Sean Anderson pleads for painting your office black

His traditionalist design roots and innate southern charm would never be revealing, but Sean Anderson has an affinity for the dark. The tonal genre, which creates an ambience, of course, often masking the walls and ceilings of its residential projects in dark and deep hues. The effect, much like the Memphis, Tennessee designer himself, is rich in soul. For proof, look no further than Anderson’s office, located in a small square building in the Midtown district of Memphis, with its black facade paving the way for the equally cocooning palette inside.

“People think black is oppressive, but it has the opposite reaction to me,” Anderson told AD PRO. “Black is comfortable and cozy.” In such an environment, Anderson and his team of six can easily expand, a significant improvement over the cramped, one-room desk the company had almost two years ago. “It just wasn’t working,” says Anderson, “but I love to see how the new location affected the team. We are inspired every day.

In the office entrance, the walls are finished in Roman clay to “add a bit of texture and lightness,” says Anderson.

Photo: Haris Kenjar

Like an ever-changing mood board, the office can be best defined as “a moving gallery,” teeming with “weird and obscure things that don’t really go everywhere but that I love and have picked up in class. road, ”says Anderson, whose clientele is mostly based in the South, with a few recent projects in Utah and New York. Constantly rotating through antique furniture and artwork in the company’s neighboring warehouse, Anderson assures us that “if something starts to look sterile, we move things. I like to use this desk as a canvas, to show the extent of what we can do.

More often than not, parts create the perfect fodder when consulting with customers. Or maybe even a place in a project, as was the case with a bridal boutique in the works, Anderson’s first foray into commercial design. “I trust the process; they will find a home when they are supposed to find it.

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