As a 24/7 hub for serious journalism, the ntv News Studio serves as a direct interface to ntv’s global correspondent network. This design provides a multi-dimensional stage that prioritizes human presence over virtual backgrounds. Furthermore, three primary presentation zones anchor the reporting in an immediately perceptible reality.

Under the concept of “Squaring the Frame,” the design deliberately eschews the organic curves typical of traditional broadcast sets. Instead, this architectural rigor creates a linear language defined by sharp spatial edges. These edges function as spatial anchor points for dynamic camera perspectives. Consequently, “no cutting corners” serves as both an aesthetic principle and a conceptual mandate for precise, direct reporting.

A reductive color palette further refines the visual identity. Neutral grays replace traditional “broadcast blue,” allowing ntv’s signature red to stand out as the primary visual signifier. Projected across 70 sqm of high-resolution LED surfaces, this branding remains consistent across all digital platforms for ntv.

At the heart of the studio lies a level of robotic automation unprecedented in the German news landscape. To bridge creative ambition and technical execution, Veech x Veech treated the design as a living digital ecosystem long before physical construction began.

Specifically, the team integrated proprietary software developed by XRT Studio to enable a hybrid digital workflow. Every camera angle and graphical interaction was tested in real-time simulation prior to installation. This “live prototyping” ensured complete creative control while eliminating operational risks.

The final result establishes a stringent spatial logic for the ntv News Studio. AI-supported audio and voice-recognition teleprompters work seamlessly with five robotic camera systems, including four roving units and an 18-meter ceiling rail cam. Ultimately, this high degree of automation liberates the editorial team to focus entirely on professional journalism while maintaining flawless, choreographed consistency.

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In an environment optimized for 24/7 live reporting, the studio serves as a specialized real-time interface for the integration of remote feeds and uncut news cycles. Navigating a compact 120sqm footprint, the design achieves maximum functional utility through a streamlined spatial logic. Every architectural element is engineered to support the fast-paced demands of non-stop global event coverage while maintaining the authoritative on-air presence characteristic of the Al Jazeera brand.

The resulting media hub provides a sophisticated, durable environment that balances high-utility broadcast requirements with refined architectural clarity. It stands as a vital, responsive component of the network, built to uphold brand consistency and technical excellence across a continuous international broadcast schedule.

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Embracing its print legacy, the media space retains key design principles while venturing into innovative digital communication channels. It champions Die Presse’s iconic serif typeface and vibrant color palette, infusing traditional elements into a contemporary framework.

At the intersection of graphics and architecture, the studio captivates with its bold contrast and minimalist aesthetic, reminiscent of Kubrick’s visionary style. Its design prioritizes content, offering versatility for diverse scenarios and activities.

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At the heart of this innovative space are the curved LED screen surfaces, meticulously integrated to provide a visually captivating backdrop for news presentations and analysis. Complemented by a computer-controlled rotating news table, designed to enhance collaboration among journalists, this setup ensures a dynamic and engaging experience for both the Nova team and their audience.

The attention to detail extends beyond aesthetics, with every aspect of the new media space engineered to optimize functionality and versatility. Equipped with state-of-the-art broadcasting technology, Nova’s team of journalists and content creators are empowered to deliver compelling and impactful storytelling across various platforms, ensuring their content remains at the forefront of viewer engagement.

As VxV celebrates the completion of this transformative project, we are eager to witness the positive impact it will have on Nova’s broadcasting capabilities. Through our ongoing collaboration, we remain committed to supporting Nova’s mission of delivering high-quality content that resonates with audiences, cementing their position as a leading media outlet in Croatia and beyond.

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Designed with a focus on functionality and efficiency, the studio features visually striking elements such as large format LED surfaces and bespoke minimalist furniture. These elements not only contribute to the studio’s aesthetic appeal but also align seamlessly with TVNova’s brand identity and news storytelling objectives.

“This studio represents a significant investment in our broadcasting capabilities,” said Alan Zaruba, Creative Director at TVNova. “We are excited to introduce a modern and versatile space that will enable us to deliver news content more effectively to our audience.”

The collaboration between TVNova and VxV, renowned for its modernist approach, has been instrumental in bringing this project to fruition. By leveraging VxV’s expertise, TVNova has created a studio that sets new standards for news broadcasting in the region.

The launch of the new News & Information studio underscores TVNova’s commitment to innovation and excellence in journalism. With its advanced technology and sophisticated design, the studio is poised to enhance the viewer experience and reinforce TVNova’s position as a trusted source of news and information.

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Advanced technologies seamlessly synchronize media with space within the RTL News Studio. RTL provides anchors with a physical 445-square-meter environment that transforms continuously. High-precision, robotically controlled LED modules reconfigure throughout the daily schedule.

Four individually suspended screens glide along a ceiling-mounted rail system. These screens enable precision movements for dynamic spatial formats. Furthermore, they create a seamless 12-meter panoramic view.

In addition, robotically controlled cameras support this 24/7 multimedia environment. The dynamic system supports format-specific compositions while retaining distinctive brand identities. A bespoke family of modular furniture pieces enhances flexibility across modern broadcast studio design.

This project reaffirms Veech x Veech’s holistic strategy. By commissioning this real studio environment, RTL Germany redefined its core visual identity. Stephan Schmitter, CEO of RTL Germany, stated: “The new RTL News Studio takes our news formats to an entirely new level.”

“We develop dynamic media environments with increased efficiency,” explains Stuart Veech, creative director. Consequently, this architectural identity acts as a catalyst for new cross-platform formats. Mascha Veech, principal architect, adds that design must prioritize the human element.

Technically, the modular RTL News Studio relies on high-resolution LED walls arranged by a robotic automation system. Additionally, a Technodolly crane and an elevated rail camera provide dynamic choreography. Finally, eight bespoke modular desks support future expansions.

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The design concept by VXV embodies a minimalist aesthetic, focusing on monolithic white forms that create a clean, modern backdrop. Large-format LED screens are strategically integrated into the space, forming a dynamic digital surface that evolves with the program content. These screens are carefully offset in space, creating a layered, immersive environment that contrasts and interacts with the physical elements of the studio.

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This significant collaboration further solidifies VxV’s longstanding partnership with RBMH & STV, dating back to 2007. Driven by our commitment to innovation and excellence, VxV continues to lead the way in creating exceptional spaces that redefine the global broadcasting landscape.

The integration of our newly implemented modular LED display system marks a pivotal advancement, enabling seamless transitions between diverse program formats while maximizing visual impact and spatial presentation. Enhanced with animated AR graphics and XR (Extended Reality) extensions, this cutting-edge technology redefines the viewer experience, offering unparalleled engagement and immersion.

From the electrifying atmosphere of sports events to the insightful analysis of news magazine programs, the fusion of modular LED displays and immersive graphics ensures each moment captivates audiences, delivering information with unparalleled clarity and sophistication.

We take great pride in leveraging this innovative solution to elevate storytelling and foster enduring connections with audiences, delivering unforgettable viewing experiences for Red Bull Media House / ServusTV audiences.

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Veech x Veech designed the original studio launch in 2009, followed by key upgrades in 2013 and 2015. Consequently, this latest transformation elevates the ServusTV News Studio into a fully responsive 200-degree media environment.

Advanced technological precision defines every aspect of the physical architecture. Furthermore, two animated high-resolution LED screens glide effortlessly along recessed ceiling tracks. These mobile screens create flexible, panoramic video surfaces for dynamic live broadcasts.

In addition, a secondary perimeter LED wall introduces ambient color branding and spatial depth. This illumination system combines seamlessly with the primary curved LED surface to optimize visual framing. As a result, the facility adapts seamlessly across multiple live program formats.

The central highlight of the studio is an iconic, sculptural S-shape presenter desk. Positioned on a pivoting platform disc, the desk allows complete control when choreographing presenter movement in real time. In fact, this custom 3D-formed Corian desk elegantly hovers above the floor surface. Pixel-controlled LED lighting accentuates its transparent curved base.

Careful attention to floor surface treatments introduces subtle textural nuances across the entire set. Consequently, the team achieved an optimal balance between functional technology and physical presence. Ultimately, the ServusTV News Studio merges aesthetic elegance, technical precision, and robotic automation into a unified media space.

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In 2014, VXV designed the AJE London broadcast studio located in the iconic Shard Tower designed by architect famed Renzo Piano (link: VXV_AJE London Shard Tower Studio). VXV followed up by designing a new Network Building and shared space housing both the Al Jazeera Arabic & English channels in 2016 (link: VXV_AJMN Network Studio Building Facility – Doha). This project highlighted VXV´s expertise in unifying architectural, broadcast, operations, and workflow disciplines into one bespoke cutting edge facility.

Whilst VXV´s AJE – Doha can be viewed as an extension of the London Shard brand design, the studio incorporates new design elements and a 360-degree live newsroom environment integrating the news desks into the overall design solution.

A 35m curved video surface allows for the stand-up presenter to move freely along the wall to introduce dynamic content and program segments (Business, Sports, etc) within the News Hour schedule, as well as, special feature and current affair segments.

An illuminated circular news desk facilitates easy hand-over transitions between the program segments enhanced by a 360-degree pivoting platform providing dynamic camera choreography to also integrate the newsroom as a live visual backdrop.

Commenting on the refresh, Duncan Preston, Head of AJMN Global Creative stated, “This has been an amazing project, a huge effort has been made by all departments, coming together with one vision; the aim of creating a more dynamic, modern and fresh on-screen presence that will really enhance and promote the Al Jazeera brand as we move into a new decade”.

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link to 360-degree panoramic view: https://btvnovinite.bg/novotostudio

bTV interview with VXV Creative Director link: https://btvnovinite.bg/predavania/tazi-sabota-i-nedelia/kak-se-pravi-televizionno-studio-na-svetovno-nivo.html

VXV integrated a series of eight high-resolution LED video walls embedded into a nearly continuous perimeter ambient 10.4mm LED video wall to provide a vibrant luminous surface for both content presentation and brand identity. All three set locations are equipped with different LED configurations which underscores a subtle secondary branding of each programme due to the contrasting video content and camera framing. Each programme utilizes augmented technologies to enhance the content presentation throughout the current daily 8hr schedule broadcasted from the studio space. The design allows for a dynamic choreography of camera compositions as the programmes utilize multiple areas of the studio for different types of content presentation resulting in a more free flowing fluid information-age environment.

About bTV

bTV Media Group, part of the family of Central European Media Enterprises (CME) and TimeWarner, is the most comprehensive source of information and entertainment on the Bulgarian and central European media market.

“After holding an international pitch where we invited the best design and architecture companies in the world, it’s a privilege for us that we managed to attract Veech x Veech, known for their revolutionary projects on the world market, in Bulgaria. The design they created for us is a significant step ahead for the TV industry all across Europe,” commented Venelin Petkov, News, Current Affairs and Sports Director of bTV Media Group.

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Veech x Veech´s primary focus was to clearly differentiate the design language from the ORF2 Newsroom (ZIB1 / ZIB2) designed originally in 2007 and still on-air also with a series of secondary current affairs and discussion formats. The visual language is distinctive by contrasting the futuristic luminous space designed by VXV in 2013 (https://veechxveech.com/project/broadcast-studios/orf/). The material haptic was also modified to introduce a more architectural character introducing concrete surfaces (floor & wall treatments), wood (news plinth, platform) and a composition of 7 high resolution LED video walls all varying in size. The LED walls emphasize the perspective linearity and allow maximum efficiency and flexibility in both program pre-sets and camera choreography.

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An undulating canopy, precisely contoured to shade the studio’s south-facing glass façade, cantilevers from a 36m lateral structural support. The light exposure is regulated by polarization filter panels integrated into the façade, and balanced inside the studio by digital controllers synchronised with the cameras. The natural light changes the character of the broadcast studio throughout the day and visually connects the studio to the landscape outside.

Synergies between the architecture, broadcast media and choreographed lighting add flexibility and versatility to the production workflow and simultaneous transmission of content. Synergies between the ambient light and the integrated LED lighting technologies enhance the effects created by the imaging technologies, immersive graphics and Augmented Reality content broadcast to viewers. Producing and broadcasting multiple programmes from a single studio requires a responsive environment that can easily reconfigure individual sets to create an array of distinct programme identities. ‘The studio blends real environments and digital media together in ways that create new forms of interaction and communication,’ Stuart Veech explains. ‘Synergies between the architecture and workflow generate unique content that traditional facilities can’t provide. They create new forms of newsgathering, make production more flexible and generate content that amplifies the messages being broadcast.’

Custom-made objects designed for the broadcast studios include a sweeping seat and corresponding table that can be filmed from all angles. The curvilinear shapes characterising the furniture also structure the floors, walls and lighting designs to make the studio’s overall composition more dynamic. ‘We developed the designs in response to the Al Jazeera Media Network logo,’ explains Mascha Veech-Kosmatschof. ’They reflect the curves and asymmetry of the calligraphy in the logo, and add a subtle layer of branding to the furniture design.’

The choice of smooth materials, such as Corian and tempered glass, contrasts with the furniture’s sharp angles and soft fabrics to heighten the haptic sensations appearing on screen. LED lighting arrays and digitally-controlled video cubes integrated into the ceiling are interspersed with custom-made acoustic panels that mirror the curving shapes in the studio beneath them. As the architecture suffuses the sets with shadows and light, their surfaces acquire textures that boost their tactile appeal.

The Network Studio Building provides a compelling new vision for how architecture, studio design, broadcast media and digital media can relate television production to the landscapes around them. By controlling a diverse range of design requirements, VXV introduced a new level of transparency to broadcast environments. At a time when broadcast networks are looking for new ways to integrate virtual content into real world studios, VXV are creating visionary designs for an increasingly adaptable industry.

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Conceived as a hybrid broadcast studio and production workplace, the 1,100m² studio contains three individual sets bordered by open-plan areas with space for 100 workstations. Constructed in a space spanning two levels, the studio and workplace are flanked by galleries that provide egress for visitors and employees from other parts of the complex. The facility’s long, lateral proportions and 360º perspectives provides space for more than 70 different camera positions and sweeping vantage points across all parts of the studio. The studio’s fluid layout also creates the flexibility to develop individual sets and special formats for regular programmes and ‘breaking news’ bulletins.

A wide range of broadcast technologies were integrated into architectural components and digitally-enabled surfaces to make media migration from one news production system to another as seamless as possible. The technologies automatically capture contextual metadata collected during newsgathering and make it easier for the production team to synchronise it with on-screen graphics, video clips and Augmented Reality visuals. The studio facilitates dynamic communications between newsroom computer systems and news production systems. Embedded technologies relay data to the lighting systems, cuing them to alter illumination levels, change colour or respond to new camera angles.

The studio was designed with a 3D immersive graphic area and responsive LED surfaces that reconfigure lighting levels and colour tones as new segments are broadcast. The synergy between the built structures and the technologies enables the newsroom to transcend the limitations imposed by traditional studios and perform like a multimedia workflow engine. ‘We designed all elements of the space to facilitate the fast-paced nature of newsgathering and reporting,’ says Stuart Veech. ‘As a result, the newsroom is dynamic, interactive and flexible enough to meet the needs of all the teams involved.’

The central news desk designed for the studio was crafted in the signature contouring shape that characterises the set in Al Jazeera’s London newsroom. The news desk, together with the curvilinear forms that characterise the studio backdrops, provides visual links between the two spaces to reinforce the network’s brand identity across its broadcast channels. ‘Just as the digital media animates space with information, the architecture and design features enable the production team to generate and transmit content in new ways,’ says Stuart Veech. ‘It makes Al Jazeera’s output even more unique, because few other broadcasters have been able to build such a technologically-advanced brand.’

As broadcast environments become increasingly digitalised, VXV are designing for an increasingly virtual world. Intangible features, such as transparency, fluidity, flow and agility are as essential to production and broadcast as they are to the spatial parameters inside the studio. As a result, the new studio comprises a multichannel system that merges media production and metadata intake into a single workflow, making production and distribution flexible, faster and more efficient.

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An undulating canopy, precisely contoured to shade the studio’s south-facing glass façade, cantilevers from a 36m lateral structural support. The light exposure is regulated by polarization filter panels integrated into the façade, and balanced inside the studio by digital controllers synchronised with the cameras. The natural light changes the character of the broadcast studio throughout the day and visually connects the studio to the landscape outside.

Synergies between the architecture, broadcast media and choreographed lighting add flexibility and versatility to the production workflow and simultaneous transmission of content. Synergies between the ambient light and the integrated LED lighting technologies enhance the effects created by the imaging technologies, immersive graphics and Augmented Reality content broadcast to viewers. Producing and broadcasting multiple programmes from a single studio requires a responsive environment that can easily reconfigure individual sets to create an array of distinct programme identities. ‘The studio blends real environments and digital media together in ways that create new forms of interaction and communication,’ Stuart Veech explains. ‘Synergies between the architecture and workflow generate unique content that traditional facilities can’t provide. They create new forms of newsgathering, make production more flexible and generate content that amplifies the messages being broadcast.’

Custom-made objects designed for the broadcast studios include a sweeping seat and corresponding table that can be filmed from all angles. The curvilinear shapes characterising the furniture also structure the floors, walls and lighting designs to make the studio’s overall composition more dynamic. ‘We developed the designs in response to the Al Jazeera Media Network logo,’ explains Mascha Veech-Kosmatschof. ’They reflect the curves and asymmetry of the calligraphy in the logo, and add a subtle layer of branding to the furniture design.’

The choice of smooth materials, such as Corian and tempered glass, contrasts with the furniture’s sharp angles and soft fabrics to heighten the haptic sensations appearing on screen. LED lighting arrays and digitally-controlled video cubes integrated into the ceiling are interspersed with custom-made acoustic panels that mirror the curving shapes in the studio beneath them. As the architecture suffuses the sets with shadows and light, their surfaces acquire textures that boost their tactile appeal.

The Network Studio Building provides a compelling new vision for how architecture, studio design, broadcast media and digital media can relate television production to the landscapes around them. By controlling a diverse range of design requirements, VXV introduced a new level of transparency to broadcast environments. At a time when broadcast networks are looking for new ways to integrate virtual content into real world studios, VXV are creating visionary designs for an increasingly adaptable industry.

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The backlit glass surface introduces an ambient color branding for each program event while the large format video wall frames the stage activities. The video wall is split into two separate moveable units which are flexible to create different spatial configurations for animated video content.

The complex spatial asymmetry of the space is softened by the introduction of convex and concave shaped printed textile walls providing both a subtle branding and surfaces for effect lighting projections.

In 2013, Veech X Veech designed the new foyer / event space to add more space for simultaneous events.

link https://veechxveech.com/project/exhibition-event/studio-44-loft/

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This design solution represents a radical shift from conventonal studio designs with perimeter walls defining the spatial interior. The modules define the spatial composition yet allow a flexibility in the camera choreography.

Each of the program formats (“heute konkret”,“thema”, “REPORT”, “WELTJournal / WELTJournal +” and “ECO”) manifests its own highly specific character, embodied in and supported by the different spatial perspectives produced by combinations of the three modules in conjunction with individualized colour palettes, CI elements, light choreographies and animated graphics.

Stuart A. Veech, Creative Director of Veech x Veech, explains: “The challenge was to create modular frames that could be easily re-positioned, enabling the transformation of the spatial configurations with a minimal set of moves and maximizing dynamic camera compositions whilst reducing the time required to set up the individual studio situations.”

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The primary challenge was the resolution of the image, which required a totally new approach to the design of the on-air spaces. The design team sculpted the space with light and media content to achieve a maximum benefit of the overall spatial resolution required for HD. In addition to the standard studio lighting, there are seven different primary lighting surfaces, each of which is either pre-programmed in various modes or responds to changes in other sources with various effects – soft or diffused, direct or indirect, vibrant or reflective, animated or ambient – resulting in overall luminous, highly articulated spaces.

The design intent for this studio was to achieve a perfect synergy between information and emotion in the form of a future-oriented ambience capable of communicating the dynamic intensity of today’s sports. The differentiation of the various program formats within the overall visual identity is accomplished by means of a combination of elements. A dynamic background, consisting of an ensemble of forty curved, 3D, two-toned louvres reflects and refracts the full-scale rear-projected LED media installations, creating a dynamic sculptural plasticity and depth that is accentuated in each individual program by color branding and sliding elements integrated into the perimeter wall. The sophisticated, meticulously choreographed and pre-programmed LED lighting enables flexibility in the fine tuning of spatial luminosity and the definition of studio depth perception.

 The scheme features ground-breaking media technology, including, as a centerpiece, a curved, 1.8 x 6.5m, high-resolution LED wall with a 1.6mm pixel pitch, delivering high performance images and video quality captured from all camera angles. The dynamically-shaped central presenter desk incorporates up to four persons. Above this main presentation island hovers a large-scale, ceiling lighting element that reinforces the perspective definition.

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The design team delivered more than 2000sqm of workspace with custom-made furniture for this young, innovation-driven workforce, including open-plan offices, edit rooms, meeting rooms and a multifunctional foyer.

Alongside the functional and technical requirements, the design goal was to translate the aerodynamic design world of Red Bull racing into a sleek and formal design language that embedded media technologies.

The new ServusTV news studio incorporates two different broadcasts. The differentiation between the two formats is achieved by means of the materials and surface structures of the presenter desks as well as custom-designed light choreographies.

While cooler shades of blue emphasize the informative, factual nature of the news broadcast “Servus Journal”, warm orange and yellow shades underscore the entertainment interest of the TV magazine “Servus Krone”.

The two identically-shaped presenter desks, connected by a platform and accentuated by lighting, are a visual embodiment of the studio’s dual identity and at the same time structure the space.

A centrally suspended, moveable, nine-unit video wall, equipped with a motor and a remote control to enable automatic sliding into various positions, enhances smooth on-air transitions between the programs in terms of both camera technology and dramaturgy.

The design is the ideal solution to the challenge of accommodating two different program formats within a single, rather small space. The new studio gives the space a dual identity without dividing it in two.

The result is an impression of spaciousness and sophistication, with the added advantage of practical, cost-saving logistics. Integrated, dynamic LED lighting enables flexibility in the fine tuning of spatial luminosity and depth perception, accentuating the sharp, clean lines of the newsroom design.

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By adopting some of the most sophisticated techniques in lighting design and engineering, these fixed units are capable of handling any camera angle or illumination level. Specialist filters have been incorporated into the glass façade and cameras to manage the light exposure from the outside world, further demonstrating the high level of design and performance of the studio that separates it from the normal ‘black box’ approach.

Creating such media hubs is highly specialised and requires precision design, using the camera as an additional tool as part of the process – the perspective of the studio appears differently on screen as opposed to the real-life experience. Digital 3D modeling and 1:1 mockups were used extensively to test and accentuate the perspective composition of the news desk and set design to create a dynamic on-air look, framing the panoramic London skyline. Architects Veech x Veech have applied their comprehensive experience in this specific area of design to create a single space that can interact simultaneously with the lighting, the view out to the capital and the digital presentation screens.

Veech x Veech was also appointed to create the adjacent newsroom to the studio so there would be a direct stylistic link between the two spaces. A bespoke curved desk echoes the newsdesk and contributes to the strong brand identity as the newsroom is also used as a backdrop to the filming in the studio.

Patrick Bedeau, Al Jazeera Global Art Director, comments: “This exciting project challenges the way news is made and required the design team to adopt a radical approach, integrating the broadcast studio into the office space within an open-plan setting. The result is the most technologically advanced global production facility anywhere in the world.”

Stuart A. Veech, Creative Director, Veech x Veech adds: “The major challenge was to the invert the restrictive constraints of a high rise building into a design asset by restructuring the perspective composition to enhance a cinematic wide-angle depth of space resulting in the unique channel spatial brand identity”.

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Designing an entirely white environment enabled Veech x Veech to use the presenter as a focal point and build an abstract space, allowing the presenter to dramatically stand out from the set.

Other design parameters included the absence of floor, wall or ceiling definition, an element that was conceived in tandem with using cameras that were always moving, thereby creating a dynamic space. This meant that as the camera panned around the transparent object suspended in the foreground, the presenter continually vanished and then reappeared, breaking a broadcast taboo.

This concept highlights Veech x Veech’s innovative design approach, which is to pare back designs to their essentials and focus on the architectural framing of the space.

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ORF turned to Veech x Veech to deliver an exciting studio that mirrored this ambition yet was flexible enough to work across various programmes and formats. The team’s response was to create a striking design with a white perimeter wall that glows against the black backdrop of the studio. This wall, featuring integrated media screens framed in black, is wrapped around an elevated news island that can support a variety of programming formats and draws the viewer’s eye to the centre of the studio and the presenters.

Colours specific to each programme are overlaid to provide unique on-screen branding for each one, thereby giving the broadcaster a multifunctional space.

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The office’s design for a modular tower was clad in Alucobond and provided a contemporary and dramatic contrast to the surrounding historic buildings. The site’s complex demands required the structure to be positioned on tram lines to enable the best position looking out over the plaza, meaning that the team not only had to create a powerful design, but also had to plan for complicated logistics to enable swift five-day construction. The building transformed the area into a public meeting point throughout a live media event.

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The architects decided to introduce shadow as a design tool – a radical, unorthodox route to use within broadcast media. The team designed sculptural angular objects clad in aluminium that both created dramatic shadows and refracted light around the space. These worked well against the video backdrop, which layered three projections to create an impactful textual effect. Camera movements enhanced the spatial atmosphere, framing both projected video content and presenter in new compositions that added to the programme identity.

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The video wall unit configurations allow different camera framings for a range of programmes that currently include eight daily news programmes and 10 weekly current affairs magazines. This enables the channel to extend current programming or add new programmes, easily utilising the existing studio by simply changing the layout of the video walls to create different framing devices for the camera, together with different branding and colours.

The redesign process and refit took six months, during which time the channel remained on the air, broadcasting from the same studio for the entire time, meaning that logistic considerations were paramount.

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The studio’s name derives from the use of reflective twisted plastic to make a perimeter wall. Integrated into this wall is LED lighting that is programmed to change colour, which creates a series of dynamic lighting effects and atmospheres.

This sophisticated approach to lighting not only uses colour but also plays with reflection and shadow. When teamed with the movement of the studio cameras, this results in highly unusual and theatrical televisual effects. The project highlights the complexity of designing for media broadcast and the need to factor in the camera as an additional design consideration and tool.

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