Superbox is an office in which everything outside the screen has been emptied for the sake of the work completed within it. It is a space of White Interface—a background deliberately erased so that intensity belongs to the work rather than to the room—and this is not a visual preference but the principle that determines every decision, down to the single condition under which colour is permitted to appear.

The space is constructed through erasure rather than addition. Ducts, pipes and structure remain exposed and are unified in white, so that the services of the building are no longer defects to be concealed but a drawing extended across the entire ceiling. Rather than covering the ceiling with finishes, form is neutralised and the height of the space is used exactly as it stands.

Light is composed as squares. Panels of light-diffusing polycarbonate are inset into the ceilings of the meeting rooms and the executive room as a scattered grid—the smallest unit of a screen enlarged and lifted overhead—while continuous lines of light follow the direction of the desks across the working floor. Illumination becomes the only ornament the space permits.

Boundaries are made of glass rather than wall. Transparent full-height panes leave form unconcealed, while etched frosted glass holds the room intact and filters the field of vision. Glass folding doors return an enclosed space to an open one. Here separation is a setting rather than a state.

Within the achromatic space colour is functional, appearing only where the body meets the surface: the stainless risers and blue-toned cushions of the stepped hall, the orange of the meeting chairs, the fabric panels on the wall. The stair is an auditorium and equally a free place to work, and the transparency of white is completed by the vertical use of the space.

Superbox is a space calculated with functional precision. By resolving every surface into a single white, the room is made to withdraw, returning colour, light and attention to the people who make the screens.