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Mondrian Hotel, London, by Design Research Studio


Project Info

Architect: Design Research Studio

Client: Morgans Hotel group

Duration: 21 months

Size: 250,000 sq m

Cost: not able to disclose

Words by Emily Martin

Sitting between the OXO Tower and Blackfriars Bridge, Sea Containers House holds an imposing presence between the iconic London landmarks on the banks of the Thames. American architect Warren Platner (1919 - 2006) designed the 16-storey Sea Containers House in the Seventies originally as a luxury hotel, but the building's brief was never fulfilled and it was occupied as offices. Among these was a shipping company, Sea Containers, from which the building drew its name.

Commissioned by the American Morgans Hotel Group, Design Research Studio has now completed the building's transformation from offices into a hotel, as originally intended, using its maritime history and the Anglo- American relationship between design research Studio and Morgans Hotel group, as design inspiration.

Guests are greeted by a 69m long ‘ship’s hull’, containing the reception. Photo: Peer Lindgreen.
Guests are greeted by a 69m long 'ship's hull', containing the reception. Photo: Peer Lindgreen.

'This is the first hotel we've completed, as well as being the Morgans Hotel group's first UK hotel,' says Helen Arvanitakis, head of interior design at design research Studio. Under the creative direction of Tom dixon, the hotel design embodies the elegance of a transatlantic Twenties' liner, as well as incorporating platner's work with his furniture featured in the hotel's exclusive suites.

In the main lobby of hotel, guests are greeted with an impressive 69m-long ship's 'hull'. 'This features authentic ship-building skills and was made by the same team who restored the Cutty Sark,' says Arvanitakis of the magnificent copper-clad wall dominating the generously sized lobby space. Sharing the space is three huge blue chain links, produced by company Six inch to literally symbolise the US/UK link. 'it is also a British engineering reference that combines a Jeff Koons' twist,' adds Arvanitakis of the American artist who is known for his reproductions of banal objects.

The custom-designed guest rooms feature low-maintenance design and Tom Dixon artwork
The custom-designed guest rooms feature low-maintenance design and Tom Dixon artwork

The vast 1,500 sq m ground floor area includes one riverside restaurant and bar, which once again take visual inspiration from US/UK design. The Sea Containers Bar takes the form of an American diner, equipped with swivel stools and clustered seating reminiscent of booths. The space also features a false ceiling, which is punctured in areas to expose the coffers of the original ceiling unearthed during the transformation.

'It's a Seventies' building that should not be denied its heritage,' says Arvanitakis, with the Design Research Studio team keen to detail elements of Platner's design work throughout the scheme. 'Stripping back the coffers also creates high parts to the scheme, to help raise it visually,' she adds.

Walking through to the Dandelyan cocktail bar this space takes on a more British form with Chesterfield sofas and herringbone-patterned floor. The scheme features a rich colour palette including bottle green and bronze, which Arvanitakis says takes it inspiration from a gentleman's club.

The Dandelyan cocktail bar is inspired by the gentleman’s club
The Dandelyan cocktail bar is inspired by the gentleman's club

The design immerses you into the golden age of travel, from the art deco-style ballroom on the 'top deck' of the building, offering panoramic city and Thames views, to the hotel's spa in the hotel basement that is below river level. Drawing from the signature colours of the Morgans Agua brand, the spa architecture graduates from white through to darker shades to encourage relaxation.

Creating a feeling of under-water tranquillity and taking its inspiration from the 'cocooning nature of a submarine', the spa has a water feature designed by Jonathan Mizzi that guests can lounge around and dip their feet in.

Continuing the maritime theme is the blues' palette used in the hotel's 61-seater screening room, also located on the hotel's lower level, to be used for TV and film premieres, as well as conferencing requirements. A series of flexible breakout and meeting rooms are also available if more work and less play is on the agenda.

Heading back upstairs towards the 359 cabin-like guest rooms and along the smart and sleek corridors, the feeling of being on a cruise liner returns. 'The guest rooms are custom designed to create a calm and muted ambience,' says Arvanitakis, with each room featuring exclusive Tom Dixon artwork and a rich colour palette to contrast against standout metallic pieces in the maritime theme. 'We have also designed the rooms as "easy function", so for example suitcases fit under the bed and the rooms and bathrooms are easy to clean and maintain.'

The basement spa features a toe-dipping water feature/sculpture
The basement spa features a toe-dipping water feature/sculpture.

Design Research Studio's brief to create 'glamorous and practical bathrooms' led the design team studying American bathroom design and deciding to fit showers rather than baths. 'Americans do bathroom design so much better!' laughs Arvanitakis. 'We looked to them and learned, which you can see with the floating vanity unit and no bath tub, meaning it's much easier to clean and keep clean.'

The more deluxe rooms feature a balcony, which if the tide is in, really does transport you to an imaginary Atlantic crossing with the water lapping at the hull, rather than the banks of the Thames. And for more 'onboard' detailing, the public WCs in the hotel lobby draw on marine engineering, featuring porthole mirrors and detailing usually found on board a ship.

Arvanitakis says: 'The quality of the toilets here set the standard and it also means that all visitors can experience the transatlantic glamour of the Mondrian London.'

Main Suppliers

Tom Dixon, Decca, Twentytwentyone

Tom Dixon, Jonathan Mizzi

Tom Dixon, Twentytwentyone

Ulster Carpets


Milk Tea & Pearl, Box Park London, by Atelier YAO


Client: Milk Tea & Pearl
Lead Designer: Atelier YAO
Size: 28 sq m
Duration: Two months
Cost: £۱۲,۰۰۰

All images: Atelier Yao

Words by Emily Martin

Founded in 2010, Milk Tea & Pearl is a Taiwanese bubble tea parlour in Britain opening two shops just off Oxford Street, London and revamping its store in Shoreditch's cargo container pop-up shopping complex, Boxpark.

Hearing about the young, East London based design practice Atelier YAO, Milk Tea & Pearl approached it with a brief to redesign the interior scheme for the Boxpark store. 'The brief asked for an overhaul of the existing shop floor and to provide a refreshing, memorable space, without changing the layout of the kitchen or back-of-house space,' says Yaojen Chuang, architect and director at Atelier YAO.

The interior for the bubble tea shop marks Atelier YAO's first completed project, after the practice was stablished by Chuang last year. 'We used a mix of nostalgic finishes throughout the store: painted timber surfaces, printed fabric, tanned leather, carnival light bulbs and powder-coated steel,' says Chuang, who swapped out the shop's previously claustrophobic-looking black ceiling, grey rubber flooring and Formica surfaces.

Restricted by a small budget and interior space, dictated by the shop's cargo-container form, Atelier YAO was presented with some larger design challenges in addition to Milk Pearl & Tea's stipulation to reopen the shop every weekend to minimise revenue loss during its fit-out. With its long, narrow tunnel-like interiors intended for efficient shipping - not human occupation - forming a corridor space with restricted movement and sight, Chuang says the solution was to incorporate a clever architectural optical illusion to make the space appear wider and shorter.

Art meets architecture in the hands of Atelier YAO
Art meets architecture in the hands of Atelier YAO

'One of our studio's founding principles is to bring the disciplines of art and architecture together,' he explains. 'We are pleased to have integrated elements of art into this interior space - a little tribute to the ingenuity of baroque architecture.' Referencing the baroque tricks of perspective, which were deployed to make interiors seem higher or deeper, Atilier YAO applied a reversed strategy by using geometric lines to provide a false perspective, creating the illusion of a shallower and wider space.

Art meets architecture in the hands of Atelier YAO
Art meets architecture in the hands of Atelier YAO

Choosing to design the space as two halves, the front half is an 'abstract anamorphic beach hut' with blue timber slats positioned as chevrons. Suspended overhead they transcend in a parallel sequence down the walls and along the floor. The rear half is a white box housing the tea bar, adorned with distorted yellow circles of varying sizes.

Working with Spanish artist Alberto Torres Hernandez, Atelier YAO's anamorphic interior was achieved through 3D mapping techniques and projection. Using specialist fluorescent paint to create the yellow 'bubbles', which also includes the shop's logo, positioning was crucial so to ensure the success of the illusion. When viewed from a centre vantage point, the two spaces overlap to reveal the clever optical trick.

Art meets architecture in the hands of Atelier YAO
Art meets architecture in the hands of Atelier YAO

Describing himself as a perfectionist, Chuang says his creative development was nurtured during his eight years working as an architect at Tom Dixon and, more recently, at the Heatherwick Studio. He says: 'I think the key influence I have had is the determination in seeking unique design responses through the almost relentless experimentation and adaptation of design ideas, and the obsession for perfection.

Main Suppliers


Alberto Torres




Goodwin & Goodwin


Odel Jeffries

Metal fabrications

Joseph Waller



Notre Dame Catholic College, Everton, by Sheppard Robson


Project Info

Client: Liverpool City Council

Architect: Sheppard Robson

Size: 10,465 sq m

Duration: 56 weeks

Cost: £۱۵٫۳m

Words by Emily Martin

It's a problem relayed by architects and designers: the tales of 'shrewd' budgets, tight turnarounds with the expectation of delivering schemes boasting exceptional quality. Despite projects being flanked by challenges from the onset it is always a delight to see how practices deliver innovative and creative solutions within these constraining circumstances, with designers even 'discovering' pioneering design.

Looking at the Notre Dame Catholic College, a 950-pupil school designed by architecture practice Sheppard Robson, in the North West city of Everton, the practice took on the seemingly impossible task of delivering the 10,465 sq m school - including a sixth form, community music services and extensive landscaping - within a limited budget of £۱۵٫۳m. The figure becomes more constrained when the project's FF&E, all consultant fees and the significant ground works and retaining structures undertaken is taken into account.

Glulam timber trusses form an economic shell for the structure.
Glulam timber trusses form an economic shell for the structure. Photo: Hufton+Crow

With a 56-week delivery time to boot you might envision a crisis in the making, but it was not the case for Sheppard Robson, which indeed is now leading the way with its model of engaging school design approach on limited budgets. 'There's a huge amount of pressure on budgets in the schools' sector,' says James Jones, associate partner at Sheppard Robson's Manchester office. 'The challenge for architects is how we respond to this issue while also creating buildings and spaces that engage and support students and staff alike.'

It was this 'pressure' that led to the practice's innovative solution of creating a flexible and economic architectural 'shell'. Inside, individual interior components are added to create a mix of learning and social spaces that are bespoke to the individual school's requirements. The design solution, which is now commonly referred to as the Liverpool Schools Model, has also been applied to a second school (Archbishop Beck Catholic Sports College) with a third (Archbishop Blanch School) to open this September.

Clad in aluminium seam-roof systems, windows were introduced for more light
Clad in aluminium seam-roof systems, windows were introduced for more light. Photo: Hufton+Crow

All feature the flexible-shell concept developed for the Notre Dame Catholic College. Sheppard Robson say the cost-effective solution was the result of an all-party transparency process that was maintained throughout the design and delivery process. 'From the start, all parties (including the client, the end-users, contractor and designers) were clear that the budget was very constrained,' explains Jones. 'But the finished building must be seen as an asset to its community and a positive investment.'

It was during the early design stages of the project that glulam (glued laminated) timber trusses were established as an economic solution for creating the school's shell-like structure. Cladded in an aluminium seam-roof system, which features windows for additional daylight, the idea for a 'contained' school was decided before the architects' involvement on the project. 'The client was concerned, however, that the acoustics, heating and ventilation of the spaces would be problematic and hinder the building's effective functionality as a learning environment,' says Jones. 'Working with the developer (Willmott Dixon), M&E and lighting engineer (Cundall), and acoustic consultant (SRL) we successfully dealt with these issues. In fact the school has an excellent internal environment.'

The design of the interior spaces is a blend of naturally lit traditional classroom spaces and open, dynamic breakout and study areas. Cellular teaching spaces occupy three sides of the building, encircling a more open central zone containing school-specific functions such as performance space, amphitheatre, chapel and demountable classrooms. The north side of the building is generously glazed, allowing the school to embrace its parkland setting with strong visual and physical connections between internal and external spaces at all levels.

The interior sees cellular classrooms sitting around an open centre
The interior sees cellular classrooms sitting around an open centre.

Internally, the building balances the social and pedagogic requirements of the school through the openness of its design. By reducing the physical barriers between students and staff, a sense of community is created while allowing for passive supervision. 'The original school was developed over time as a "family" with close relationships between different year groups and the staff,' Jones says, with Sheppard Robson enhancing the 'family-feel' by developing the interior space in the context of the original 19th-century building. 'Although completely different in concept and style to the Victorian original, our design strived to allow the best aspects of the way the school worked in the old building.'

With casual meeting and study spaces for groups to interact in, the design of the new building continues to nurture the family-style relationships, which are now 'better than ever'. Contrasting with the open, lively nature of the central zone, classrooms are peaceful spaces where ventilation and natural lighting have been carefully considered to create the optimum conditions for focused work.

The interior finishes - timber and pastel greens and greys - reflect the parkland outside. The main entrance is heavily glazed and open and so provides a welcome to visitors without completely exposing too much of the internal space. Inside, the main 'village square' central space can be easily separated into secure and non-secure zones, thus enabling other activities to take place while the school is in operation.

In the main concourse the internal elements are arranged as individual clusters of both enclosed and open spaces. 'It was important to maximise connections between the "village square" open space inside the school and the external parkland setting,' says Jones, with Sheppard Robson optimising the site's slope to develop connections at different levels.

'In the completed building there is a great sense, when standing on the internal galleries, of being able to see the whole school, inside and outside,' adds Jones, with the 'open side' of the building looking out to the park, adding great light quality and openness.

'We feel that the architectural and educational ideas that have made Notre Dame a success are a scalable solution that engages with these fundamental issues of school design,' says Jones. 'To see the new design in use and balance the school's social and pedagogic requirements is probably the most satisfying part of the project.'

Main Suppliers

Public Art:
Walter Jack Studio

Howe, Protocol, Deadgood, Senator




Chetzeron hotel, Switzerland, by Actescollectifs

With a location this spectacular, you may think the architects of the Chetzeron design hotel had an easy job. Located above sea level on a plateau overlooking the Rhone Valley, the hotel has been converted from a former cable-car station and each of its 16 guestrooms - as well as its communal areas - gives dramatic views out over the snowy alpine peaks.


Photo: © actescollectifs & IN-S

But you have to give credit where credit is due: the sensitive, minimalist design is perfectly in keeping with the hotel's surroundings, creating a comfy, welcoming space that manages not to encroach to heavily on its beautiful surroundings.


Photo: © actescollectifs & IN-S

According to the architects, a group of five architects working together is Switzerland and calling themselves 'Actescollectifs', the conversion made it possible to create unusual volumes for a high-mountain hotel, as the large concrete structures typical of industrial buildings have been kept to provide a new visual atmosphere full of light.


Photo © Daniela-Tonatiuh

The landscape, they say, 'becomes an integral part of the decor of the various spaces due to the large picture windows, and subtle dimming of the lights shows the grandeur of the circus of the Valais Alps to the south.'


Photo © Daniela-Tonatiuh

The atmosphere of the interiors is plush and cosy, while the restaurant features a cascade of terraces where guests can enjoy the bright alpine sunshine. Noble, classic, warm materials - notably stone and oak - are used inside the hotel, from the central lobby to the bedrooms, for a feeling of safety and warmth in the rugged high-mountain environment. The facades are covered with local stone contrasting with the industrial architecture and big horizontal window frames, and lead the eyes toward the outdoors.

Accessible on foot, by snowmobile or on skis from the top of the Cry d'Err cable car, the Chetzeron design hotel offers unique moments of serene tranquillity in the sunset while the last skiers go back down to the resort. Say the architects, enigmatically: 'In summer, only cowbells disturb the silence of the mountains.'


۵ Pancras Square, London, by Bennetts Associates


Project Info

Client: London Borough of Camden

Architect: Bennetts Associates

Size: 20,404 sq m

Developer's cost: Confidential

Duration: 22 months

Words by Emily Martin

After a decade of planning and construction works, phase one of the King's Cross development programme is now open to the public. And working to accommodate 45,000 people on a site that previously housed a series of disused buildings, railway sidings and warehouses on contaminated land, has created a new central London hub in an otherwise space-demanding city.

While developing a 67-acre site (owned and managed by King's Cross Central Limited Partnership) it is possible to even miss a major landmark completion that may otherwise be much trumpeted. On 19 July one of the largest buildings completed as part of the development works was opened to the public. Designed by Bennetts Associates, the 14-storey building, created especially for long-term tenant Camden Council, is set among some of King's Cross's major commercial buildings, yet innovatively 5 Pancras Square accommodates a leisure centre, swimming pool, library, cafe and Contact Camden customer services centre, plus offices for Camden Council staff.

The full-height atrium and central staircase act as a visual focus for the workplace. Photo: Hufton + Crow
The full-height atrium and central staircase act as a visual focus for the workplace. Photo: Hufton + Crow

A cube-like form, situated at the junction of Pancras Road and Goods Way, the building's shape was influenced by its street-corner location as well as the 'volumetric limits' of the King's Cross masterplan. Each facade incorporates subtle design features to, as Rab Bennetts, Bennetts' founding director, describes, 'animate the cube' and offer some practical solutions.

''We have introduced blades that cut out the late sun on the north-west side of the building,' he says, pointing to the upper 10 floors of the building occupied by the council office staff and characterised by bronze-anodised solar shading. Overlooking the protected Camley Park Nature Reserve on Goods Way, the facade is punctuated by deeply recessed balconies, a feature also seen on the Pancras Way facade, which Bennetts says give the building a kinetic quality. In contrast to the bronze-anodised upper levels, the lower 'public' levels are clad in light pre-cast concrete that reflects the internal structure and even offers a tantalising glimpse down into the basement swimming pool from street level. Lightbox artwork, designed by artist Mark Titchner, is installed on the top floor of the south-east corner, creating an illuminated visual marker for visitors arriving at the building's Pancras Square entrance.

The new public library looks over the double-height cafe space. Photo: Hufton + Crow
The new public library looks over the double-height cafe space. Photo: Hufton + Crow

The building, which has two public entrances, connects the street-level public entrance in Pancras Way with the upperground- level administrative entrance in Pancras Square with a triple-height lobby space. The public entrance lobby on Pancras Road provides direct access to the building's lowerground- levels' leisure facilities, including a gym and studio space. 'A selling point for the leisure facilities is that it's in a light and airy space,' says Peter Fisher, Bennetts Associates director and lead architect on the project. 'Of course there was the risk that the pool would become dingy, being in the basement, so we introduced a natural light well to the lighting design scheme.'

The building features a public swimming pool in the basement with a colour-changing light wall. Photo: Hufton + Crow
The building features a public swimming pool in the basement with a colour-changing light wall. Photo: Hufton + Crow

Featuring a LED back-lit light wall, with green, blue, purple and pink ever-changing colours, the ambience of the space is transformed to create a calm yet energised space. Featuring a stretched ceiling, LED lighting in it is diffused to create a glow 'The building's basement is a very usable space, which is very unusual,' explains Fisher. Housing the building's services, which would normally be sited in the basement, was achieved by installing a mobile floor within the pool. 'The pool's floor rises not only for access, but for usability also. If the pool is required to have one continuous depth, then it is possible to do this,' says Fisher.

From the Pancras Square entrance, there is direct access to customer services, the mezzanine library and double-height cafe plus to the 10 floors of dedicated office space above. The boundaries between the library and customer services centre are consciously blurred to provide a friendly and welcoming space equipped with informal seating, private meeting rooms and a play area in the children's section of the library. The double-height space that connects the two mezzanine floors contains a public cafe with uninterrupted views over Camley Street Natural Park. 'The layout is intended for visitors to discover the levels,' says Bennetts. 'The mezzanine looks over the elements of drama and allows for a bigger feeling of space.' Not intended as a 'dead quiet' space, Bennetts Associates has made acoustic allowances within the ceiling as well as in several study rooms to limit the reverberation levels. 'There is a dense footfall and it's a lively building in comparison to the previous one, which was grim!' says Bennetts.

Vertiginous viewing from the top floor down through the atrium. Photo: Hufton + Crow
Vertiginous viewing from the top floor down through the atrium. Photo: Hufton + Crow

On the office levels, a full-height atrium and central staircase act as a visual focus for the workplace and allow daylight to flood in. A series of cut-outs in the north and west facades provide terraces with exceptional views north over the Camley Street Natural Park, the Eurostar terminal and Camden beyond. The office floors are predominantly open-plan, with large private meeting rooms that can be subdivided for flexibility, and informal breakout areas concentrated around the atrium. Featuring a palette of durable materials, the concrete structure, suspended steel structure, cladding and stone flooring sit in deliberate contrast to the more colourful but ephemeral palette of the furniture, wayfinding and branding.

Bennetts says: 'it was also our criteria to force people to talk to each other! So we have created circulation space the provides a village feel.' With the floors centred around the atrium, Bennetts Associates had to carefully consider its diameter to allow for enough natural light versus distancing colleagues and co-workers from each other. 'Its size allows for enough light to the 10 floors and small enough to maintain intimacy,' he adds.

The Pancras Road facade has punctured balconies to ‘animate the cube’. Photo: Hufton + Crow
The Pancras Road facade has punctured balconies to 'animate the cube'. Photo: Hufton + Crow

Designed for long life and high levels of adaptability, the building has earned the BREEAM rating 'Outstanding', one of the highest yet achieved in the UK for a civic building. The robust and simple design, based on a combination of 'passive and active design features' helped achieve this rating. Key sustainable features include maximising daylight to the centre of the building, an energy-efficient hybrid ventilation system, and being linked to a site-wide district heating network that provides 100 per cent of the development's heating and hot-water needs. Long-term running costs will be substantially reduced and carbon-dioxide emissions cut by an estimated 64 per cent. Something well worth shouting about.

Main Suppliers







Milliken showroom, Manhattan, by M Moser Associates


Project Info

Architect: M Moser Associates

Client: Milliken & Company

Duration: 23 weeks

Size: 465 sq m

Cost: Confidential

Words by Emily Martin

All Images: Eric Laignel

When global flooring manufacturer Milliken & Company restructured its commercial flooring division in 2011, the company also re-evaluated what it terms its 'client-hosting spaces' to reflect its new corporate identity. Placing an emphasis on its customer services, the company has rolled out an international showroom refurbishment programme and partnering with the New York office of architecture practice M Moser Associates to deliver the works.

Milliken has, to date, completed redesign works of its showrooms in South Carolina, Chicago, Beijing, and Shanghai with its London showroom scheduled for completion mid 2015. The latest showroom that has been transformed is the Milliken Studio in New York.

'The design tells a story through spatial experience,' says Bill Bouchey, director of design at M Moser Associates New York, speaking about the space in Midtown Manhattan. 'The touch points focus on key brand attributes, with nods to corporate history, best practices, and a heritage of mid-century design.'

The visitor’s journey ends in the Milliken’s product space
The visitor's journey ends in the Milliken's product space

Opting for a 'white box' concept, to showcase Milliken's product ranges while maximising the city views, the space is accompanied by a branded blue accent colour, as also featured in the global showrooms, with open common areas punctuated by colour. Referred to as 'purposeful play,' these sociable meeting and lounge areas are key design features for allowing Milliken to 'tell the stories of product development'.

The showroom’s lounge area, with Moroso furniture pieces, houses Milliken samples and product catalogues
The showroom's lounge area, with Moroso furniture pieces, houses Milliken samples and product catalogues

'The Milliken story unfolds by visitors moving through the space in a counter- clockwise fashion, responding to the centre-core floor plate that provides the circulation experience,' continues Bouchey. Entry to the showroom is via the distinct Milliken-branded reception at the perimeter where guests are drawn to the unobstructed, panoramic views of the city. Walking through the space the 'experience' is completed by arriving in Milliken's product space. 'This zone includes a wall display of product samples along with rolling carts to move flooring mock-ups with ease,' adds Bouchey. The areas are designed to be adaptable for frequent changes dictated by new products being introduced.

Semi-private pods reduce noise, but not the views
Semi-private pods reduce noise, but not the views

'The eclectic mix of reused vintage and new furniture as "classics" - in bold, warm, vibrant colours - represent a nod to both the heritage and the future of modern design,' explains Bouchey, with M Moser Associates opting for materials to not only visually support the Milliken brand but also support sustainable initiatives and LEED certification. Keeping the staff workspace on the perimeter ensures good levels of daylight (and spectacular city views) while remaining accessible and practical, due to the screen of semi-private work 'pods' that use Tectum acoustic panels.

Low ceilings posed a challenge for the design team, and one that was overcome by using indirect lighting to achieve a feeling of height and spaciousness. Bouchey says: 'Indirect lighting offsets a low slab condition and provides visual ease, complementing significant daylight that fills the space. Contrast and "pops" of dramatic colour are achieved through freestanding objects and wall graphics.

Main suppliers

Bartco, Delta light, Graypants, Mark lighting, Philips

Benjamin Moore


Herman Miller, Knoll studio, Moroso, Steelcase


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Architect Mahmood Fallahian

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