The design language is contemporary classical: the historic shell of the room stays intact, with lighter, calmer furniture set inside it. Fluted ivory panels wrap the curved walls. Their vertical rhythm makes the oval read taller and gives flat daylight a surface to catch. Classical pediments crown the doors, and a carved surround frames the door beside the desk zone, so the eye reads a clear hierarchy from the entrance to the seat of work. Niches set into the walls hold sculpture and objects at eye level, a device Francis D.K. Ching describes as a way to give a wall depth without adding furniture. Gold appears as accent, not as surface: in picture frames, fine trims and the brass of the consoles. The carpet carries a quiet, low-contrast field so the room photographs calmly from every angle, and the carved walnut of the desk gives the room its one dark, heavy anchor.