A workspace defined by light

Daylight gradually seeps into the Snøhetta offices of Hong Kong from the first thing in the morning through the generous windows, slowing penetrating the interior space as the team begins to arrive. While some open their laptops, others roll out printed drawings over the work desks or deliberate the day’s first sketches as the working routine commences. Even before a single lamp is switched on the spatial organisation is clearly legible. An open and flexible space where very different areas come together within the same ambience, free from visual obstacles.

Originally founded in 1989 in Oslo by the Norwegian Kjetil Trædal Thorsen and the German American Craig Dykers, as a small workshop where architecture, landscape and interior design projects were jointly undertaken, Snøhetta over time has become one of the most influential international practices with satellite teams spread throughout the world. Nevertheless, despite this expansion, its way of approaching each project continues to draw from the same simple idea: understanding first and foremost how a place is inhabited and then deciding on how it should be constructed.

This same approach is perfectly evident at the centre of operations in Hong Kong. The workspace is not organised as if it were a collection of departments or closed-off offices, instead it’s more like a continuous space where different activities co-exist. In fact, the colour scheme, dominated by earthy tones, beige and more intense accent colours, helps define the various areas. And under this general approach the lighting, of course, takes on a crucial role. The design of the lighting scheme, jointly undertaken together with the Vibia Lighting & Wellbeing Studio, approaches light from real-world applications in spaces. In other words, rather than adding light fittings on an individual basis the idea is to create a sequence that can address the different phases and requirements that a creative studio like this goes through as the day advances.

Much of the team’s daily activity revolves around the large collaborative worktable, which acts as the space’s true centre of gravity. Above it sits the Plusminus collection, designed by the Diez Office, whose conductive textile belt allows for the free and precise placement of light sources, adapting them to the scale of this shared space. For this specific configuration, the cone-shaped fittings project light directly onto the work surface aiding the team in reading plans, working on monitors, and with the exchange of ideas while reviewing 3D models, sharing ideas, or tweaking certain details before moving forward with a project.

The Terra Red finish introduces a colourful touch that creates a dialogue with the interior colour palette without affecting its harmony, so that the lighting not only organises the worktop activities but also helps reinforce the visual identity of the overall space. During the day, the abundant external daylight dominates the studio; when evening falls, as the workday continues, the lighting adds the necessary definition to keep everything working as normal with the same exactitude.

For the more internal areas of the offices Plusminus is once again featured but, in this case, it takes on a distinctive character from its use over the shared worktable. For this spherical version in a beige colour finish, the light is more immersive, creating an ambience for reading, revising or more concentrated work, while in other areas the linear diffuser increases the levels of brightness over the work desks providing a suitable task lighting for longer periods of concentration.

For one of these configurations the textile belt even embraces one of the columns, uniting light and architecture together in a single stroke.

Meanwhile for the areas where more solitary concentration is specified Africa comes into play, conceived by designer Franscisco Gomez Paz, a portable element whose lightweight aspect confers a light more suited to focused attention. Within the open plan area where different things are happening simultaneously its scale allows for a more personal work area to be defined without the desk becoming isolated from the rest of the team, favouring those spontaneous encounters when someone stops to look over a drawing, or works on in silence developing an idea.

Vibia The Edit - A workspace defined by light - Africa

And finally, in the always busy meeting room, the Bind collection, designed by Martín Azúa, is integrated into the ceiling via a recessed system in a beige finish that complements the timber finishes featured here. Its presence provides the necessary clarity for conversations, presentations, or decisions that shape the course of each project. Without overwhelming the space, Bind fosters a serene atmosphere in which design ideas can be discussed calmly.

Vibia The Edit - A workspace defined by light - Bind

Each light fitting is specifically responding to a different time of day within the studio’s daily routine. While the Plusminus collection marks the continuity and rhythm of collaborative working, the Africa collection introduces a more individual focus, while the Bind collection adds balance to meeting spaces. All together however they add something much more important: they compliment the phases of the workday, setting up a dialogue with the surrounding natural light and colour scheme to create a carefully curated cohesive and adaptable working environment where architects’ imagination takes shape.