The design of the office is derived from a derelict artist studio shed. At the first encounter, the space appeared hermetic and dim. Introducing light through new apertures was both an imperative and instinctive act. Fortunately, the two existing ventilation shafts on the façade provided the structural basis for expanding them into a pair of high windows that receive and diffuse natural light, thereby unfolding the spatial narrative of the design.
Within the existing mezzanine steel frame, an arced ceiling became a concise yet poetic gesture that resolved multiple demands at once: it mediates the transition between the ground floor and mezzanine with a continuous sweep, while its generative circle reaches its apex along the central axis of the meeting room above, giving the space a calm, symmetrical order and preserving the mezzanine’s maximum clear height while concealing the mechanical systems above.
Light, cast through two elevated apertures, assumes the status of volume, sculpting the arc into a pair of embrasures with both plastic and imaginative depth. The embrasures further inform the arrangement of desks through their spatial alignment. From the exterior, however, the embrasures appear as simple square openings on a flat wall. This recalls certain Baroque precedents—such as the church of Santa Maria di Piazza in Turin—where the window registers as flat and geometric on the exterior yet volumetric and luminous within.
This traversal of light across the threshold recurs on an interiorized elevation articulated by three windows of varying scales and spatial vitality, which reveals a meeting room, an uncanny, uninhabitable dimension, and a hidden staircase respectively. The brick walls on both sides were painted white so that light could reveal their haptic textures, allowing the original structural framework—and the traces it carried—to be “recycled” into the new spatial narrative.