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The design task consisted in transforming an existing office building from the 1990' to meet the current needs of the University's new Research Center. These transformations were to be kept to a minimum and involved alterations of the general layout of the open floors, adaptations of the building's technical aspects and up-dating the building to meet today's safety requirements. The new technical requirements of the research center and the consequence of working with an existing office building have worked together to provide the main framework for the works to be implemented and have led to a particular structure of the design approach.
The first task was to identify the elements of the building that had to be completely redone – the electrical network and the data network. In a second stage, the design efforts were channeled into investing the very limited budget left into works that permitted a "safe-mode" functioning of the research center. In this way, the interpretation of the brief discerned between spaces that required specific working conditions (regarding light, ventilation etc.) and other areas of the building that suggested a more loose approach of functional issues. By applying this grid, the former spaces were isolated and enjoyed a preferential treatment from the point of view of the design and of the technical facilities. The latter spaces, the ones in search for a vocation or those that should remain programmatically volatile for the benefit of the future development of the research center were mostly cleaned and rendered viable for use.
As a consequence, all technical equipment in the building was kept in sight so as to allow easy access for future adaptations to the yet unforeseen growth of the research center. The resulting image is more akin to the aesthetics of a workshop, one that is able to transform its appearance each day through its own means

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Apart from the rehabilitation of the valuable elements of the interwar apartment and the inevitable technical upgrades, the project looked for answers to two questions - one of a practical nature, the other more poetical.
The first issue was to find a furnishing solution that would meet the requirements of an architecture studio and invent storage areas. For this the answer was to build custom made furniture, designed to follow the irregularities of the walls. On the other hand, the project puts the height of the rooms to use by conceiving a volumetric frieze whose depth becomes the much needed storage areas.
The second question was how to imagine a wall finishing that would simultaneously meet four demands: to be remarkable, to illustrate the studio’s profile, to keep costs to a minimum and not to constitute applied decoration.
This led to the idea of not adding the final finishing layer to the walls (the plaster coating and the paint). The intent was to suggest a work in progress, a building site, and to reveal the qualities of the space itself, before being hijacked by the dresses it may wear, before its potential to become something else was used out.

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The medium size apartment was bought by a young family to be transformed into a pleasant home. The restriction on the intervention to the structure of the 80's block of flats has focused the interior design on the furniture. The pieces are attached to the surface of the walls and the visible surfaces are finished with materials that create decoration through mirroring or by facing one another - wood and white fiberboard in the small bedroom. The same seamless furniture is creating a see-through barrier between spaces with different use, by developing cur-outs from the entrance to the kitchen. The finishing of the walls and floor are discrete and neutral - white, grey, black - but also the natural nuance of wood.
The lamps are mare on the building site from specific objects - wooden sticks, metal cable, electrical socket - and create a connection between the rooms.

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Opera Center office building was built more than 10 years ago, when its two lobby areas were also designed. Situated in one of Bucharest's most prestigious neighbourhoods, with a well-defined character, Cotroceni, it is one of the most renowned office building in town.
The design brief specified that the two lobby areas had to undergo a remodelling process, one that however suggested keeping most of the existent materials, thus conferring a sustainable quality to the entire remodelling process. As a result, the intervention suggested superimposing a new layer applied on top of the original materials. In a similar manner, the furniture received either new upholstery or a second, more textured layer.
The proposed design was an idea coming out of the prestige that the area enjoys and its being a determining factor on how the building is perceived: consequently, the interior walls, easily perceptible from the outside, graphically reinterpret parts of the existing neighbourhood. Designed en raccourci, the images on the walls convey the impression of being on the street. By using a stencil and white HPL sheets, the black inside was revealed, therefore creating a black and white low relief.
The most important details of the graphically represented houses are accentuated with the use of projector-lamps. The ceiling, even though regarded mainly as a decorative piece, transforms the direct light into a mellow one, through a golden metallic grid. Specific graphic elements like the metallic fences in the area are transposed in the white metallic pattern that covers the existing lobby desks.

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The client's requirement for this project was to change the image of the existing lobby of Europe House office building without interfering with the main finishings (the granite plated on the walls and floor).
Analizing the existing situation we discovered that the main issue was not necessarily the obsolescence of the previous design. The real problem was the configuration with the numerous objects required by the programme in the same lobby space: the bar volume and the lounge area, two front desks, one for the entire building and the other for the main tenant, each of them with different waiting areas. The general impression was thereby chaotic, but not as a natural stance.
Our main idea was to change the programming of the space in order to redefine its qualities. The two necessary front desks are to be organized as one, as all waiting areas gather around a green space. The two mega-volumes create space around them, their disproportionate scale being copied in the perforated steel-plate ceiling. As a tic-tac-toe game, the space is splitted between the two main activities, the welcoming and the waiting area.

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Amenajarea se află într-o clădire tipică de birouri -Sema Park.Evident clădirea respectă clasicul grid de modulare corespunzator tehnologiei peretelui cortină. Acest grid se regăseşte la toate nivele de detaliere: placaje pereţi, pardoseli, tavane. Din punctul nostru de vedere, gridul raţional, impus de o logică tehnologică folosit ca unic discurs, nu ar fi putut evita corectitudinea plată a unei identitati corporatiste . Cerinta clientului de a imbunatatii atmosfera acestor lobby-uri, fără insă a modifica finisajele sau partiţiile interioare, ne-am rezumat  mijloacele de lucru la mobilier, lumini, accesorii.Pentru a putea modifica atmosfera interiorului, era necesar să intervenim cu elemente spaţiale care să impună o noua ordine, o nouă dinamica  si nu doar cu elemente decorative. Aveam nevoie de o intervenţie care să umple cu prezenţa ei, intreg spaţiul, care să accentueze importanţa celor doua spaţii in cadul clădirii.Diferenţierea consta intr-un nou grid , inspirat prin contrast, de ordinea naturii. Acesta are unghiuri de 120 de grade si ordoneaza atât mobilierul si  cât si corpurile de iluminat.  Tot in aceaşi idee, a fost ales materialul predominant – furnirul natural de lemn. Fiecare corp de mobilier a fost creat pornind de la o forma tip, adaptată gridului prin diferenţe specifice fiecărei utilizări: recepţie, canapea, jardinieră. Asupra mobilierului tip, s-au efectuat  tăieturi sau adăugiri pentru a creea ghivece pentru flori, locuri de stat, sau desk pentru recepţionist. Pentru a putea susţine raportul dinte gabaritul spaţiului si noua intervenţie era vital să avem o unitate daca nu unicitate a elementelor folosite. Repetiţia aceleiaşi forme, impreuna cu noua structura hexagonală de dispunere spaţială a făcut posibil crearea din elemente relativ mici a unui ansamblu la scara 
intregului lobby.

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The client's requirement for this project was to change the image of the existing lobby of Europe House office building without interfering with the main finishings (the granite plated on the walls and floor).
Analizing the existing situation we discovered that the main issue was not necessarily the obsolescence of the previous design. The real problem was the configuration with the numerous objects required by the programme in the same lobby space: the bar volume and the lounge area, two front desks, one for the entire building and the other for the main tenant, each of them with different waiting areas. The general impression was thereby chaotic, but not as a natural stance.
Our main idea was to change the programming of the space in order to redefine its qualities. The two necessary front desks are to be organized as one, as all waiting areas gather around a green space. The two mega-volumes create space around them, their disproportionately scale being copied in the perforated steel-plate ceiling. As a tic-tac-toe game, the space is splitted between the two main activities, the welcoming and the waiting area.

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After receiving the brief for refurbishing the air-locks of the basement elevators for Semaparc, our response focused on three directions: the spatial analysis, the configuration analysis and the proposal.
The spatial analysis revealed that the elevator lobbies were disregarded because they represented uninteresting spaces. What was to be discovered at the site were a lot of pipe types for ventilation, protection and fire safety, cables etc.
As for the configurative analysis, it was accepted that the basements of office buildings have become complicated machines that support the business upstairs. Though kept hidden in the rest of the building, these technical functions are being unravelled in the basement. Considering their importance for the entire complex functionality, we decided that these services should not be removed from the lift lobbies, but valued.
Following the analysis mentioned above, the proposal was developed around the underground machine theme. The walls were to be painted emulating and exaggerating the idea of pipes, similar to PIPE GAME images, therefore a local artist, Pisica Pătrată was commissioned. The underdeveloped theme of emphasizing the technical infrastructure was sensibly interpreted by the artist, producing a piece of work that exceeded our expectations.
Hopefully our intervention will attract visitors, thus reviving the lift lobbies status, although situated in the basement.

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The unifing idea of the DeutschKulturWoche should be the culture that the Fall of the Berlin Wall made possible, the culture that it produced, generated, and the culture that the afterward unified Berlin fostered. The Fall of the Berlin Wall represented a different conquest of the city: after the fall, the city became a prize for everyone. Berliners were conquerors of a space – urban, political, cultural, etc. – previously denied to them. The immediate effect on Berlin city-life was an effervescence of use of public space that can still be seen in the density of art venues and cultural events, as well as felt in the streets, a predilect space for expression of art and individuality. This continues to be the specific trademark of the German capital – a city that values its reconquered public realm. The concept for Sala Dalles is to transform the main hall into an open arena for artistic experience and expression, a small scale Berlin that can host a variety of smaller events throughout the entire month of the lease: places to sit (styrofoam bricks), a beamer and a speaker-system. Along with free accessibility this infrastructure aims at transforming the use of Dalles central hall and to prepare it for the Cultural Week's programme, as well as for the spontaneous staging of unprogrammed events.

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This project is a collection of timely intervention in an area already built. All lobby and atrium’s finishings (floors, walls, ceilings) were fitted under the project of Westfourth Architecture, being the all copyright holders. Republic Office of Architects intervened punctually in the space, as follows:
GLASS BLADES: were fitted along the building access façade to emphasize linear qualities of space;
GLASS RECEPTION: is made from a series of overlapping horizontal strips with six layers interspersed with intent to diminish the perception of an uniform volume. The glass weight is transmitted to the floating floor through a metallic bracing; in the interspaces of this structure various storages find their place, wrapped in a uniform finish of Corian and MDF;
ATRIUM POTS: the client desired intensive planting of this great atrium space, but existing topsoil layer proved insufficient. Greening of the vertical plane was achieved by using a stainless steel mesh to support climbing plants;
ATRIUM LAMPS: for the functional area of the cafeteria, we have preferred a local lighting, not uniform. The leg lamp is deliberately chosen the same as the one used for exterior common areas;
ATRIUM BAR: stand-alone object with a simple as possible form, consisting of colorless finishes to avoid competition with the original space finishes. The object is black on the outside (glass enamelled) and white inside (Corian), thus defining distinct areas, both for customers and the bartender.

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In the existing 1930 building, the client intended to move the central quarters of an advertising firm. The house should represent the firm as a brand and also give space for a well functioning office.
Like in every office building there is a reception area and a hall way that communicate with the stair case, the managerial office and the meeting room. At the first floor, there are 3 working rooms that communicate through the main hall way.
The house, with its generous spaces, gave place for special rooms. At the first floor there is a large kitchen. The attic was transformed in a free space. Part of the roof was trasformed into an outside terrasse. All these communicate with a second stair case. These spaces are to be used as creation or meeting places. Part of these spaces are fully equipped so that in the future they may be used as office spaces as well.

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Pimp my Bedroom is a campaign for Axe Romania, developed in partnership with a local TV Station. The TV Show invites young men to change the way their "cribs" look like. The winners of the competition run by AXE are helped by the hip-hop band Parazitii, the leaders of the new generation, to transform their bedroom „from a snake hole in a bedroom of a super conqueror”. They are, in fact, calling for Republic of Architects help.
The winners are chosen randomly from an online subscription site. From Caracal to Pascani, from Piatra Neamt to Constanta, the 10sqm bedrooms from mainly apartment blocks are converted into Axe spaces.
Green drapers, walls upholstered in red, stencils, "tropical beach" decorative wallpaper, plus retail furnishings and some design elements populate the bedrooms.
Fun and demanding project. To be debated by the three hip hoppers from Parazitii can only be honorable.