Arealis Brasil Wraps a São Paulo Office for Everis's Creative Arm Around a Glowing Curved Counter

Chazz is the creative arm of Everis, the Spanish digital consultancy that belongs to the NTT DATA group. For its 300 m² office in Brooklin Paulista, the São Paulo studio Arealis Brasil had to solve a familiar problem. A creative team sits inside a large corporate structure, and its workplace needs to look and feel like its own culture, not like a satellite of head office. The studio says the design grew out of an immersion in the client's work. The project name, Chazz Pub, makes the intent plain: this is meant to feel closer to a neighbourhood bar than to a consultancy floor.

What interests us is how little the project leans on gimmicks to get there. There are no slides and no themed meeting pods. Arealis works with a short list of materials: timber desks, a sculpted black counter, hanging metal mesh and curved panels of ribbed green glass. It uses them to bend a standard open-plan office into something softer and more social. The curve does most of the work, and we think that is the right call for a floor this size.

A Counter That Organizes the Room

The black counter is the project's anchor. It sweeps through the plan in a continuous curve, and its base is lit with a warm strip that makes the mass appear to float above the timber floor. In the corridor view it reads almost like a bar front. This is where the pub idea becomes literal, without a single beer tap in sight.

The curve also works as a wayfinding device. You follow it from the entry into the work area, and it bends circulation around itself rather than forcing visitors down a straight corridor. In a 300 m² office with city-facing glazing on its edges, that gesture quietly sorts arrival, movement and work into separate zones.

Mesh, Glass and Soft Boundaries

Instead of walls, Arealis divides space with layers you can partly see through. A metal mesh curtain hangs beside the desks, filtering views without blocking daylight. Curved partitions of ribbed green glass run alongside the long work tables. Both materials let you sense activity on the other side while keeping some visual privacy.

The green glass is the bolder choice. Ribbed glass blurs whatever sits behind it, so it acts more like a translucent screen than a window. The colour adds a cool counterpoint to the warm timber. Overhead, the exposed ducts and linear light bars stay raw. We like that restraint: the money goes into the elements people touch and look at, not into a dropped ceiling.

Long Tables in Timber

Work happens at long shared timber tables on black X-frame legs, with joinery by Marcenaria ALX. The tables are communal rather than divided into cubicle-like stations, which suits a creative team that moves between solo and group work. A curved wood-topped bench repeats the counter's geometry at sitting height, so you can perch near the desks without booking a room.

Planters sit on top of the window cabinets and soften the line where the interior meets the glazing. Vertical Garden appears among the listed suppliers. Even without seeing the full planting scheme, you can tell the greenery is meant to be part of the furniture, not an afterthought placed in a corner.

The Pantry as Social Core

If the counter is the bar front, the pantry is the bar itself. A dark stone counter, a high round table and wooden stools form a space where people actually linger. Sunlight crosses the floor, and the scale stays intimate. The photographs show two people talking at a round table, and that is exactly the use the space is built for.

Many offices treat the kitchen as a service room hidden at the back. Here it sits within the flow of the plan, so a coffee break becomes a visible part of studio life. For a creative agency whose output depends on informal exchange, that placement matters more than any piece of signature furniture.

Identity Without Branding Overload

The office does carry the client's identity, but it does so with a light touch. A black wall with raised white lettering is lit by a strip along the floor, using the same warm glow found under the counter. In the lounge, pixel-art sticky notes cover a wall: playful, cheap and easy for the team to change. Woven pouffes and teal armchairs bring colour and texture without competing with the main architectural moves.

The black storage wall with pale wood doors and plant niches is a smart piece of joinery. It hides clutter, frames greenery and continues the dark and light palette that runs through the whole project. Furniture from Vitra, Flexform and Fernando Jaeger sits alongside Tok&Stok pieces, a mix of international and Brazilian, premium and accessible. That mix keeps the space from feeling like a showroom.

Plans and Drawings

The floor plan confirms what the photographs suggest. The curved reception counter sits at the centre, long shared tables fill the open floor, a round table marks the social area, and enclosed meeting rooms line the edge. Placing the closed rooms on the perimeter keeps the centre open and visually connected. The curve then reads clearly as the move that ties the plan together.

Why This Project Matters

Corporate creative units often get offices that copy startup clichés or simply repeat the parent company's standard fit-out. Chazz Pub takes a more disciplined route. One strong curved element, a few layered screening materials and a well-placed social core give a 300 m² floor its own character. The pub reference stays atmospheric rather than literal, and that keeps the space usable once the novelty fades.

For designers working on small office interiors, the lesson is about economy. Arealis Brasil leaves the shell raw and spends its effort on a counter, a curtain, a glass screen and the tables. That is where people actually experience the space. It shows that identity in a workplace can come from geometry and material choices, not from logos painted on every wall.

Chazz Pub by Arealis Brasil, Brooklin Paulista, São Paulo, Brazil. Area: 300 m². Completed: 2018. Photography by Maíra Acayaba.

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