Everything here is pale except the greens — and the greens come straight off the logo.
Behind the desk the monogram states it plainly: a tooth, a circle and an olive sprig, two greens on a linen-textured wall. The counter answers in white marble over pale oak, lit from below so the block seems to float, with opal globes hung at three different heights. A pleated sage curtain closes the left side, and a small tree sits in a white planter at the end of the run. With so much of the room kept pale, the greens end up doing all the talking.
Past the glass the branch comes back as framed paintings, one per door, under slim picture lights that run the corridor and carry on inside the treatment rooms. The cabinetry repeats one formula everywhere: sage below, pale oak above, marble worktops, curved handles drawn as leaves. In the treatment room that same sage runs along the low run and the chair sits against plain plaster, so nothing competes with it. Even the sterilisation room, autoclaves on show, stays in the same sage and the same oak.
