Eva Berezovsky
therapy interiors, on screen

published in passerby magazine

Deriving home inspiration from the offices of therapists we see in film and television. 

Even if it has little to do with psychology or therapy itself, there’s something we can all learn from the visuals of therapists’ offices we see on screen. If nothing else, the sets of these spaces inspire us with their approaches to interior decoration. Read on for the analyses.

employing visual contrast

A handful of offices present cool ways to mix tones and patterns, perhaps reflecting the complexity of emotion dealt with in therapy.

girl, interrupted (1999), dir. james mangold

Soft, floral couch upholstery against seafoam tile feels unexpected and fresh.

insecure (2016), created by issa rae and larry wilmore

Color exploration, a vast book collection, and scattered framed art all work towards character, while contrasting elements like the fireplace, flooring, and coffee table offer sleekness.

mad men (2007-2015), created by matthew weiner

Classical grandeur in the carpet and paneling is balanced by a lighter modernism in the seating, side table, and decorative sculptures.

step brothers (2008), dir. adam mckay

Playful carpeting beneath stern leather seating and a spicy tiger print pillow prompts intriguing confusion.

therapy for a vampire (2014), dir. david rühm

Rug layering on all heights of the room makes for a cozy maximalism.

finding warmth in cool tones

A look at offices with cool-toned color schemes shows us how to establish a comfortable feel even amid a frostier palette.

euphoria (2019-present), created by sam levinson

Soft textures in the curtains, lampshade, rug, and wall art maintain a sense of warmth in this space.

best in show (2000), dir. christopher guest

Curves in the ceramics on display and flow in the painting’s strokes on the wall soften and comfort chilly tones elsewhere.

behind her eyes (2021), dir. erik richter strand

Pristine cleanliness and lack of decoration or texture variation prevent a sense of welcome in this already-cold frame.

avoiding muddiness

Each of the following visions contains slouchy, disheartened expressions and postures, which enhance the heaviness brought on by a swamp of brown monochrome.

superbad (2007), dir. greg mottola

Incorporating shiny black into an otherwise-muddy palette provides a freshness that livens the space.

ordinary people (1980), dir. robert redford

Angularity in the chair is the only component here that balances out the drowsy beige and brown palette.

girl, interrupted (1999), dir. james mangold

Texture variation makes monochrome work: the sheer curtains, cushy leather chair, and radiator each present unique treatments of brown and beige that keep it interesting.

power in wood walls

Wood walls and their classy tones inspire patients to be their most put-together selves.

sex and the city: the movie (2008), dir. michael patrick king

Carved wood panelling recalls academia and old libraries, which feel notoriously cozy.

homecoming (2018-2020), created by eli horowitz and micah bloomberg

Flat wood walls strike a cool balance between a rustic look and a modern one.

the sopranos (1999-2007), created by david chase

In addition to this space’s own rustic-modern balance, its design shows us how wood walls can accommodate discrete cabinetry.

plants to ground

Plants model what it’s like to be alive without any of the human stress, and their grounding in nature soothes discussion about the human experience.

good will hunting (1997), dir. gus van sant

Ceramic work and a carved wooden frame support the plant here, taking advantage of opportunities to incorporate art.

sex and the city: the movie (2008), dir. michael patrick king

Generous windows grant access to outdoor plants for a meaningful interior-exterior relationship and a sense of peace.

virgin suicides (1999), dir. sofia coppola

Placement of a fluffy plant in a sharp corner of the room helps to soften the space.