For Dave Gorman's Modern Life Is Goodish, we took the opposite approach to a typical studio build: rather than filling the space with detail, we stripped it right back. The set is purely white, a blank canvas built to do one job exceptionally well, giving the show total freedom to become whatever each segment needs it to be.
That simplicity is the whole point. Wash the set in a different colour and it instantly signals a shift, a new strand, a new tone, a new train of thought, without a single physical change needed. It's a design that trusts light to do the work that scenery usually would, letting the format move quickly and playfully between ideas the way the show itself does.
It's a set built on restraint rather than spectacle, and one that's proved endlessly flexible precisely because it started with almost nothing on it.