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Media Release
Studio P Turns the Design Lens Inward with a New Toronto Studio
Studio P Office
Photo credit: Kosta Bratsos
STORY SOURCE: PiTCH PR
For Priya Mitrovic, designing the firm's own space became an exercise in defining the practice behind the portfolio.
FOR IMMEDIATE RELEASE August 24, 2026 –TORONTO, ON — Priya Mitrovic has built Studio P Interiors designing homes around the people who inhabit them. When the Toronto firm became its own client, the brief changed. The principles behind the work did not.
Studio P's new office takes Mitrovic's established residential design thinking into a commercial workplace, testing the principles that have shaped the firm's portfolio against a distinctly different set of spatial conditions.
Located within a converted warehouse-style commercial building, the studio presented an open, loft-like volume with high ceilings, concrete flooring, transom windows and abundant natural daylight. It was a departure from the residential environments that make up much of Studio P's portfolio, but one that allowed Mitrovic to consider how the firm's approach could translate across interior design sectors or typologies.
Without a residential client, a prescribed aesthetic or someone else's collection of reference images driving the conversation, Mitrovic could make the decisions herself.
What emerged is less a showcase of a Studio P “look” than a demonstration of how the studio thinks.
That distinction matters to Mitrovic. Studio P has deliberately resisted developing a signature aesthetic. Instead, its identity can be found in the decisions behind its interiors: materials layered in unexpected ways, moments of contrast, purposeful planning and a willingness to challenge the safe or obvious solution. For Mitrovic, consistency should come from the rigour of the studio's approach, not from repeating a recognizable formula from one project to the next. Even when a client arrives with strong visual references, the objective is to interpret what resonates rather than reproduce an existing solution.
“I don't like to copy and paste,” says Mitrovic. “Every project has its own parameters. Inspiration can tell us what someone responds to, but then we need to understand why, explore how that translates to the space we're designing and develop something specific to it.”
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The distinction allows Studio P's projects to look markedly different from one another while still carrying the same design intelligence.
For the new studio, that meant first determining how the open volume would support the team day to day. Rather than imposing a residential sensibility onto a commercial shell, Mitrovic worked with the conditions already present, delineating functions within the larger space while retaining its openness and natural light.
Materiality then became a way to establish warmth, contrast and identity.
Wood panelling at the entrance tempers the harder surfaces of the existing architecture. Blue, part of Studio P's brand identity, enters the interior through a quartzite selected by Mitrovic, with the same stone appearing again in a tumbled 4 x 4 format. Layered lighting and the interplay of stone, wood, tile and metal create the depth and contrast that recur throughout the firm's residential work.
For Mitrovic, these materials are not simply finishes applied to a completed plan. Their relationships are part of how Studio P builds character into a space.
“I think something we do really well is mix and layer interesting materials, and use them in interesting formats,” she says. “When you walk into one of our spaces, everything has a presence and a purpose.”
That thinking is also evident in what Studio P is willing to push against.
Mitrovic regularly challenges selections that feel safe simply because they are familiar, encouraging clients to consider greater versatility in colour, texture and materiality when the project calls for it. Reference imagery is treated as information rather than instruction, a way to understand what a client responds to before developing an individual design around the architecture, the people and the particular conditions of the project.
It is not about imposing a Studio P aesthetic. It is about knowing when an idea can go further.
The result is a portfolio in which projects can look markedly different from one another while sharing an underlying design discipline. Planning establishes how the space works. Material, lighting and contrast shape how it is experienced. Execution carries the idea through.
The new studio brings those principles into sharper focus, but it also reflects where Mitrovic intends to take the practice next.
As Studio P grows, she wants the firm to be recognized not only for its design eye, but for the creative and technical ability of its team, the strength of its execution and a process that gives clients confidence from the beginning of a project through its completion.
In that sense, the office is doing more than accommodating a growing practice. It gives physical form to the practice Studio P is becoming.
It is a commercial workplace informed by years of residential design, but without the usual client brief defining the outcome. Instead, Studio P itself becomes the case study: an opportunity to see what remains constant when Mitrovic turns the design lens inward.
Thoughtful planning. Material exploration. Strong execution. A willingness to move beyond the expected solution.
And behind all of it, a deceptively simple measure of success.
“At Studio P, we believe a well designed space should make you feel good,” says Mitrovic.
The Practice Behind the Portfolio
Studio P's design identity is not defined by a repeatable aesthetic. Across projects with different clients, architecture and design direction, the through line is found in the thinking behind the work: purposeful planning, layered materiality, moments of contrast and an individual response to each space.
Explore how that thinking has taken shape across Studio P's recent work:
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