Radical Re:Form

H+A Studio's modular Surat office is a study in design and colour fundamentals

17 Jul 2025

For H+A Studio’s principal architects, Aayushi Amit Gajjar and Harihar Lacewala, it wasn’t a grand brief or glossy mood board that sparked inspiration for their new workspace — it was rubble. As they watched the demolition of their former office, they were struck by the sheer amount of waste left behind. Plywood scraps, artificial wooden substitutes and discarded fixtures piled up, prompting a radical question: Could a workspace be built to evolve, rather than expire? Rising from the dust (literally) they designed a new kind of office: one that is modular, unconventional and energised through colour.

Living up to its moniker, Re:Form, the architects approached this 1,500 sq. ft. Surat studio with flexibility at its core. Every element is designed to be modular and multifunctional. The result is less a static office and more a dynamic toolkit, poised to reconfigure itself at a moment’s notice.

"Essence of multifunctionality, flexibility and reusability are the core design ethos of the studio" — Aayushi Amit Gajjar and Harihar Lacewala

The central discussion area doubles as a material library and an informal waiting room; Photography by Ishita Sitwala

COLOUR, STEEL AND SECRETS

Inspired by Le Corbusier’s theory of Architectural Polychromy, the architects approach colour as a tool to shape spatial perception. “We made a conscious decision to introduce certain colours in the studio so as to visually modify the proportions and volume of the space,” they explain. Primary hues like bright red and blue are used sparingly, adding a layer of playfulness against the otherwise muted tones of wood and metal. What emerges is a palette where materials like hot-rolled mild steel and stained birch ply coexist with unconventional harmony.

This material play lends itself to a unique experience. Birch ply doors are stained in alternating layers of red and blue, so that upon opening, “they create an interesting visual play of parallel lines,” echoing both the grain of the wood and the logic of the design. Sleek, perforated stainless steel partitions glide into place to allow for moments of privacy, while a hot-rolled mild steel wall doubles as both a magnetic surface and an everyday scale reference. Solid and glass partitions create a visual maze of reflections that allows maximum sunlight to penetrate the studio. Then, there are the surprises: a hidden puja room accessible only after disassembling a seat, or a bespoke sink reimagined from discarded copper pipes. “Nothing is straightforward as it visually looks,” they say — and that’s exactly the point!

Birch Ply frames define every space and the central aisle is no exception. The Globe Light from Smart Light and an abstract illustration of the studio are visible, both mounted on satin-finish painted walls; Photography by Ishita Sitwala

MULTIFUNCTIONAL CHALLENGES

The central spine of the studio is, according to the architects, a jack of all trades. Within a limited footprint, it takes on many forms — a buffer for movement, a space for discussion and waiting, a unit for storage and a visual datum for visitors — setting the initial tone of the studio. Its multifunctional nature and lack of spatial leeway made it the most challenging part to design.

The central discussion area features custom furniture in natural as well as red-stained birch ply, paired with the Globe Light from Smart Light; Photography by Ishita Sitwala

The conference table is constructed entirely from upcycled galvanised iron pipes and glass. It is paired with the KRYLBO Chair from IKEA and the Updown Linea from Bee Dee & Co; Photography by Ishita Sitwala

LINES AND THEN SOME MORE

All these individual elements are tied together by a strong formal language that begins with the line. Explored quite literally in all possible forms, lines traverse every surface of the office. From the shadows cast by the blinds to the Mondrian-inspired desks, from the linear shelving to the framing of glass partitions, the space reads almost like a formal study in geometry. The abundance of negative space, particularly within layered storage units, makes the studio feel infinitely navigable.

Amidst this ordered grid, though, are a few sculptural elements that break the rhythm. Spring-like, meandering forms support overhead lighting and the soft edges of rods interrupt the linear framework. These sinuous forms catch the eye instantly, not as anomalies but as calculated gestures that bring a moment of levity to an otherwise precise grid. They read as punctuation marks in a space primarily defined by lines.