

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      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 office features two bars to encourage employees to socialise”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.”
      Blue tones used for upholstery are borrowed from the company’s visual identityOffices 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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      Daniel Boddam converts Sydney warehouse into calm and plant-filled office

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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.”
      Green plants at the front door soften the red brick and black steel of the industrial warehouseLarge 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.
      Locally designed and crafted furniture was selected by the studioBehind 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.
      The office interiors features a variety of natural materialsDownstairs, 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.

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      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.
      Materials used in the client’s work are displayed on plywood cabinets”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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      KKDW Studios creates offices for Yoga With Adriene founder in Austin

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      Austin-based KKDW Studios has designed the headquarters for a yoga subscription app called Find What Feels Good, including a space for filming instructional videos.

      KKDW Studios founder Kelly DeWitt collaborated with yoga teacher Adriene Mishler – who became well-known through her Yoga With Adriene instructional videos – to create a base for Find What Feels Good, the platform she co-founded that offers video tutorials for at-home workouts.
      KKDW Studios used a modular system to build offices within the space for Find What Feels GoodLocated in East Austin, the 5,000-square-foot (465-square-metre) space was previously an empty shell with blue walls and a high-gloss, yellow-tinged concrete floor.
      DeWitt’s team described an intention to create “a space to evolve in and experiment with, a place to be inspired and inspired others.”
      Communal workstations are positioned in front of private offices”The space should feel welcoming with a warm, homey ambiance that makes you want to take a deep exhale,” the team added.

      To add this warmth, the majority of the interventions were made with wood, which forms wall panelling, louvred partitions, frames for glass walls, and furniture. The concrete floors were refinished in matte grey.
      A bright kitchen includes an island mounted on castors, which can be moved when neededDesigned for a quickly growing team and to be multi-functional, all the elements of the interiors are either bolted together or mounted on wheels, so they can be easily moved if needed.
      The linear space is divided up along its fenestrated facade. At one end is a cosy lounge area for receiving visitors or communal work, while a bright, fully equipped kitchen is located at the other.
      Warm-toned materials were chosen for the spaceIn between, the modular timber-framed glazed walls form a row of private offices, while an open workspace with large tables is positioned in front.
      Facing the windows is an uninterrupted wall that stretches 80 feet (24 metres), which is used by Mishler and her team as a backdrop for filming yoga videos for their app and Youtube channel.

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      Air ducts and other visual obstacles had to be moved to ensure that the shot is unobstructed, while the vertical slat in the lounge partition pivot to ensure the lighting is just right.
      “Natural light can be inspiring, but when filming, sometimes what they need is control – this allows them the best of both worlds,” said KKDW Studios.
      Slats in a partition can be adjusted to control light levels when filming in the spaceCushions for sofas and armchairs are wrapped in tufted, textured beige fabric in a variety of tones that are echoed in the rugs.
      From the exposed, angled ceiling hang a series of spherical pendant lamps, as well as power outlets on retractable cords for use at the workstations.
      An uninterrupted wall provides a backdrop for Adriene Mishler’s instructional yoga videos”All furniture is completely custom, designed after getting to know Adriene and her team, their needs, workflow, etc,” said KKDW Studios, which also acted as general contractor for the project.
      Yoga – a group of physical, mental, and spiritual practices – continues to grow in popularity around the world, and demand for at-home workouts like those facilitated by Find What Feels Good skyrocketed during the Covid-19 pandemic.
      Here are 10 homes with dedicated spaces for practising yoga and meditation.
      The photography is by Andrea Calo.

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      Henley Halebrown creates Bauhaus-informed offices in converted London warehouse

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      The colours and craft techniques of the Bauhaus movement were the inspiration behind Laszlo, a century-old warehouse building transformed into workspaces by London studio Henley Halebrown.

      Located in north London, the renovated building now contains five floors of flexible offices, ranging from 482 square metres up to 647 square metres.
      Structural elements are left exposed through Laszlo’s interiorsHenley Halebrown approached the project differently to a standard office conversion.
      Instead of a “shell and core” approach, where tenants have no choice but to complete a fit-out, the architects have made spaces that can be occupied simply as they are.
      They did this by exposing the building’s internal structure – its concrete floor slabs and steel I beams – and bringing order to the elements around. Services are neatly organised, while low-tech materials like concrete and timber are used to make adjustments.

      Offices are designed to require minimal additional fit-outStudio founders Simon Henley and Gavin Hale-Brown describe the approach as seeking “to illustrate how elementary the construction of an office might be”.
      The idea is that companies would only need to add their own branding, plus furniture, which would significantly reduce the amount of waste generated when tenants move out.

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      “Working on adaptive reuse buildings like Laszlo is second nature to us as a practice,” said Henley.
      “It builds on our interest in how you create new layers of life within a city while celebrating both its past and future, and of course, the great thing is that the huge environmental benefits that come through reuse are now more widely understood.”
      Geometric graphics signal the building’s change of useOriginally known as Batavia Mills, Laszlo was built in the early 20th century as a facility for manufacturing and printing, although it also served as storage for gas masks during the second world war.
      The Bauhaus become an obvious point of reference for the renovation; not only does it date from the same period, but its core ethos was about being true to materials and finding beauty in craft.
      A steel and timber joisted roof is now exposed on the fourth floorA painting by Bauhaus artist Laszlo Moholy Nagy – who the building is named after – provided the cues for repairs made to the concrete floors.
      There were various gaps created where partition walls had been removed. Instead of infilling these with concrete, Henley Halebrown chose an earth-coloured screed that highlights these marks as traces of history.
      Doors throughout the interior borrow tones from Josef Albers’ colour studiesThe building refers to the colour studies of Bauhaus teacher Josef Albers with a series of doors painted in bold but complementary shades of green, yellow, grey and blue.
      Another Bauhaus reference can be found on the exterior, where the brickwork and glazing have been subtly decorated with the same graphic shapes and lettering that give the building its brand identity.
      The reception features a desk shaped like an I beamLaszlo offers various amenities to its tenants, including a large outdoor seating area, bicycle parking and showers. There are also shared spaces on the ground floor, including a reception and an area known as the living room.
      Furniture in these ground floor spaces is designed to feel like part of the structure, with highlights including a reception desk and bookshelf that both look like giant I beams.
      A living room with kitchen is shared by all tenants”Within the framework of the original structure, we composed a series of unconventional spaces with conventional building materials, mostly blockwork, lintels and paint,” said Jack Hawthorne, an associate at Henley Halebrown.
      “These spaces are occupied with pieces of furniture that are imagined and made as oversized elements of structure, ‘furniture as structure’, placing them in playful dialogue with the building’s newly exposed frame.”
      One of the office floors has already been furnishedPhotos of the project show one of the office floors already fitted out.
      The light-touch approach includes glazed meeting rooms, a wooden kitchen and mobile shelves that function as room dividers. Desks and seats integrate bold flashes of colour that feel at home with the rest of the building.
      Each floor is similar in layout and finish, although the fourth floor features an exposed steel and timber joisted roof and a balcony terrace.
      The space features colourful desks, open shelves and glazed meeting roomsLaszlo is one of several innovative offices designs recently completed in London, as companies adapt to more flexible working policies following the impact of the pandemic.
      Other recent examples include a co-working office that doubles as a “town hall” and an office with more meeting areas than desks.
      The photography is by David Grandorge.

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