Designing for Ourselves: Why We Built a Studio for Process Rather Than Display
Designing for Ourselves: Why We Built a Studio for Process Rather Than Display
When architects design their own workplace, the instinct is often to create a showroom: immaculate boardrooms, flawless lighting, and spaces staged primarily to impress clients at the door.
When planning our new studio at Maline Office, we took the opposite approach. We treated ourselves as our own most demanding client, prioritizing space for physical model making, drawing reviews, and daily debate over static display.
We sat down with our CEO, our Creative Director, and our Marketing and Communications Manager to discuss the journey across Phnom Penh, why we left our beloved Tonle Bassac villa, and how our new space shapes the way we practice at The Room Architecture and Design.
Voices in this conversation
Pawel Siudecki, CEO: Pawel works at the intersection of market research, business strategy, and the built environment. Alongside his work in architecture, he is active in the wider business environment, drawing on experience across Europe and Asia, including Myanmar, Cambodia, and Laos, to understand market shifts and identify opportunities for business and development. Having built a multinational practice of more than 30 architects and designers, he brings analytical thinking and practical experience in building and leading a business.
Pawel Siudecki, CEO:
With an architectural background spanning large-scale residential and commercial developments in Poland and Germany, Pawel has spent the past decade operating within Cambodia’s urban landscape. Guiding the studio's long-term vision, he combines international technical standards with regional commercial strategy to shape how the practice approaches complex developments.
Monica Loddo, Creative Director: Drawing on her international background, Monica has led diverse projects at The Room over the past five years, with a specialized focus on interior architecture. Her latest work includes directing the spatial planning and interior design of the new Maline studio.
Monica Loddo, Creative Director:
Holding a Master’s degree in Architecture from Italy, Monica practiced across Chile, Australia, and Vietnam before establishing her base in Cambodia. Having led both architectural and interior projects at The Room over the past five years, she directed the spatial planning, interior architecture, and execution of the new Maline studio.
Chanserey Sothea, Marketing and Communications Manager: Educated in psychology in the UK and a former business management lecturer, Chanserey brings cross-sector experience in Cambodia. Her work at The Room focuses on market dynamics in Cambodia’s construction industry and the social impact of the built environment.
Chanserey Sothea, Marketing and Communications Manager:
Educated in psychology in the UK and a former business management lecturer, Chanserey brings diverse cross-sector experience in Cambodia. Since joining The Room, she has focused on market dynamics within the local construction industry and the social impact of the built environment, grounding the discussion in how the new space engages both our team and the city.
The Room has moved several times over the years. Where did the studio start, and what did those earlier spaces look like?
Pawel: Back in 2015, we were a team of just five. The pace of work and life in Phnom Penh was much simpler and slower than it is today. Our very first base was a small modernist villa on Street 288, defined by a flamboyant tree in the front courtyard, really every architect’s romantic dream of a workspace. The setup was basic: we had a few workstations, an open meeting table, and a modest cabinet filled with material samples. It was all we needed to support a small group driven by the ambition to make Phnom Penh a better city. As development in BKK1 picked up and our team began to grow, we knew it was time to make our next move.
Before Maline, the practice spent years in a villa in Tonle Bassac. What made that space special, and when did it start to feel limiting?
Pawel: The Tonle Bassac villa was really special for all of us. Because our clients usually preferred meeting at their own offices, we had the luxury of running the house entirely around our own day-to-day rhythm. It was tucked down a quiet alleyway in the middle of town, with this great big front yard under mango and jackfruit trees. That domestic, intimate scale made everyone feel at home, which always aligned with how we view human-centered design.
The challenge came when we grew past twenty people. We were taking on bigger commercial schemes and interior projects that needed substantial sample libraries. The house just could not handle it anymore. Scale models were piling up in hallways, and trying to pull the whole team together across small, separate rooms, or heading out into the back garden in 40°C heat, was creating ongoing operational friction.
Once it was clear you had outgrown the villa, did you immediately look for an office building, or did you consider another residential property?
Pawel: Looking for another villa was tempting for the lifestyle, of course, but we knew we would be hitting the exact same walls within a year. At the same time, visiting typical corporate towers in Phnom Penh felt completely uninspiring. Most developer-led towers give you low ceilings, drop grids, zero greenery, and packed lifts because occupant density is not managed well. Our goal was simply to hold onto what worked in our past studios while making room for how we actually work today.
Maline just clicked for us. First, the space has real bones: high ceilings, great natural daylight from the perimeter glass, and deep overhangs so we are not fighting direct southern heat all day. It gave Monica and the team a clean, open floor to design our workflow from scratch.
Second, the location made complete sense. The city is growing south toward Hun Sen Boulevard and the new Techo International Airport. Since a big part of our practice is advising developers on master planning and large-scale projects, being anchored directly on that growth corridor matches where we want to be.
The studio feels more like a place to work and gather than a conventional office. What was the central design concept?
Monica: When we conceived the space, we aimed for a hybrid environment that could cater to three distinct functions: an office, a second home, and an event space. We wanted to move beyond the traditional workplace of rigid desks and meeting rooms, creating something that feels like an extension of your living room, comfortable and relaxed, while remaining easily reconfigurable for events. It is a place for networking, informal chats, and social gatherings with colleagues, consultants, students, and clients. Our openness toward the design scene in Phnom Penh is also reflected in the openness of the floor plate. I love it when neighbors stop by and curiously peek in, unsure if we are a coffee shop or an architecture studio!
The palette relies heavily on glass, steel, and timber, alongside some distinct geometric shapes. What guided those choices?
Monica: We wanted to create a space that is as visually connected as possible without sacrificing privacy. It is a single floor plate where you can see from one side to the other, where two floating glass volumes naturally divide the working zones. The geometry of these volumes was actually dictated by circulation paths and functional needs, rather than purely aesthetic choices. In a way, the space itself called for those exact shapes and for the materials we chose. We deliberately focused on timeless and honest materials like bare concrete, steel, glass, and raw plywood. The goal was to create a clean, neutral backdrop for our own projects to stand out. We stayed away from unnecessary embellishments that are subject to temporary trends and just let the function translate into form.
From an outside perspective, what does walking into this environment communicate to someone visiting for the first time?
Monica: The guest experience was actually a major driver in our conceptual thinking. The openness of the floor plate is directly tied to this; we wanted visitors to immediately understand the complexity and layering behind our work. We were completely comfortable showcasing a bit of "organized chaos," which is inherent in any creative practice. We love welcoming guests into our living room area, offering them a good coffee, and guiding them through the studio toward the meeting rooms. Everything they see along that path is a very deliberate choice.
Chanserey: I think the space gives visitors a clear sense of what they can expect from working with us. They can see that ideas are discussed, tested, and worked through, not simply presented as finished images. It makes the process feel tangible and collaborative from the start. It also shows that the design is connected to the practical decisions behind it.
How has the team adapted to the move, and how does the space feel during a normal working day?
Monica: I genuinely sense a different vibe among the team since we moved in; everyone feels more cohesive, productive, and weirdly organized! Of course, we’ll reassess once the hype of these first few months settles down, but it really feels like the design is already bearing fruit. After all, the space was meant to encourage the staff to leave their desks, grab a tablet and sit at a high table, gather by the sofa for informal meetings, explore materials in the library, or stand at the collaborative walls to play with images and samples. I guess the keyword is diversity: sit differently, meet differently, work differently. I strongly believe this physical flexibility helps people think outside the box.
Chanserey: The team has adapted really well to the move. There’s a lot of genuine enthusiasm because the office offers more functional space, and I don’t mean extra square meters. We have settings that naturally encourage people to cross paths and chat.
There’s a common stereotype that architects are introverts, and that’s definitely true of our team. Seeing everyone move around more freely, rather than staying glued to their screens or just walking from one workstation to another, has been a noticeable shift. That increased movement also creates more opportunities for casual conversations, giving people a chance to exchange ideas and see a problem from someone else’s perspective. Sometimes a quick, unplanned conversation can spark a creative idea or solution. It’s a small shift in the way we work, but it has made the studio feel more connected.
You recently opened the studio with Open Studio and After Hours. What was that experience like in practice?
Chanserey: These two events gave us a chance to see how the space worked with two very different groups in one day.
We welcomed around 30 students and young practitioners in the afternoon. The material library drew the most attention, and people asked thoughtful questions about our moodboards, projects, and materials. It was great to see them engaging so closely with the work.
Moving into the evening, the transition felt completely natural. The atmosphere became both relaxing and lively as clients, collaborators, and peers arrived. The feedback we heard over drinks was that the space felt welcoming, comfortable, and “very us,” which was great to hear.
Having the whole team involved across both events showed us that moving here was definitely the right choice. The studio does not just handle our daily workflow; it gives us a real place to bring together the wider design community and partners from other industries.
Will there be more occasions where The Room opens its doors to people outside the firm?
Chanserey: Definitely. We’d like to make this a regular part of how we use the studio. We’re looking at more sessions for students and young practitioners, technical workshops with suppliers, and open roundtables on architecture and urban planning. We’d also like to host more informal gatherings where people from different parts of the industry can meet and get to know one another. The formats may vary, but we’d like to create more opportunities for people to come in, share knowledge, and have useful conversations.
Pawel: For us, opening our doors is not a PR exercise; it is an active professional responsibility. Phnom Penh has grown at a rapid pace over the past decade, but the broader conversation around good architecture, sustainability, and solid technical standards often lags behind the pace of construction on site.
By making space for these conversations, we want to help build a mature design culture here in Cambodia. When young practitioners see firsthand how an architectural idea moves from an early physical mockup to an engineered technical drawing, it raises standards for everyone. If our studio can be a place where those conversations actually happen, then having this space is genuinely worth it.
Is the studio completely finished, or are there still things you are tweaking?
Pawel: The important thing was creating a studio that works for us now and can adapt as our work changes.
Monica: There are still a few minor details and improvements ongoing, but overall, we can consider the job done. At least until our next expansion, possibly next door!
The Room has moved several times over the years. Where did the studio start, and what did those earlier spaces look like?
Pawel: Back in 2015, we were a team of just five. The pace of work and life in Phnom Penh was much simpler and slower than it is today. Our very first base was a small modernist villa on Street 288, defined by a flamboyant tree in the front courtyard, really every architect’s romantic dream of a workspace. The setup was basic: we had a few workstations, an open meeting table, and a modest cabinet filled with material samples. It was all we needed to support a small group driven by the ambition to make Phnom Penh a better city. As development in BKK1 picked up and our team began to grow, we knew it was time to make our next move.
Before Maline, the practice spent years in a villa in Tonle Bassac. What made that space special, and when did it start to feel limiting?
Pawel: The Tonle Bassac villa was really special for all of us. Because our clients usually preferred meeting at their own offices, we had the luxury of running the house entirely around our own day-to-day rhythm. It was tucked down a quiet alleyway in the middle of town, with this great big front yard under mango and jackfruit trees. That domestic, intimate scale made everyone feel at home, which always aligned with how we view human-centered design.
The challenge came when we grew past twenty people. We were taking on bigger commercial schemes and interior projects that needed substantial sample libraries. The house just could not handle it anymore. Scale models were piling up in hallways, and trying to pull the whole team together across small, separate rooms, or heading out into the back garden in 40°C heat, was creating ongoing operational friction.
Once it was clear you had outgrown the villa, did you immediately look for an office building, or did you consider another residential property?
Pawel: Looking for another villa was tempting for the lifestyle, of course, but we knew we would be hitting the exact same walls within a year. At the same time, visiting typical corporate towers in Phnom Penh felt completely uninspiring. Most developer-led towers give you low ceilings, drop grids, zero greenery, and packed lifts because occupant density is not managed well. Our goal was simply to hold onto what worked in our past studios while making room for how we actually work today.
Maline just clicked for us. First, the space has real bones: high ceilings, great natural daylight from the perimeter glass, and deep overhangs so we are not fighting direct southern heat all day. It gave Monica and the team a clean, open floor to design our workflow from scratch.
Second, the location made complete sense. The city is growing south toward Hun Sen Boulevard and the new Techo International Airport. Since a big part of our practice is advising developers on master planning and large-scale projects, being anchored directly on that growth corridor matches where we want to be.
The studio feels more like a place to work and gather than a conventional office. What was the central design concept?
Monica: When we conceived the space, we aimed for a hybrid environment that could cater to three distinct functions: an office, a second home, and an event space. We wanted to move beyond the traditional workplace of rigid desks and meeting rooms, creating something that feels like an extension of your living room, comfortable and relaxed, while remaining easily reconfigurable for events. It is a place for networking, informal chats, and social gatherings with colleagues, consultants, students, and clients. Our openness toward the design scene in Phnom Penh is also reflected in the openness of the floor plate. I love it when neighbors stop by and curiously peek in, unsure if we are a coffee shop or an architecture studio!
The palette relies heavily on glass, steel, and timber, alongside some distinct geometric shapes. What guided those choices?
Monica: We wanted to create a space that is as visually connected as possible without sacrificing privacy. It is a single floor plate where you can see from one side to the other, where two floating glass volumes naturally divide the working zones. The geometry of these volumes was actually dictated by circulation paths and functional needs, rather than purely aesthetic choices. In a way, the space itself called for those exact shapes and for the materials we chose. We deliberately focused on timeless and honest materials like bare concrete, steel, glass, and raw plywood. The goal was to create a clean, neutral backdrop for our own projects to stand out. We stayed away from unnecessary embellishments that are subject to temporary trends and just let the function translate into form.
From an outside perspective, what does walking into this environment communicate to someone visiting for the first time?
Monica: The guest experience was actually a major driver in our conceptual thinking. The openness of the floor plate is directly tied to this; we wanted visitors to immediately understand the complexity and layering behind our work. We were completely comfortable showcasing a bit of "organized chaos," which is inherent in any creative practice. We love welcoming guests into our living room area, offering them a good coffee, and guiding them through the studio toward the meeting rooms. Everything they see along that path is a very deliberate choice.
Chanserey: I think the space gives visitors a clear sense of what they can expect from working with us. They can see that ideas are discussed, tested, and worked through, not simply presented as finished images. It makes the process feel tangible and collaborative from the start. It also shows that the design is connected to the practical decisions behind it.
How has the team adapted to the move, and how does the space feel during a normal working day?
Monica: I genuinely sense a different vibe among the team since we moved in; everyone feels more cohesive, productive, and weirdly organized! Of course, we’ll reassess once the hype of these first few months settles down, but it really feels like the design is already bearing fruit. After all, the space was meant to encourage the staff to leave their desks, grab a tablet and sit at a high table, gather by the sofa for informal meetings, explore materials in the library, or stand at the collaborative walls to play with images and samples. I guess the keyword is diversity: sit differently, meet differently, work differently. I strongly believe this physical flexibility helps people think outside the box.
Chanserey: The team has adapted really well to the move. There’s a lot of genuine enthusiasm because the office offers more functional space, and I don’t mean extra square meters. We have settings that naturally encourage people to cross paths and chat.
There’s a common stereotype that architects are introverts, and that’s definitely true of our team. Seeing everyone move around more freely, rather than staying glued to their screens or just walking from one workstation to another, has been a noticeable shift. That increased movement also creates more opportunities for casual conversations, giving people a chance to exchange ideas and see a problem from someone else’s perspective. Sometimes a quick, unplanned conversation can spark a creative idea or solution. It’s a small shift in the way we work, but it has made the studio feel more connected.
You recently opened the studio with Open Studio and After Hours. What was that experience like in practice?
Chanserey: These two events gave us a chance to see how the space worked with two very different groups in one day.
We welcomed around 30 students and young practitioners in the afternoon. The material library drew the most attention, and people asked thoughtful questions about our moodboards, projects, and materials. It was great to see them engaging so closely with the work.
Moving into the evening, the transition felt completely natural. The atmosphere became both relaxing and lively as clients, collaborators, and peers arrived. The feedback we heard over drinks was that the space felt welcoming, comfortable, and “very us,” which was great to hear.
Having the whole team involved across both events showed us that moving here was definitely the right choice. The studio does not just handle our daily workflow; it gives us a real place to bring together the wider design community and partners from other industries.
Will there be more occasions where The Room opens its doors to people outside the firm?
Chanserey: Definitely. We’d like to make this a regular part of how we use the studio. We’re looking at more sessions for students and young practitioners, technical workshops with suppliers, and open roundtables on architecture and urban planning. We’d also like to host more informal gatherings where people from different parts of the industry can meet and get to know one another. The formats may vary, but we’d like to create more opportunities for people to come in, share knowledge, and have useful conversations.
Pawel: For us, opening our doors is not a PR exercise; it is an active professional responsibility. Phnom Penh has grown at a rapid pace over the past decade, but the broader conversation around good architecture, sustainability, and solid technical standards often lags behind the pace of construction on site.
By making space for these conversations, we want to help build a mature design culture here in Cambodia. When young practitioners see firsthand how an architectural idea moves from an early physical mockup to an engineered technical drawing, it raises standards for everyone. If our studio can be a place where those conversations actually happen, then having this space is genuinely worth it.
Is the studio completely finished, or are there still things you are tweaking?
Pawel: The important thing was creating a studio that works for us now and can adapt as our work changes.
Monica: There are still a few minor details and improvements ongoing, but overall, we can consider the job done. At least until our next expansion, possibly next door!
The Room has moved several times over the years. Where did the studio start, and what did those earlier spaces look like?
Pawel: Back in 2015, we were a team of just five. The pace of work and life in Phnom Penh was much simpler and slower than it is today. Our very first base was a small modernist villa on Street 288, defined by a flamboyant tree in the front courtyard, really every architect’s romantic dream of a workspace. The setup was basic: we had a few workstations, an open meeting table, and a modest cabinet filled with material samples. It was all we needed to support a small group driven by the ambition to make Phnom Penh a better city. As development in BKK1 picked up and our team began to grow, we knew it was time to make our next move.
Before Maline, the practice spent years in a villa in Tonle Bassac. What made that space special, and when did it start to feel limiting?
Pawel: The Tonle Bassac villa was really special for all of us. Because our clients usually preferred meeting at their own offices, we had the luxury of running the house entirely around our own day-to-day rhythm. It was tucked down a quiet alleyway in the middle of town, with this great big front yard under mango and jackfruit trees. That domestic, intimate scale made everyone feel at home, which always aligned with how we view human-centered design.
The challenge came when we grew past twenty people. We were taking on bigger commercial schemes and interior projects that needed substantial sample libraries. The house just could not handle it anymore. Scale models were piling up in hallways, and trying to pull the whole team together across small, separate rooms, or heading out into the back garden in 40°C heat, was creating ongoing operational friction.
Once it was clear you had outgrown the villa, did you immediately look for an office building, or did you consider another residential property?
Pawel: Looking for another villa was tempting for the lifestyle, of course, but we knew we would be hitting the exact same walls within a year. At the same time, visiting typical corporate towers in Phnom Penh felt completely uninspiring. Most developer-led towers give you low ceilings, drop grids, zero greenery, and packed lifts because occupant density is not managed well. Our goal was simply to hold onto what worked in our past studios while making room for how we actually work today.
Maline just clicked for us. First, the space has real bones: high ceilings, great natural daylight from the perimeter glass, and deep overhangs so we are not fighting direct southern heat all day. It gave Monica and the team a clean, open floor to design our workflow from scratch.
Second, the location made complete sense. The city is growing south toward Hun Sen Boulevard and the new Techo International Airport. Since a big part of our practice is advising developers on master planning and large-scale projects, being anchored directly on that growth corridor matches where we want to be.
The studio feels more like a place to work and gather than a conventional office. What was the central design concept?
Monica: When we conceived the space, we aimed for a hybrid environment that could cater to three distinct functions: an office, a second home, and an event space. We wanted to move beyond the traditional workplace of rigid desks and meeting rooms, creating something that feels like an extension of your living room, comfortable and relaxed, while remaining easily reconfigurable for events. It is a place for networking, informal chats, and social gatherings with colleagues, consultants, students, and clients. Our openness toward the design scene in Phnom Penh is also reflected in the openness of the floor plate. I love it when neighbors stop by and curiously peek in, unsure if we are a coffee shop or an architecture studio!
The palette relies heavily on glass, steel, and timber, alongside some distinct geometric shapes. What guided those choices?
Monica: We wanted to create a space that is as visually connected as possible without sacrificing privacy. It is a single floor plate where you can see from one side to the other, where two floating glass volumes naturally divide the working zones. The geometry of these volumes was actually dictated by circulation paths and functional needs, rather than purely aesthetic choices. In a way, the space itself called for those exact shapes and for the materials we chose. We deliberately focused on timeless and honest materials like bare concrete, steel, glass, and raw plywood. The goal was to create a clean, neutral backdrop for our own projects to stand out. We stayed away from unnecessary embellishments that are subject to temporary trends and just let the function translate into form.
From an outside perspective, what does walking into this environment communicate to someone visiting for the first time?
Monica: The guest experience was actually a major driver in our conceptual thinking. The openness of the floor plate is directly tied to this; we wanted visitors to immediately understand the complexity and layering behind our work. We were completely comfortable showcasing a bit of "organized chaos," which is inherent in any creative practice. We love welcoming guests into our living room area, offering them a good coffee, and guiding them through the studio toward the meeting rooms. Everything they see along that path is a very deliberate choice.
Chanserey: I think the space gives visitors a clear sense of what they can expect from working with us. They can see that ideas are discussed, tested, and worked through, not simply presented as finished images. It makes the process feel tangible and collaborative from the start. It also shows that the design is connected to the practical decisions behind it.
How has the team adapted to the move, and how does the space feel during a normal working day?
Monica: I genuinely sense a different vibe among the team since we moved in; everyone feels more cohesive, productive, and weirdly organized! Of course, we’ll reassess once the hype of these first few months settles down, but it really feels like the design is already bearing fruit. After all, the space was meant to encourage the staff to leave their desks, grab a tablet and sit at a high table, gather by the sofa for informal meetings, explore materials in the library, or stand at the collaborative walls to play with images and samples. I guess the keyword is diversity: sit differently, meet differently, work differently. I strongly believe this physical flexibility helps people think outside the box.
Chanserey: The team has adapted really well to the move. There’s a lot of genuine enthusiasm because the office offers more functional space, and I don’t mean extra square meters. We have settings that naturally encourage people to cross paths and chat.
There’s a common stereotype that architects are introverts, and that’s definitely true of our team. Seeing everyone move around more freely, rather than staying glued to their screens or just walking from one workstation to another, has been a noticeable shift. That increased movement also creates more opportunities for casual conversations, giving people a chance to exchange ideas and see a problem from someone else’s perspective. Sometimes a quick, unplanned conversation can spark a creative idea or solution. It’s a small shift in the way we work, but it has made the studio feel more connected.
You recently opened the studio with Open Studio and After Hours. What was that experience like in practice?
Chanserey: These two events gave us a chance to see how the space worked with two very different groups in one day.
We welcomed around 30 students and young practitioners in the afternoon. The material library drew the most attention, and people asked thoughtful questions about our moodboards, projects, and materials. It was great to see them engaging so closely with the work.
Moving into the evening, the transition felt completely natural. The atmosphere became both relaxing and lively as clients, collaborators, and peers arrived. The feedback we heard over drinks was that the space felt welcoming, comfortable, and “very us,” which was great to hear.
Having the whole team involved across both events showed us that moving here was definitely the right choice. The studio does not just handle our daily workflow; it gives us a real place to bring together the wider design community and partners from other industries.
Will there be more occasions where The Room opens its doors to people outside the firm?
Chanserey: Definitely. We’d like to make this a regular part of how we use the studio. We’re looking at more sessions for students and young practitioners, technical workshops with suppliers, and open roundtables on architecture and urban planning. We’d also like to host more informal gatherings where people from different parts of the industry can meet and get to know one another. The formats may vary, but we’d like to create more opportunities for people to come in, share knowledge, and have useful conversations.
Pawel: For us, opening our doors is not a PR exercise; it is an active professional responsibility. Phnom Penh has grown at a rapid pace over the past decade, but the broader conversation around good architecture, sustainability, and solid technical standards often lags behind the pace of construction on site.
By making space for these conversations, we want to help build a mature design culture here in Cambodia. When young practitioners see firsthand how an architectural idea moves from an early physical mockup to an engineered technical drawing, it raises standards for everyone. If our studio can be a place where those conversations actually happen, then having this space is genuinely worth it.
Is the studio completely finished, or are there still things you are tweaking?
Pawel: The important thing was creating a studio that works for us now and can adapt as our work changes.
Monica: There are still a few minor details and improvements ongoing, but overall, we can consider the job done. At least until our next expansion, possibly next door!