Advertising House PUBLICIS

All the merits and the respect go to D. Arch Cornel Dumitrescu and to Teddy Dumitrescu (the owner of the building and of the agency), the initiator and coordinator of this restoration project, which benefited of a true rebirth.

„My implication in this interior design project started, I might say, with the stubbornness of keeping the entrance door, made from authentic wrought iron. The door belonged to the house and had an emblematic value for the building, being a true masterpiece, and the decision of keeping it makes me glad even now. The design of this space was a true challenge for me, a good imagination exercise, given the fact that this wasn’t my first highly rated press agency project. It was interesting because I could think of something completely different, designed for a space that had the same destination. I believe that it is essential for you to always be able to conceive something new, unencountered before, and not to repeat yourself, even if the hand of a designer can sometimes be unrecognizable. During the brainstorming process I had a permanent stilmulus, namely the dialogue with the customer, that led to the reconfiguration and metamorphosis of the first suggestions. Thus, the final form of the project is the result of various stages that happened thanks to this interaction.”

The theme of this project was to create a space with a contemporary expression, a visual experience, a declarative concept – expression of unconventional ideas that inspire the viewer to react. We tried to declare something new each time, of course, in scenographic terms – a „statement”. This attitude is meant to stir up the viewer, it is the conceptual leit-motif of the design. This visual language is found in most areas: the reception area, the conference rooms, the coffee area, the open space areas, and last, but not least, in the bathrooms, where the approach is playful, anecdotal, through the decorative mural painting.

The colour pallette that has been chosen, the very light tones of grey and the whites are meant to emphasize the spaciousness of the building and to allow the natural light to „wash” the walls, but also to sustain the conceptual message.


A conference room, also known as „the white conference room”, is almost completely monochrome, white, obviously in different tones, this colour being found not only in the finish of the walls, but also in the furniture, creating a metaphysical atmosphere through the projection of the shadows of these statues.


In areas such as the reception space, the first contact point for every visitor, and in the coffee area, there are intense colour accents that were deliberately chosen this way: vermillion red, orange, light green (from the registry of the „sour”, candy-like colours), tonic colours that create a fresh and vivacious contrast with the neutral background.


The graphic language includes decorative patterns of modern persuasion, stylized works with citadine, vegetal or neo-baroque patterns.


These elements develop on the large walls and are meant to work as a background. They were created through mural techniques, namely mural painting or other types of surfaces, such as wallpaper or serigraphy stands.


The materials used for the finish of the floors are natural, such as sturdy wood and stone.
The parquet, even if it is made of a „traditional” material, has been reconfigured from elements that have been cut across the fibre and laid out in narrow and short segments that create a contemporary-looking structure. The stone, which covers the reception and the stairs, is a limestone that has fossils in its structure, which gives it a graphic look.


The modern language proposes associations and juxtapositions of contrasting heterogenous materials that create a dynamic dialogue, emphasizing each other. Thus, various furniture pieces are created from plastic material with impeccable and clear look, emphasizing themselves on the natural surfaces.


The lighting objects are simple volumes, stylized shapes, minimalist in some areas, or lamps with technical character, like the ones used in studios.
In the cafeteria, for example, there are natural, unedited vegetal shapes, designed in a contemporary manner.
The concept of minimalist, modern, citadine space results from all these elements that represent the contemporary life, but also from their scenery as a whole: the scenery that emphasizes the dominant language of modern and sophisticated graphic design.


Design and Concept Publicis headquarters: Erna Berger Moise