Hollywood Headquarters

After gutting the space, the first thing Brent did was to create movement, passages to other environments, all done with a goal of grounding and calming down the previously chaotic space. One of the best things that he did was to create perforated arcs, shutters and walls, inspired by the work of the renowned Hungarian-French designer Mathieu Matégot. ‘If we had a wall that seemed like a blockage, we perforated it,’ says Brent wryly.

One other important ‘rule’ of the project was an exactingly curated group of colours and materials. Suede, marble and plaster were used throughout; if it could be plastered, it was. Bright primary colours were banished in place of hues that could lower your blood pressure: whites, creams and greys. And if it couldn’t be one of those colours, we used a metal in that shade. Chrome, for example. Lots of chrome.

‘The end result was very much influenced by design of the 1930s and also the 1970s,’ says Brent of the OFFICE DESIGN. ‘Curved walls, cashmere drapery everywhere covering video monitors. Some people might say that was weird, but I looked at it all as a challenge.’

Almost everything in the office was bespoke, right down to the individual vintage subway titles that took three months to find and polish. My favourite area is the conference room, which sports a handmade poured concrete table that seats more than 15 people. There is no colour in this room, no distraction from creativity.

Jeremiah’s favourite room is my office, with its lacquered dropped ceiling, fireplace and Jean Prouvé-inspired windows. ‘What I loved about this office is how it set up areas of freedom,’ says Brent. ‘There were areas you could be on your own, creating, and there were areas where you could participate.’

‘Creating a space for so many people to create in was humbling,’ says Brent. ‘It was one of the hardest jobs that I ever had, but ultimately, one of the most rewarding.’