Dealing With Interior Design Client Problems – Tips from Jo Chrobak

You’re working on a project, and you start to have client problems - whether that's managing client expectations, late payments, or simply helping your client make a decision (or stop changing their mind)! Here is your ultimate guide by architectural interior designer and mentor Jo Chrobak to help you deal with your interior design client issues, so you can reach the best outcome and remain professional!

We’ve all been there. A client who is slow to pay, a tradesperson who cuts corners, an architect or builder who goes behind your back or a manufacturer that lets you down. It’s not just dealing with interior design client issues. Still, problems can arise with any of the various people we deal with daily in our business, resulting in a problem with your interior design client.

As business owners, we are the ones who have to make the difficult phone call or write the emails that we don’t want to write because there is no boss to palm that uncomfortable job off to. And… it’s tough! We’re human, so we tend to get emotional, respond too quickly and approach dealing with interior design client issues incorrectly.

I have worked for bosses who didn’t approach problems well and have been inspired by the ones who did and compiled an ultimate guide for dealing with interior design client issues. I’ve given you everything you will need, including a step-by-step process to getting clarity on dealing with the issues and a business email template for how to write a professional email to a client.

Typical Interior Design Client Problems

I want to start with typical interior design client problems, as I want you to know that we all deal with these issues from time to time. No one is perfect, and these things happen. You must ensure that you’re dealing with interior design client issues professionally and getting the correct result for you and your client (or any other professional involved). Think ethical and professional, acting with integrity and leadership.

This is not a definitive list, but here are some typical interior design client problems that we all experience from time to time:

STEP 1 | Catch The Problem Early

The way to manage client expectations and ensure that problems don’t arise on a project is to ensure you have open and good communication from the outset. Also, vetting your potential clients before taking them on is how most of us professional designers avoid working with clients that aren’t a great fit in the first place.

But of course, no one is perfect, and typically the first time it happens, we have done what we can to “fix” the situation, but it hasn’t worked, so now we have a bigger problem. Dealing with interior design client issues keeps you up at night; you’re upset or angry and ready to resolve the problem.

Sometimes, you can see the warning signs early, but like me, at the start of my career, I was more likely to avoid the conversation than tackle it head-on. The best is to catch the problem as early as possible, as it makes dealing with interior design client issues much less painful. It also helps you control the situation and keeps you and your client working well together.

STEP 2 | Assess The Situation

The best way to deal with interior design client problems is to do a brain dump. Write out everything emotional and get it off your chest. This helps you to clear your mind, and it clarifies the emotions you’re feeling (which is healthy), but also to stop the thoughts going round and round in your head and get them on the page.

The brain dump is likely to be emotional, full of expletives and quite unprofessional. That’s ok. Don’t go sending that to your client, though!

STEP 3 | Take Ownership

I always say that you don’t want to “win”. You want the resolution to work for you and your client and, in the best scenario, move forward and finish the project happily ever after. However, that isn’t always the only approach for dealing with interior design client issues. As soon as you own your part in the problem, the doors to a resolution start to open.

Sometimes you need to own the situation and look at it from the other person’s standpoint. What if you were in the client’s position? What would you think about the service you provided? Have you been unreasonable? Did you forget to mention something? Have you done your best to help the client make an informed decision? Make a point of writing these things down, as it will help you to look at the problem objectively.

STEP 4 | Get The Facts

Getting the facts of the situation is key to dealing with interior design client issues professionally. Make sure to find physical evidence to support your argument. Refer to specific emails or copy and paste relevant sections. Don’t ever guess.

During my final year of architecture studies, a site analysis I undertook found that our memories distort information and can be grossly inaccurate. So, take the time to get the facts – it will strengthen your argument. This will also help you to see things objectively, create a formal argument and stay professional when dealing with interior design client issues.

STEP 5 | Set An Intention For The Result

At this point, it is crucial to set an intention for the outcome. I say to do this now because before you do your brain dump or write down all the facts, you’re heated, upset and emotional. That is not the right mind frame to be in to make good decisions (you’re human, after all).

Once you have taken the above steps, however, you’ll have more clarity around the situation and find that although you still might be upset, dealing with interior design client problems becomes solvable! I mean that before you do the brain dump, you might feel you can’t continue working with this client anymore, but after you get all the anger off your chest and get the facts, you might be ready to come to an agreement that works for everyone.

An intention for the outcome might look something like this: “I’d like my client to love their project and pay me what I’m owed.”

STEP 6 | Write It Out

I’m not naturally eloquent, so I like to write out what I mean to get clarity around what I want to say when dealing with interior design client problems. Remember to stay factual and professional. For example: “I hope you love your project as much as I do and hope we receive payment promptly.”

Even if you intend to deal with the situation face to face or over the phone, I find that writing out what it is that you want to say helps to clarify your ideas and also allows you to ask someone else to help proofread what it is that you want to say, helping you to stay objective, professional but also get the solution you’re after (not necessarily to “get your point across”!)

STEP 7 | Mention The Outcome You Want

This is key to dealing with interior design client problems and something that no one ever does! By mentioning what you want the outcome of the situation to be, you’re not only planting the solution in your client’s head; you’re helping guide your client to see that there is a solution that works for them, too and that you do have their best interests in mind.

If you’ve ever seen two children fighting over a toy, you can see that there is no solution to the problem in their minds. There’s one toy, and that’s it. By providing them with a solution, other options start to appear. From there is “no way out”. Suddenly, there is a way out, but you have to give in to something. Your client is unlikely to negotiate if you’re being arrogant or condescending. Still, if you’ve remained professional and are genuinely seen to be working through the problem, your client will return the respect and want to work it out with you.

When there is tension in a situation, it’s easy to forget that you’re both human and want the best outcome; this is where the magic happens.

STEP 8 | Make The Project Better

If you’re able to overcome a problem on a project and stay professional when dealing with your interior design client problems, you will make the client relationship stronger. That means they will likely recommend you to others, hire you for more projects and respect you moving forward. I have been able to turn situations that looked completely dire (where I was at fault) and make that client my biggest raving fan! If there was ever a time to go the extra mile to make a client happy, it’s now.

STEP 9 | Sleep On It

Before taking any formal action, I suggest sleeping on it and re-reading what you’ve written before you call your client or email them. Ask yourself whether you will get the result you’re aiming for with your email/notes. If not - what else do you think you can do?

After that, I suggest making your final edits and ensuring that moving forward; you’re conscious about good communication to avoid dealing with interior design client problems.

STEP 10 | Get It In Writing

Whatever the outcome of your email, meeting or conversation, it’s essential to follow it up with an email or a formal letter that outlines the main points agreed upon and the solution for moving forward.

Remember that you’re a professional and that your communication with your client can be used in court and for insurance claims, so it’s best to finish the event with a formal resolution that outlines the main points agreed upon (even if that is to part and go your separate ways). This also allows your client to confirm that they agree with the outcome. Formally we call these types of notes minutes of meetings. If you would like to know more about them, please check this post called How To Hold Interior Design Meetings | Step By Step.

Conclusion | Problem Solving

You’ve taken all the steps and tried to find a solution that works for everyone involved, but what happens if things won’t go according to plan or you can’t resolve the situation? Of course, you can do your best, but sometimes you’ve left it too late, and the damage has been done, or you want to cut ties and move forward with as minor damage as possible.

In that case, you can use my professional business email template designed to help you with interior design client problems. You can also turn this template into bullet points to use as a script to use over the phone. Click here to download the template!

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The Rigby & Rigby Interior Design Studio are one of six standalone departments that form Rigby & Rigby, a multi award winning design and delivery Studio based in London. Led by Studio Director, James Ashfield has over seventeen years of international experience in the Luxury Residential sector.

What are the main ingredients of a luxury residential project?

The main ingredient is time, we streamline the project process and provide a space that answers our clients brief. All of our clients define personal luxury differently, so once we understand what they really want, and how we can help them to achieve it, we can strive to create an elegant environment where they can live an efficient and happy life.

How is the luxury residential market changing?

The market is continuing to grow with major new luxury developments such as Battersea Power Station in London, UK and Atlantis The Royal Residences, Dubai, UAE, to name two.

At a micro scale, we have seen an influx of technology into the home. Everything can be controlled and monitored from afar and technology is affecting the way we create spaces too. Its use is beneficial to the environment, with greater control and efficiency of utilities and systems.

The use of 3D design and Virtual Reality has enhanced our process and changed the way that we develop and present a project. Within our team we recruited 3D designers to model space and product, streamlining our offering and further engaging the client in the design process.

At a macro scale, the world has a vast abundance of development happening across the globe. With so much development and strain on the environment it’s critical to implement good design and avoid unnecessary waste. Quality and craftmanship are everlasting. Colour and trend are transient. If the bones of a project are well considered and efficient, and a combination of good quality and sustainable products are used, then our impact on the planet is minimised.

UHNW clients' tastes have changed too. There is more appreciation of ‘less is more’ and a greater concentration on quality and attention to detail. We curate interiors that combine both custom and branded furniture. When installing a sofa from a top Italian supplier we buy into the history and culture of furniture making, and the years of experience that have gone into designing and manufacturing a perfectly executed product. The elements adjacent to the sofa, such as the rug, tables and artwork, are products we custom design to create a truly unique product and arrangement. This same principle is applied across a project, and this creates a new luxury, one that is personal, refined and less pretentious.

What inspires you?

I’m inspired by so many people, places and objects. I’m particularly fascinated with Brazil, its outdoor lifestyle and the rich abundance of design. I love the sea, sun and sand. Brazil is a country of continental proportions, with regional differences in biodiversity, society, economy and industrialization. From Oscar Niemeyer’s architecture to The Campana brothers reclaimed furniture, the multiple interpretations of function and beauty, along with the manufacturing processes, result in a varied production of design.

What are you excited about in luxury residential design this coming year?

Our interior design studio has a strong year ahead with some incredible projects coming live next year. One of our flagship projects, Lancelot House, a one-minute walk from Harrods in Knightsbridge, is due for completion. This project has been in our department for five years so I’m very excited to see it realised. We are also delivering a number of UK projects, two apartments in Knightsbridge, two show homes in Mayfair, a townhouse in Chelsea, and our international projects too, a villa & two apartments in Dubai, UAE, and a residential development in Tokyo, Japan.

This is a very exciting period for our team and it will build on the success of the award-winning projects we’ve delivered over the past year.

What’s the one thing about you that will surprise most people?

During my stay in the Middle East I dedicated time to an animal welfare charity and rescued stray and injured animals – at one point I had 12 rescued animals in my home and then returned to the UK with three pets, Vanilla, Pudding & Pie, who are all formerly strays.

Questions answered by James Ashfield, Studio Director, Rigby & Rigby.

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In this week's interview with SBID Awards Product Design judge and Founding Partner of Oliver Burns, Sharon Lillywhite shares her approach to creating unique design narratives, enhancing user experience through design, and talks about finding the balance between beauty and functionality.

What impact does the power of good design have on user experiences?

When we are designing a space, I spend time getting to understand what environment and atmosphere the client wants to create. As Coco Channel once said, ‘An interior is the natural projection of the soul’. To achieve this, our design studio always uses a multi-sensory approach to enhance any surroundings. A powerful design tool to achieve this is colour, which plays a central role in influencing our moods and the atmosphere within a space. In one of my projects for ‘Veterans Aid’ I used colour psychology to transform the existing space into a warm and inviting home for 55 former members of the British military who were in crisis. The result was a warm, welcoming space with elements of discreet luxury that inspires confidence in the residents.

When designing for the luxury market, how do you approach the product specification? What are your top considerations?

Our designs are born out of a story that either the property or the client wants to tell, making it a space with a unique narrative. This concept drives the requirement for bespoke pieces with the highest level of craftsmanship and design. Our clientele are seeking exclusivity and exceptional quality, and this is where we enlist the skill of artisans and craftsmen to create something extraordinary. From hand-painted wallpapers to embroidered linens, we feel very proud to work alongside these specialists to deliver something truly outstanding.

Can you describe the concept of Thoughtful Luxury? How can this be achieved through interior design?

At Oliver Burns, our ethos is ‘Thoughtful Luxury’, where design goes much deeper than just the aesthetic to reflect deeper values and meaning. The concept of Thoughtful Luxury underpins everything we do. It is reflected in our designs, from the concepts we develop, and is demonstrated in the unique understanding we have of our discerning clients and translated in our vision of client care. From concept to completion, this approach ensures that all of our projects are thoughtfully designed, thoughtfully built and thoughtfully finished.

As a designer, how do you strike the perfect balance between beauty and function?

A space is to be enjoyed and lived in and I don’t believe that there should be a compromise when it comes to beauty and function. If there is a piece that I know will work well aesthetically but may not be the most functional, then I will always try to work with designers to create something bespoke that I know will deliver on both elements.

Finally, what advice can you give to designers entering the SBID Awards?

Make sure that your project stands out and has a unique element to it. It needs to be inspiring and innovative, presenting something that we have not seen before. I am always looking for attention to detail, so make sure that every product and finish counts.

Questions answered by Sharon Lillywhite, Founding Partner, Oliver Burns.

In this week's interview with SBID Awards Product Design judge and Creative Director at Casa Forma, Carolina Sandri defines contemporary luxury, and shares how approaches to design differs around the world to compliment client lifestyles.

You originally launched your architectural studio in Brazil before moving to the UK. What did you learn from this transition, and did the cultural differences play a role in influencing your design approach?

All nationalities have their own culture that shapes their lifestyle preferences, while in university to get my architecture degree I enjoyed reading about people’s history and their cultures, how they lived and worked.

In my studio in Brazil, I learned that Interior Design and Architecture is about much more than designing for aesthetic appearance. It has to consider communication and the key user experience - from how people move around space and interact with objects or people, to how the spaces work according their cultural choices.

When I moved to London, which has been home for me for the past 17 years, I was very proud to be working in the centre point where international design and vision comes together. London is the place where the biggest window to design is!

Most of our clients are global citizens and have homes in many different places, the majority have the same “international” taste when it comes to design, but what we always take in consideration is that, despite having a taste that focuses on unique items of high quality, they are also individual people that have their own cultural preferences that need to be taken in account.

In the context of luxury interiors, what key characteristics do you look for in the products you specify?

During the years we developed a well-selected supplier database of the best craftsmen and artisans that can bring things from different parts of the world to help us transform our visions into reality. We live in a world where you can go all over and come back with the most amazing materials and fabrics - its remarkable of what we can do.

The most important characteristics that we look for in a product is the superior quality, intrinsic durability, and uniqueness that the product has.

How can the power of good design influence user experiences and compliment client lifestyles in the residential market?

One of the most important steps in the design process is to spend time with the client at the beginning of the project to fully understand the brief, listen to the client’s journey and history so we can be assured that he design decisions that we will help them make along the way are the correct ones.

These decisions are very important as they have the power to influence the users’ experiences and compliment their lifestyles. Through furniture choice and layout, lighting, finishes and acoustic design, we can influence how people will be using the spaces.

What does contemporary luxury mean to you? Do expectations of luxury differ globally, and how do you ensure a client-driven approach to your projects?

Integrating elegance and technology in a well-resolved balance that culminates in a space that is both stylish and usable is contemporary luxury to me. I believe that expectations of luxury are very individual, as each person have their own taste and style, so they also have their own definition of luxury. What may be considered as luxury for one person may not be for another.

Everybody is unique and to ensure a client-driven approach to our projects, we focus on fully understanding the life and needs of a particular space, concentrating entirely on what’s important to the client and their lifestyle.

Finally, what advice can you give to designers entering the SBID Awards?

Trust your vison and listen to learn. We live in a world of inspiration and creativity and if you work with passion, you can create a design that is truly special and will be well recognised.

Questions answered by Carolina Sandri, Creative Director, Casa Forma.

In this week's interview with SBID Awards Product Design judge and Chief Executive at Scott Brownrigg, Darren Comber talks about the power of innovative design thinking, its role in future proofing our environments, changing and enriching our lives. He also shares what role the sustainable aspect will play in his judging process.

How important is innovative design thinking when it comes to the future of our built environments?

Innovative design has the power to help address the climate emergency, future proof our built environment, and ultimately enrich lives. We need holistic, culture-led approaches that look beyond aesthetics and current trends in order to create spaces that people choose to be in. The pandemic has caused a significant shift in our thinking; people want to occupy spaces that have been designed with sustainability in mind, and flexible enough to suit their needs. Inclusive spaces that can support a range of communities and cultures are fundamental.

Why is the power of good design so important? How does this impact our lifestyles and ultimately, enrich our lives?

The vast majority of people engage with the built environment in one way or another, and can therefore experience the benefits of good design. It’s not just about new innovations, but thinking critically about how we do things already – and looking for opportunities to make them better.

Good design could play a crucial role in addressing key challenges we face today, such as the rise in the cost of our energy bills.  By changing our mind set on what’s considered the norm, we can improve the quality and efficiency of our homes. Residential planning in the UK often discourages predominantly north facing apartments in favour of dual aspect or south facing aspects. But maybe this should be challenged? South facing apartments often feature smaller windows as a means to manage excess heat gain. If we were to embrace north facing residential design innovatively, it could be a simple way to create comfortable living environments that cost less to light, heat and cool. With bigger windows and better connections to the outdoors.

It can also help us reduce the embodied carbon of our buildings – our design for CABI Headquarters features a stunning exposed steel and concrete interior which saves resources, is sound absorbent, assists with cooling and requires little maintenance. The internal layout is also extremely flexible to reduce need for future fit-out.

Scott Brownrigg are members of the UK Green Building Council and adopt a sustainable building approach. How can the design industry continue to address the environmental impacts of its operations, and will this ethos influence your judging process?

Sustainable solutions can be perceived as the expensive option, so it is up to us to promote the benefits of sustainable design and demonstrate long-term value to our clients and that good sustainable design does not ultimately cost more, but actually less. Sharing knowledge, collaboration and open debate is key to moving the industry forward – ultimately the whole consultancy team needs to be on board and aligned when it comes to meeting the sustainability goals of the project. These goals need to be embedded in the concept and thought about at every stage of the building process; during construction, operation, and what happens once the design reaches end of life. Whole life cycle cost and carbon assessments can help us make more informed decisions when it comes to the design, and the materials and products we specify.

We can also strive to meet benchmark sustainability and wellbeing standards such as Passive House and WELL Certification as we design. Our fit out of EQT Partners London Headquarters was the second London office to achieve a WELL Building accreditation, having successfully tackled issues such as a lack of natural light, poor acoustics, and fitting a variety of functions into a limited space. Challenges we are keen to see addressed during the judging process.

Why is product innovation so essential for the interior design sector, and how can we expect the relationship between manufacturers and designers to evolve going forward?

Interiors tend to have a shorter lifespan than the fabric of the building, changing with occupant need and aesthetic requirements often leads to the interior design being changed many times across the lifespan of a building. Product innovation is therefore crucial in helping us to improve sustainability of the spaces we create. We need to make sure that materials sourced are as sustainable as possible, taking into account the embodied carbon required to make, transport and when the time comes, to reuse, recycle or readapt at end of life.

A much closer relationship between designers and the whole consultancy team is required in order to ensure the design is sustainable, affordable and fit for purpose – fulfilling client (and often, their end user) ESG goals and commercial requirements. We will reach a point where we will need to know the embodied carbon associated with every nut and bolt in order to meet these goals, and the manufacturers buy-in to this process is crucial. With digital twins, we already have the ability to monitor and store data such as predicted lifespan and embodied carbon associated with the building structure – using the same technology for our interior components could help us increase the long-term sustainability and financial viability of our designs too.

Finally, what advice can you give to designers entering the SBID Awards?

The scheme needs to clearly demonstrate its concept and what’s special about it. This should be impactful and easy to explain in no more than 30 seconds. Blue sky thinking is great but we also need innovation that can be implemented – we want to see schemes that are logistically viable yet set new standards of design. All while keeping sustainability and designing for the life cycle of the project in mind.

Cover image: Strata House © Khoogj.

Questions answered by Darren Comber, Chief Executive, Scott Brownrigg.

In this week's interview with SBID Awards Product Design judge Co-Founder & Director of Accouter Group of Companies, Stella Gittins discusses the power of design, Accouter's journey towards becoming a B-corp and talks about the increasing consumer focus on the ethical and sustainable sides of business.

How would you define the power of design?

Design has the power to influence the future, whether that be through innovation, sustainability impacts or the drive for change. Design has the ability to re-imagine what we think we know, and for me, the power of good design is the unity of beauty and functionality. It is courageous in its input and modest in its output, and good design is never out of fashion.

Accouter have recently applied to become B-Corp certified. What will this important certification mean for your business and your clients?

As a future-focused collective, we realised how much difference we could be making on eco and social levels. The first lockdown taught us that even taking small steps to make a change will eventually lead to a more significant impact on healing the planet. Becoming more eco and socially conscious for many in the team was an essential drive for change. So instead of sustaining and maintaining our performance, we prioritised plans to regenerate and commence a never-ending journey towards 'sustainability'.

According to Forbes in 2021, "Generation Z ('97-'12) along with Millennials ('81-'96) are more likely to make purchase decisions based on values and principle." Therefore, commercially we must also be future-proofing ourselves as an industry as the more sustainably conscious generations start to hold the purse strings. Obtaining our B Corp accreditation through initiatives with our teams, customers, supply chain, the wider community and by being transparent and accountable will undoubtedly build that critical trust factor within our business and clients for the future.

When thinking about the future of interior design, what are the key factors driving industry development?

We have lived through, and are still living through, a significant period of re-adjustment that brings a new meaning to and re-orientating our life perspectives. Affiliation with nature and well-being has become a fundamental concept in our way of life. So much so, we have already noticed this drive for change in how we can design a space that incorporates elements for a positive mental and well-being outcome.

Likewise, sustainability is a key focus for industry development. I recently read that 22 million pieces of furniture are thrown away every year in the UK. The shocking stats made us think, “we can do better.” Customers increasingly want a product sourced from ‘responsible’ suppliers and are interested in full traceability on the supply chain offering ‘responsible’ products. Much like our clients, we are investing in the future. Our dedicated ‘Eco-Warrior’ team are directing their efforts on measures that deliver the biggest impacts, with an emphasis on minimising any destructive environmental impact.

When it comes to product specification, how far do environmental considerations influence your design process and buying decisions?

Increasingly, we are actively educating our supply chain on the B Corp Movement. Although we have just started this journey, we are actively on a mission to collect data from our supply chain and environmental credentials of the products we are procuring, intending to deliver on our ambition to source 100% from responsible suppliers.

Launching this year, we will use the Environmental Icons to badge products within our BoxNine7 Curated Furniture Packages service and Bazaar’s e-commerce range. The Environmental icons cover everything from ethical design, FSC Timber and fillings to recyclable packaging. Not only does this influence our design process, but it provides our clients with clarity surrounding terminology and confidence in what they are buying. Our new badging process will assist in educating us all, and over time we are looking to achieve 100% traceability across the AGC collective.

Finally, what advice can you give to designers entering the SBID Awards?

My advice would be not to hold back in your entry and share as much as you can about your project. We have been on such a journey the last couple of years, and we need to celebrate the successes we’ve all had during this time!

Questions answered by Stella Gittins, Co-Founder & Group Director, Accouter.

In this week's interview with SBID Awards Interior Design judge, Director of Research at Brunel Design School and Brunel University London, Vanja Garaj discusses the use of technology in design and how it affects every aspect of the industry. He also shares what he is most interested to see in this year's Awards design submissions!

How would you define the power of good design?

For me, the baseline for good design still is the famous: “form follows function”, which absolutely must come hand in hand with human-centredness and preferably extend into the “less is more” aesthetics. However, the real power stems from the big idea or, at least, a spark of design innovation that sets the product apart in terms of use scenario, functionality, materials, technology solutions and/or form factor.

How will your background in design, development and innovation inform your judging process? What key qualities will you be looking for in this year’s designs?

My judging process is informed by the experience of practicing, researching and teaching design over the years. By combining these activities, I keep up to date with the latest developments and trends. As a designer, I am particularly interested in the interplay between design and technology and the design-led technology innovation that can improve the quality of life in its various aspects. This interest guides what I am looking for in the designs submitted to the SBID Awards.

Why is technological innovation essential for the interior design sector when it comes to designing new interior products and solutions?

Technological innovation can greatly facilitate the design process; e.g., the immersive technologies of Augmented Reality (AR) and Virtual Reality (VR) are very handy when it comes to conceptualising and visualising new interior design ideas and communicating or co-creating the ideas with clients.

I am also curious to see how the immersive tech-powered Metaverse will develop in the future and to what extent it may become a venue for interior designers to practice their trade. This social 3D digital “real estate” and its promised fully functioning economy may create demand for the design of virtual interiors for the “living” and working spaces within the platform. Some interior design professionals are already getting ready to benefit from this potential opportunity; e.g., see here.

When it comes to the future of our environments, how do you see the role of digital technologies evolving in the coming years?

The environments will become ever smarter, with the advancing Artificial Intelligence (AI) and the Internet of Things (IoT) permitting us to achieve even better energy efficiency and further improve the ability to personalise interiors for comfort and well-being (e.g., air quality) and visual ambience (e.g., lighting).

There are also advances in biophilia and biomimicry and the application of these concepts and the related technologies in interior design. Both concepts promote sustainability and it would therefore be extremely useful to have them gain more traction within the interior design profession. Having said that, I was really pleased to see Ko Tu Elpo – “a smart air biofilter that improves indoor air quality by combining technology and the power of nature”, win in the Interior Technology category at the SBID Awards 2021 for Product Design.

Finally, what advice can you give to designers entering the SBID Awards?

It is very important to clearly present the novelty and innovative aspects of the submitted work. Why do you think your design stands out in the market?

Questions answered by Dr Vanja Garaj, Director of Research, Brunel Design School and Brunel University London.

In this week's interview with SBID Awards Interior Design judge, Head of Cities Solutions Europe at Jacobs and Co-Chair of the ULI UK Infrastructure and Urban Development Council, Carlo Castelli discusses the change in development of post-pandemic cities, highlights the benefits of holistic approach to design, and shares valuable insight for designing workplaces that attract employees to come back to the office.

What is the importance of holistic and collaborative design thinking? How does it generate value for its users, customers and wider communities?

Thinking holistically about design ensures social, environmental and cultural considerations are embedded into solutions. We have a great opportunity to blur the boundaries between inside and outside, public and private by creating hybrid spaces. For example, in Union Street, Aberdeen, we created a flexible urban space capable of supporting on-street activities and allowing ground floor activities to spill out on streets, all while considering inclusive design. We see the street being multi-functional, resilient and contributing to the wider transformational change in Aberdeen.

Taking an integrated design approach means all these considerations are used to create a space which is flexible for those using it on a daily basis and is a sustainable addition to the community. It also means that we can create and measure wellbeing and quality of life value substantially changing the way we look at projects and programmes.

When thinking about the future of the built environment, how can we expect our cities to develop? What are the post-pandemic considerations?

Cities have existed for millennia and consistently maintain a fundamental role in our society. They will become more resilient, with the influence of the changing climate and increasing technological innovation.

Successful cities in the future will celebrate social, environmental and cultural differences. We don’t have to choose between a ‘working from home’ or ‘15 minutes city’ model. We can embrace complexity and recognise individual lifestyle choices within inclusive societal progress.

The way we live, work and play has fundamentally changed. How do you think new lifestyle trends will continue to impact on the design industry? What are the opportunities?

Live, work and play conditions have changed globally. The pandemic and environmental concerns have seen a significant change in how people view work-life balance and commuting. As we come out of the last two years there’s a significant appetite for flexibility in our spaces. For example, unused shipping containers units are being converted into retail units, and workshop space, rooftops into urban farm, and ground floor spaces into housing. This allows for creativity and flexibility in our designs, as well as optimising space usage and future proofing our cities. It is critical to imbed generosity into our buildings and places.

The opportunity for designers is to use their innovative thinking to create solutions that contribute to the challenges we are facing. They are often uniquely placed to work from ideation all the way to delivery so they can meaningfully work with the entire value chain to create better cities and places, integrating nature-based solutions and circularity early into their designs.  With nature at the forefront of design, we can plan and develop climate-smart, nature-positive building and infrastructure solutions which enhance quality of life and make our future more resilient.

How has your approach to the design of workspaces evolved? Why is the role of interior design so important when it comes to bringing employees back into the office?

During the past two years, workers have become used to working away from the traditional office, so there needs to be a draw to bring them back. Quality, variety and generosity are now key. Workplaces need to provide enhanced environmental quality and a greater variety of spaces. Improvement in interior design can also allow for a boost in employees’ health and wellbeing.

Design of workplace should include elements of nature, natural lighting, diverse spaces, and areas for employees to relax and manage anxiety about their return to the office. There should now be heavier emphasis on the type of spaces needed for collaboration. Offices should offer a broader range of experiences than sitting at a desk all day, something people could easily do from home. Workplace design should also facilitate work-life balance and promote a sense of community to encourage employees to return.

Finally, what advice can you give to designers entering the SBID Awards?

For me, what really matters is to work with stakeholders and communities and that designers are true to themselves, values and passions. Passion goes a long way in my mind and that needs to be communicated to our changing audiences.

Questions answered by Carlo Castelli, Head of Cities Solutions Europe, Jacobs and Co-Chair, ULI UK Infrastructure and Urban Development Council.

In this week's interview with SBID Awards Interior Design judge and Design Director EMEA at Tetris, Nuno Fernandes discusses the connection between technology and built environments. He shares his insights on specifying products for different environments and gives valuable advice for approaching design projects.

How important is innovation and technology when it comes to the future of our built environments?

Innovation is the overarching priority when responding to our clients. Now more than ever it’s about connecting people to the building be that a residence or an office and technology should make people’s lives comfortable and easy.

Driving the development of virtual reality and the design of digital environments - what opportunities could the metaverse provide for the interior design world?

The metaverse really opens a whole new world of work opportunities for designers and architects. We can now also offer our clients a digital experience as there will be a transition between physical and digital in our day to day lives moving forward. Perhaps, for culture and identity consistency, those two projects are designed concurrently.

When designing for commercial projects across hospitality, retail and the workplace - how do you approach the product specification? Does it differ between specialisms and what are your key considerations?

Yes, it differs. Whereas in hospitality there is a big effort in economy of scale and procurement optimization, for retail, at the high end as is our case, many elements are custom built or even one-off’s. Workplace product specifying is now becoming much more diverse meaning that in one project we have now more products driven by all the different work environments within the same project.

How do you ensure the interior designs you produce are powerful and inspiring, whilst meeting the core needs of your client, their business and the ultimate end-users?

A combination of rational and emotional is our weapon. Our designs should be anchored on the needs of the clients and the users of that space hence why our design is data driven, we then love to tell a story that meets the business and users’ needs while close to their hearts.

Finally, what advice can you give to designers entering the SBID Awards?

Always push your concepts beyond your comfort zone, design is about innovation whilst providing a solution.

Questions answered by Nuno Fernandes, Design Director EMEA, Tetris.

In this week's interview with SBID Awards Product Design judge and Associate at SHH, Tony Duesbury discusses the nuances of designing for commercial and residential spaces. He shares his insights on designing guest experiences and how hybrid ways of working are changing the interior design scene.

How does interior design help to curate greater guest experiences within the hospitality industry?

Every hospitality project is unique and a distinct design narrative allows the opportunity to curate a guest experience. Interior design can help generate interest by creating “a narrative” that helps people engage with the space and learn more about where they arrived creating a ‘sense of place’. This placemaking curates the experience and makes the guest experience more personal.

We have done this in a recent brasserie where the details of the wall panelling took inspiration from the 1970’s façade of the building that was removed, enabling the staff and guests to talk about where the interior inspiration came from. This design curation helps discussion and the engagement between staff and customer to enable a unique personal experience.

When considering the future of the built environment, how do you incorporate sustainable design principles into your projects, from design to procurement?

Our priority when considering the future of the built environment is to look at all aspects of the environmental issues that may affect a particular project and determine what best fits the project. Whether it is creating more greening, checking the carbon footprint of materials procured or considering the MEP to be implemented. As a first step towards achieving that we will look into forming collaborations with consultants and suppliers who have a relevant approach that is beneficial to the process. We will look at individual suppliers and the principles they have in sourcing and manufacturing their materials. Buying local materials and finding unique local craftsmanship within the project vicinity is obviously a huge consideration in order to reduce the transportation carbon footprint.

When it comes to product specification, how does your approach differ between commercial and residential spaces? What are your key considerations?

The selection of materials will be different when it comes to addressing a residential project compared to a commercial project. This is due to two aspects, firstly, cost is a huge factor in. Residential schemes are led more by the heart, whereas commercial projects are led more by the purse. Secondly, it’s about the traffic of a space. Residential schemes can have more luxurious materials that don’t need to take the same wear and tear that commercial projects do. The high footfall in commercial projects, however, means that the durability of the base palette has to have longevity and accents that are easily replaced can have that more luxurious touch.

With new consumer lifestyles and hybrid ways of working, how do you see the design of workspaces evolving in the coming years?

This is something like everyone we have been keeping an eye on as it is an evolving discussion that has yet to settle and likely to be a debate for years to come. Most recently the hybrid way of working has changed by introducing more technological elements that enable a seamless change from working at home and then back in the office. The largest shift is really going to be about creating staff retention by giving those unique offerings within the public office space to engage people to want to be in the office. For instance, in a recent project we have been looking at weaving in the local community and creating more opportunities for social interaction. Additional opportunities for offering amenities within communal space benefits peoples busy life styles and will have an increase in staff retention. As well as a way of attracting new talent.

Finally, what advice can you give to designers entering the SBID Awards?

My advice would be to remain very concise about their design proposal and communicate all aspects of the idea, story and design detail as clear as possible. It is important that the descriptive narrative conveys the same message as the visual design and both are coherent with each other.

Questions answered by Tony Duesbury, Associate, SHH.