Bruna Spahiu, Founder & Design Director of Baucroft Design, has given her insights into the industry.
I am the founder of Baucroft, a London based interior architecture studio. My education in architecture, together with years of practice, has drawn my focus towards the interior world, the point at which a building becomes a lived experience. The studio bridges the technical and the aesthetic: we guide residential projects from planning and building regulations through interior design to construction under one roof, ensuring the design intent is protected from concept to completion. Baucroft's interiors are defined by quiet aesthetics, natural materials, considered proportions and restraint over trend. Our expertise lies predominantly in residential refurbishments and new interiors across London and the Home Counties, alongside international projects across Europe, with ambitions to extend our work to the Middle East and beyond.
My route into interiors was through architecture. However, what drew me from the beginning was the point where the technical and the sensory meet, where a detail on a drawing becomes something you touch every day. I was never satisfied designing a building and handing the inside over like an empty shell; the shell and the interior are one continuous idea, and separating them always felt like an unfinished sentence. Interior design, for me, is where a project becomes personal and intentional. It is the layer of a building that people actually live with, the light, the materials, the proportions of a room at eye level, and I wanted to be responsible for that layer, not just the structure holding it up.
Material selection, without question. There is a particular pleasure in composing a palette of oak against honed stone, linen and unlacquered brass, and knowing how those surfaces will age together over a decade, not just how they photograph on day one. Because Baucroft carries projects through to construction, I also genuinely enjoy the delivery stage. Watching a schedule of materials become a physical room, and being on site to make the small judgement calls that protect the design intent, is deeply satisfying. And I enjoy the client relationship itself: earning the trust that allows you to say less is enough, and then delivering a space that proves it.
Completing a house refurbishment in Buckinghamshire, has been the defining moment of our year. We held the project from the first planning drawings through to the final handover, reconfiguring the ground floor around natural light, and carrying one restrained palette, through every room so the house reads as a single, calm idea. What made it memorable was not the finished photography but the handover itself. The client paused in the open plan kitchen, ran a hand along the joinery, and said the house finally felt like theirs. That response is the entire point of the profession. And this quarter brought a second milestone: joining the SBID community through accreditation, an independent benchmark of the standard we hold ourselves to and the start of a new chapter for Baucroft.
Full residential refurbishments where we hold the project from planning through to completion. When the studio is responsible for the architecture, the interior and the delivery, nothing is lost in translation, the junction detail drawn in month one survives to handover, and the material palette is protected from a hundred small substitutions. I am especially drawn to projects with a quiet brief, clients who want restraint, longevity and a home that feels resolved rather than decorated. London's housing stock suits this beautifully. There is real satisfaction in taking a tired Edwardian or interwar house and giving it a calm, contemporary interior that still respects the building's bones. On the other hand we want to explore further into hospitality, having project briefs like luxurious hotels in Spain, is a very exciting step stone into the high- end world of interiors.
Protecting design intent through the realities of construction. A scheme can be impeccable on paper and still be undone by a substituted material, a compressed programme or a detail value-engineered away, which is partly why we carry our projects through to delivery ourselves. The regulatory landscape is another constant challenge: planning timelines, building regulations and, increasingly, sustainability requirements all have to be woven into the design process early rather than bolted on. And there is the quieter challenge of managing expectations in an image saturated market. Clients arrive with folders of references; part of the job is translating that inspiration into something coherent, buildable and genuinely theirs, which sometimes means gently editing out as much as we add.
That the profession is as much about communication as it is about design. Early on, I assumed the quality of the work would speak for itself; in practice, a project succeeds because of how clearly you explain decisions to clients, contractors, planners and suppliers at every stage. I also underestimated how much of running a studio sits outside design: fee proposals, programmes, cash flow, insurances, pre-qualification platforms. None of it is taught in enough depth, and all of it determines whether good design ever reaches the site. Lastly, I wish I had known how long the quiet, unglamorous years last, and that they are not a detour from the career, they are the foundation of it.
Learn how buildings are actually put together. Spend time on site, understand construction sequencing, read the manufacturer's literature, ask the joiner why a detail will not work. Taste can be developed and software can be learned, but the designers who earn lasting trust are the ones whose ideas survive contact with a building site. Technical fluency is also what gives you creative freedom; you can only bend the rules confidently once you understand them. And a smaller, related tip: develop a point of view and hold it. A clear, consistent design language, applied with discipline, will serve you far better than chasing every passing trend.
I expect the movement towards longevity to strengthen. Clients are increasingly asking how a space will feel in ten years, which favours natural materials, repairable finishes and restrained, well-made interiors over disposable styling or seasonal trends. Sustainability will continue shifting from a marketing line to a technical requirement, embedded in planning and building regulations, and designers who understand that framework will be at a real advantage. I also think the boundary between design and delivery will keep blurring: clients want fewer hand-offs and a single accountable team, which plays to integrated studios. And while AI and digital tools will streamline the production side of practice, I believe they will make the genuinely human elements of judgement, taste and trust more valuable, not less.
It means accountability. Accreditation is a public commitment to a standard of competence, professional conduct and continuing development, and I find that clarifying rather than constraining. For clients, it offers reassurance in an unregulated profession: an independent confirmation that the studio they are trusting with their home meets a recognised benchmark. For me personally, it connects Baucroft to a wider professional community, which matters when you lead a studio; the exchange of knowledge, standards and peer support is something a small practice cannot generate alone. Above all, it reflects how I want the profession itself to be seen, not as decoration, but as a discipline with real technical and ethical weight.
About Baucroft Design
Baucroft is a design studio specialising in refined, quietly luxurious interiors. Led by architectural thinking and delivered by an experienced in house team, the studio takes projects seamlessly from first concept to final styling. Every scheme is shaped around how its owners live, expressed through a restrained palette of natural materials: warm timber, honed stone, soft linen and considered light. From full-house transformations to bespoke hospitality interiors, retail spaces, Baucroft brings precision, craftsmanship and calm to every detail. The result is interiors that feel effortless, timeless and unmistakably personal, designed once and made to last.
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Nini Andrade Silva, Founder & Creative Director at Atelier Nini Andrade Silva, has given her insights into the industry.
Nini Andrade Silva is a Portuguese interior designer and Founder & Creative Director of Atelier Nini Andrade Silva, an interior architecture and design studio working across luxury hospitality, private residences, cultural spaces, bespoke furniture and collectable design.
Born in Funchal, Madeira Island, Nini graduated in Design from IADE in Lisbon and developed her international perspective through academic and professional experiences in New York, London, Paris, South Africa and Denmark. Over the course of her career, she has collaborated with leading international hospitality groups and brands including Marriott, Hilton, Belmond, Accor, Highgate, IHG, Barceló and Meliá, creating interiors where operational excellence, cultural identity and emotional experience come together.
Her work has been featured in international publications including The New York Times, Financial Times, Architectural Digest, Wallpaper and Condé Nast Traveller. She has received institutional recognition from Portugal and Colombia, and continues to contribute to the global design conversation through conferences, exhibitions, judging panels and thought-leadership initiatives.
I wanted to work in interior design because I have always felt that space has the power to transform people. I grew up in Madeira, where the horizon was the Atlantic, an endless line that taught me, from a very early age, that there is always something beyond what is immediately visible. That relationship with landscape, memory and emotion became the foundation of my way of designing.
One of my strongest childhood memories is of the garotos do calhau, the boys who spent their days on the beach rocks and dived into the sea to catch coins thrown from cruise ships. There was courage, instinct and beauty in that gesture: the body, the rock and the ocean in direct dialogue. That image stayed with me and perhaps explains my attraction to organic forms, to spaces that feel shaped by nature, never perfect, but always true.
What I enjoy most is transforming an initial idea into a complete experience. In interior architecture, a project begins with listening: to the client, to the site, to the brand, to the culture and to the people who will inhabit the space. From that point, we build a concept that can guide every decision, from spatial planning and materials to bespoke furniture, lighting, FF&E and final styling.
I also love the tension between creativity and precision. A beautiful interior is never only about aesthetics; it must function, endure and respond to real needs. This is especially important in luxury hospitality design, where a hotel, resort, restaurant or spa must create emotion while also meeting operational standards, maintenance requirements, guest comfort and brand expectations.
One of the most meaningful highlights was joining the AHEAD Europe 2025 judging panel. Hospitality design has always been a central part of my work, so being invited to evaluate projects within such an important international platform was both an honour and a responsibility. It was a beautiful opportunity to reflect on the future of hotels, guest experience, interior architecture and the emotional dimension of hospitality.
Another very special moment was the creative direction of Made in Portugal naturally at Paris Design Week 2025. Representing Portuguese design, craftsmanship and industry on an international stage is something very close to my heart. Portugal has a profound creative identity, and I believe our materials, makers and designers have a voice that deserves to be seen globally.
I am especially drawn to hospitality projects because they are complete worlds. A hotel is not just a sequence of beautiful interiors; it is a living experience made of arrival, service, intimacy, comfort, discovery, memory and emotion. Designing for hospitality means thinking about the guest journey from the first impression to the smallest detail inside a room, suite, restaurant, lobby or spa.
I also enjoy projects with a strong identity — boutique hotels, resorts, heritage buildings, cultural spaces and private residences where the client wants something truly bespoke. These projects allow us to create narratives rooted in place, using materials, art, craftsmanship, custom furniture and sensory details to build spaces that feel unique rather than standardised.
One of the greatest challenges is protecting the essence of the concept from the first idea to the final installation. Interior design involves many layers: architecture, budgets, deadlines, suppliers, procurement, technical drawings, FF&E, contractors, regulations and client expectations. The designer must keep the emotional vision alive while making sure every practical decision supports the final result.
In hospitality interiors, the challenge is even more complex because beauty has to work very hard. A hotel space must be memorable but also durable, efficient, safe, comfortable and aligned with the operator’s standards. The most demanding part is balancing poetry and performance, creating interiors with soul that can also function perfectly every day.
I wish I had understood earlier that design is not a straight line. When we are young, we often believe that creativity is about having immediate answers. With time, I learned that the best ideas need listening, research, patience and sometimes silence. A project becomes stronger when we allow the place, the client and the material to speak before imposing a style.
I also learned that interior design is deeply collaborative. A successful project depends on designers, architects, engineers, artisans, suppliers, project managers, hotel operators and clients working together. The role of the designer is not only to imagine, but to guide complexity, to make sure that the concept, the technical process and the final atmosphere remain coherent.
Do not begin with style. Begin with meaning. Style can be seductive, but it is often temporary. Meaning is what gives a project depth. Before choosing colours, furniture or finishes, ask what the space should express, who it is for, where it belongs and what emotion it should leave behind.
I would also tell young designers to learn the technical side of the profession with the same passion they give to creativity. Understand materials, construction, FF&E, budgets, procurement, lighting, ergonomics and how people actually use space. The most powerful designers are those who can dream with freedom but deliver with rigour.
I believe the industry is moving towards a more human and experiential form of design. Clients are becoming more conscious of the emotional quality of spaces. In hospitality, in particular, luxury is no longer defined only by expensive materials or visual impact. It is increasingly defined by authenticity, comfort, wellbeing, cultural identity and the ability to create a memorable guest experience.
Technology and artificial intelligence will continue to influence how we research, visualise and manage projects, but they will not replace sensitivity. The future of interior design will belong to studios that can combine innovation with craftsmanship, sustainability with beauty, and efficiency with emotion. The challenge will be to use new tools without losing the human soul of design.
Being an SBID Accredited Interior Designer is important because it recognises interior design as a serious professional discipline, not only as an aesthetic practice. Behind every successful project there is technical knowledge, ethical responsibility, experience, coordination and a commitment to quality. Accreditation reinforces that design must be beautiful, but also competent, reliable and professionally delivered.
For me, SBID represents a connection to international standards and to a wider community of professionals who value excellence in interior design. As Founder and Creative Director of Atelier Nini Andrade Silva, it is meaningful to be part of a platform that defends the credibility of our profession and recognises the balance between creativity, rigour, experience and trust.
About Atelier Nini Andrade Silva
Atelier Nini Andrade Silva is an internationally recognised interior architecture and design practice delivering luxury hospitality, residential, commercial, and cultural projects worldwide. Led by acclaimed designer Nini Andrade Silva, the studio is renowned for creating distinctive spaces that blend contemporary design excellence with local identity, cultural authenticity, and operational functionality. With extensive experience collaborating with leading international hospitality brands and developers, the Atelier specialises in luxury hotels, resorts, branded residences, heritage transformations, and bespoke interiors. Its multidisciplinary approach combines creativity, technical expertise, and a strong sense of place to create memorable and commercially successful environments.
Letchworth Garden City-based interior design studio Design Command has completed the refurbishment of David’s Café, a much-loved independent café and shop at the heart of the local community. The redesigned space brings together the café and retail offer, creating a cohesive and welcoming environment where visitors can settle in with a coffee, browse books and gifts and enjoy a slower pace.
A long-standing part of the community for over 60 years, David’s Café combines a bookshop, music store, gift shop and café, making it a unique destination where books, good coffee, great design and live music come together. As a fellow Letchworth-based business, Design Command worked closely with the client to reimagine the interior, enhancing both functionality and overall customer experience.
The new layout carefully integrates seating with product displays, allowing the café and retail elements to work seamlessly together. This approach maximises the use of space while maintaining a clear and comfortable environment for customers, whether they are visiting to unwind or explore the shop’s offering.
The design draws inspiration from classic mid-century interiors, layered with warm textures and subtle pops of colour. Herringbone flooring, soft upholstery and relaxed, residential-style materials create a space that feels inviting from the moment you walk in. The overall concept was to design a space made for slowing down - somewhere customers can feel at ease spending time.
Soft, layered lighting has been used to enhance the relaxed atmosphere, creating a gentle transition between retail and seating areas while highlighting key materials throughout the space.
Clare McDonald, Founder of Design Command, commented: “We were delighted to work on the refurbishment of David’s Café, such a well-loved and established part of the Letchworth community. Being based locally ourselves made the project even more meaningful and our aim was to create a space that feels warm, inviting and easy to spend time in, while ensuring the café and retail elements work seamlessly together.”
Founded in 2013, Design Command is a Letchworth Garden City-based studio recognised for its thoughtful and creative approach to hospitality and commercial interiors. Working with clients across the UK, the studio delivers spaces that are both functional and engaging, with a strong emphasis on user experience and brand identity.
About Design Command
Design Command is a London and Hertfordshire based Interior Architecture Studio founded in 2013 by Clare McDonald. Since its inception, the studio has grown steadily, working across restaurants, hotels, student accommodation, residential and workplace environments throughout the UK and Europe. Our experience includes more than sixty restaurant projects and a wide range of hotel and living environments for independent operators and international hospitality groups, including Accor, Hyatt and IHG. Alongside this, we have delivered contemporary dining concepts, luxury student living for Collegiate AC and projects for developers such as Mount Anvil and Landmark Space, always with thoughtful planning and expressive materiality.
Recently, Deirdre Hayes, Founder of Studio Hayes, has been speaking with operators exploring the US market. Hawksmoor and Sexy Fish have helped demonstrate the appetite for UK hospitality in the US, while Dishoom's planned New York opening suggests confidence in the market is still growing. Competitive socialising concepts such as Flight Club and Electric Shuffle have also shown that the model can scale successfully in the US. I worked in-house on US projects for several years, leading interiors for Flight Club's expansion into the American market and overseeing the rollout of Electric Shuffle from its first US site onwards. It gave me a direct view of the commercial reality of delivery across different markets, not just from a design perspective but from an operator perspective too. Having worked across a range of US markets, what follows are some of the insights I gained from that experience.
Many operators begin a US expansion conversation with the brand and the city, but not every market presents the same level of opportunity or complexity. For some, faster-growth US markets may offer a more accessible first step than cities such as New York or LA, where costs, competition and delivery complexity can all be higher. Market selection often needs as much strategic thought as the concept itself.
What became clear on projects was how long it could take to find the right site, and how much site selection shaped everything that followed. The building stock in US cities can be quite different from what UK brands are used to. In the locations likely to be targeted by operators, the available space is often in newer mixed-use developments, with floor-to-ceiling glazing, larger open footprints and less built-in character to draw from.
Many UK venues benefit from the texture and spatial character of older buildings. In newer US shells, that backdrop is often absent, so the interior has to work harder to create warmth, depth and atmosphere. This becomes even more challenging where full-height glazing is present, as it changes how a space feels and performs. Light is harder to manage, intimacy is harder to achieve, and the right atmosphere may take more work to create. For competitive socialising concepts, it can also affect technology, projection and other digital elements that rely on controlled light levels.
Brand adjacencies play a part too. The surrounding operators and uses influence footfall, perception and overall fit. If a similar offer has already found traction nearby, that can give greater confidence in the location.
Including a design feasibility review as part of due diligence is worthwhile. Floor space, column grid and glazing all have a bearing on how the space functions and performs, and the commercial impact can be significant. The lease process can add to this complexity, particularly where landlord design approvals are required at several stages.
The brands that perform well in the US have a clear grasp of their own DNA. They know what is fundamental to their concept and what can be adapted thoughtfully to suit a new market, a different building type and different guest expectations.
Bar seating was one of the clearest examples of that for me. In the US, bar seats are often used for full dining occasions, not just drinks or waiting for a table. That makes the bar a more important part of the guest experience and affects how it should be planned, from comfort and proportions to service and food delivery. If it is not considered at planning stage it may never perform as well as it should.
Scale presents its own challenges. US sites often offer larger footprints and different spatial conditions from what operators may be used to at home. An interiors scheme that reads well in one setting can land very differently in another. Layout, lighting, acoustics and circulation all need to be reviewed carefully, particularly for competitive socialising concepts where activity, dining, bar and technology all need to work together.
The ones that translate best feel rooted in their location rather than simply transferred into it. That comes from making the right adaptations from the beginning, so the result is a concept that feels integrated, commercially sound and true to what made it successful in the first place.
Once a site is secured, the delivery process may feel broadly familiar. In practice, however, US projects often require more time for documentation, approvals and permitting ahead of construction. Permitting often needs to be treated as a programme stage in its own right, as timelines and requirements can vary significantly between cities and jurisdictions. Local code input can help teams identify compliance, fire life safety and accessibility requirements before they become a source of delay, redesign or added cost.
Construction costs in major US cities are higher than in the UK, so it is worth building in additional contingency. Labour structures and local requirements can all affect cost and programme. Joinery is worth resolving sooner rather than later, as some operators prefer to work with UK makers who know the brand and understand the level of quality and detail expected, while others source locally for speed, simplicity or programme reasons. The decision should be measured against quality, lead times, shipping, customs and the current tariff landscape. Lighting warrants the same consideration: some operators may want to work with UK suppliers to maintain consistency in look and quality, but fittings still need to be suitable for the US market and aligned with the relevant technical requirements. Clear documentation and change control can make a significant difference as the programme progresses, especially when multiple teams and time zones are involved.
Many operators will manage at least part of a US project from the UK, so the time difference needs to be factored into resourcing planning. From my own experience, even small decisions could take longer across time zones, and if UK projects were running at the same time, it often meant switching between different markets, priorities and working rhythms while also covering more than one role.
For some operators, a short-term relocation during key stages of delivery may make sense, so someone from the home team is on the ground when decisions need to be made quickly.
In the US, the equivalent of snagging is usually referred to as a punch list. The principle is similar, but the closeout stage is often more formal and closely tied to documentation and final payment. Defining what “done” looks like before construction, in terms of finish, sign-off and handover requirements, helps avoid ambiguity at a stage when time and goodwill can both be in short supply. A post-opening review is worth allowing for once the venue is in use, when lighting, acoustics and service flow can be tested under real operating conditions.
No project is ever completely plain sailing. There are long days, late phone calls, problem solving on site and points when delivery can feel relentless. But there is a moment when the project starts to turn a corner. Joinery is fitted, refinements are made and details that have existed on paper for months begin to emerge in the built space. The scheme reveals itself and the pressure lifts. In those quieter moments on site, as the build team resolves the last few details, the outcome becomes more tangible. In the end, that is the part people remember: not the approvals or paperwork, but the atmosphere, the detail and the experience of a space carefully brought to life.
The US remains an exciting market for hospitality brands. American guests have a real appetite for what UK brands often do well: bringing more than a menu, with a distinct identity, rich storytelling, design confidence, attention to detail and a sense of occasion that makes the experience worth seeking out.
What often separates a venue that opens well from one that struggles is not the offer itself, but the level of preparation behind it: understanding the market before committing to a site, building the right team from the start and going into delivery with realistic expectations.
This is where UK hospitality can be especially effective. At its best, it combines a clear design point of view with good food and drink, thoughtful detailing and a well-considered guest experience. With the right groundwork in place, more brands can succeed in the US. The venues that feel effortless are usually the result of good decisions made early, long before the doors open.
About Studio Hayes
Studio Hayes is a London-based, director-led interior design consultancy specialising in commercial interiors, including hospitality, leisure, and retail environments. With over eighteen years of experience across Ireland, the UK, USA, and Australia, the studio delivers distinctive interiors that balance creativity with commercial insight. Every project is overseen at director level from concept through to completion, ensuring consistency, quality, and a deep understanding of each client’s vision. Studio Hayes partners with brands and individuals to create spaces that are purposeful, beautifully crafted, and designed to connect people, from small refurbishments to large-scale hospitality rollouts and unique one-off projects.
This week’s instalment of the Project of the Week series features a lively and cosy restaurant design by 2025 SBID Awards Finalist, Studio 502.
Studio 502 was commissioned to reimagine Villa Tončić, a protected 1920s Secessionist villa in Split, as a contemporary dining destination. Bound by preservation rules, the studio retained the villa’s historic fabric, introducing subtle interventions to enhance the atmosphere and improve the flow. Subtle interventions defined the villa's character without disruption. Outdoor furniture found on-site was restored and reintegrated. Working within a modest budget, the team focused on high-impact gestures. The result is an inviting, layered space that honours the building’s legacy while meeting the needs of a modern, all-day restaurant, welcoming guests year-round and restoring its civic and cultural relevance.
Category: Restaurant Design
Design Practice: Studio 502
Project Title: Mokosh Restaurant
Project Location: Split, Croatia
Design Practice Location: London, United Kingdom
The client wanted a restaurant that felt cosy and lively — an inviting, comfortable atmosphere that would also be an experience for guests. With a limited budget and sustainability in mind, we reused much of the furniture found on site and worked with the villa’s existing conditions rather than replacing them.
Kamil Tončić, a celebrated Secessionist architect in Split, built the villa. His legacy set the tone: most spaces were preserved and enhanced, while two new interventions — the Green Salon and the bar — were designed as contemporary additions. We were inspired by the way Tončić originally engaged young artists from the School of Applied Arts, which led us to collaborate with Croatian artist Jelena Bando to reinterpret the villa’s spirit in a modern context.
The building is listed, so heavy interventions were impossible. Combined with budget restraints, this meant working around existing finishes; instead, we had to turn those limitations into part of the design language.
Working with restoration specialist Giuseppe “Pepi” Sava, who had been involved in the villa’s earlier restoration, was a highlight. He introduced us to original wall paintings and old techniques, giving us a deeper connection to the building’s craft. Revitalising the garden was another — repainting and reusing original outdoor furniture, paired with new textiles, to extend the dining experience outdoors.
Because the project shows how heritage and modernity can co-exist without compromise. SBID offers a platform to share that approach with an international design community.
It has reinforced Studio 502’s ability to work with heritage responsibly while delivering expressive hospitality spaces. The recognition strengthens our international positioning and motivates our team.
Questions answered by Andrea Yateem, Founder & Lead Designer at Studio 502.
We hope you feel inspired by this week's design!
If you missed the last instalment of Project of the Week, featuring a dynamic restaurant design, click here to read it.
This week’s instalment of the Project of the Week series features a dynamic restaurant design by 2025 SBID Awards Finalist, LXA Projects.
Pirana is a visionary restaurant concept that redefines the dining experience through immersive and dynamic design. Thoughtfully crafted to enhance guest interaction, the space seamlessly blends luxury and entertainment, setting Pirana apart from its Mayfair competitors. Guests are invited to indulge in an exclusive restaurant with champagne room, destination bar, and intimate private dining room, all contributing to a one-of-a-kind experience. Pirana makes a bold statement transitioning effortlessly from an elegant and inviting daytime setting to a striking evening venue. The washrooms feature a striking six-meter water tank housing live piranhas.
Design Practice: LXA Projects
Project Title: Pirana
Project Location: London, United Kingdom
The client asked us to create an immersive destination restaurant that would draw in a highly networked crowd and establish itself as a go-to spot in Mayfair. The vision was to design a space that delivered a distinctive and elevated dining experience, while also becoming a social hub. The brief called for a bold blend of innovative design, exceptional service, and a sense of theatre, ensuring the restaurant would command attention and stand out as a premier venue in an already competitive market.
The design had to embody the spirit of its name, drawing on the allure and intensity that comes to mind when people think of a piranha: sharp, bold, and impossible to ignore. This translated into a layered aesthetic that is luxurious yet provocative, with moments of drama carefully woven throughout the space.
A key part of the brief was for Pirana to function seamlessly across the day and into the night. By day, the venue needed to feel elegant, welcoming, and refined, a destination for sophisticated daytime dining. By night, it was to transform into a striking, high-energy hub, alive with music, theatre, and spectacle. This duality was achieved through spatial planning, materiality, and a dynamic lighting scheme that allows the atmosphere to shift effortlessly as the day progresses.
Entertainment is embedded into the very fabric of the design. A discreet ceiling track allows operators to deliver theatrical surprises, like champagne bottles arriving in dramatic fashion, ensuring that every visit feels distinctive and memorable. Elevated dining zones and private areas strike a balance between openness and intimacy, while bold focal points, from the sculptural front bar to the bespoke wave ceiling, pull guests deeper into the experience. A live DJ stage anchors the evolving atmosphere, reinforcing Pirana’s position as both restaurant and nightlife destination. The daring edge of the design culminates in one of Pirana’s most striking moments: a six-metre water tank in the washrooms, home to live piranhas. This unforgettable feature encapsulates the restaurant’s ethos, immersive, unexpected, and undeniably bold, securing its place as a standout venue in Mayfair’s competitive dining scene.
The toughest hurdles our team faced were bringing the drama of Pirana to life while ensuring it remained seamless, safe, and sensitive to its prestigious Mayfair setting. A defining challenge was the integration of the six-metre piranha tank, a striking focal point that required meticulous planning. Beyond its theatrical impact, the installation demanded complex engineering, specialist collaboration, and strict regulatory compliance to ensure safety and functionality without compromising the immersive experience.
Equally intricate was the integration of lighting and services. Pirana’s design relies on creating moments of surprise, features that shift the mood from day to night and appear as if from nowhere. Achieving this effect required careful coordination of lighting systems, mechanical services, and structure, ensuring the technology vanished into the architecture while still delivering drama.
Sound management posed another major challenge. With Pirana’s high-energy evening atmosphere, it was essential to prevent disruption to neighbouring properties. Situated in a conservation area near Buckingham Palace, the project demanded advanced acoustic solutions that contained the energy inside while respecting its surroundings. By overcoming these challenges, the team delivered a restaurant that pushes creative boundaries while remaining considered, immersive, and perfectly tuned to its Mayfair context.
The highlight of Pirana was seeing a daring concept come to life and transform into a fully immersive reality. For the team, watching the materials, textures, and finishes we had carefully curated come together so seamlessly was incredibly rewarding, everything felt effortless, as though it was always meant to be. The front bar and lounge emerged as a defining moment in the project. The bespoke wave ceiling and sculptural wall installation created an immediate sense of drama, guiding guests into the heart of the restaurant while setting the tone for the bold identity of the venue. Their integration into the back-bar setup showcased the strength of the detailing and the precision of the craftsmanship. Elsewhere in the restaurant, a commissioned artist travelled from overseas to hand-install a striking sculptural wall feature over the course of a week. This bespoke piece became a focal point in its own right, elevating the space with a unique layer of artistry and character. Beyond the design itself, the collaborative spirit across the consultant and contractor teams was a highlight in its own right. The journey of problem-solving together ensured Pirana became not just a project, but a collective achievement.
Pirana is a project that’s very close to our hearts, and as a team we felt strongly that it deserved recognition. Entering it into the SBID Awards, specifically the Restaurant Design category, felt like the natural platform. The SBID represents the highest standard of interior design and reaches an audience in more than 85 countries, giving Pirana the opportunity to be celebrated on a truly international stage. To have our work placed alongside some of the industry’s most accomplished projects is not only an honour but also a chance to share our design story with a global community. Equally, entering the awards encourages reflection. It allows us to step back and look at the wider industry, how other designers are pushing boundaries, interpreting briefs, and crafting experiences in their own unique ways. That perspective is invaluable, sparking dialogue, inspiration, and fresh ideas that feed back into our own practice. For us, the SBID Awards are about more than recognition; they are about being part of a collective celebration of design at its best. To see Pirana included within that context is an achievement in itself, and one we are immensely proud of.
Being named an SBID Award Finalist is a genuine honour, and it carries real meaning for our team. While the recognition itself is significant, what matters most is what it represents: the value of design that goes beyond aesthetics to create spaces with impact. At LXA, we are deeply committed to designing environments that are not only visually bold but also immersive, functional, and socially engaging. To see Pirana recognised at this level reinforces that ethos, it validates the belief that design has the power to shape how people connect, celebrate, and experience a space. It has also given us the chance to pause and reflect. As designers, we are often absorbed in the detail and intensity of project delivery. Being a finalist encourages us to step back and appreciate the wider journey, the vision, the collaboration, and the trust that allowed us to push creative boundaries and bring Pirana to life. Above all, this recognition is a reminder of why we do what we do: to create meaningful spaces that leave a lasting impression. That perspective makes the achievement even more rewarding, both for our business and for the people who experience our work.
Questions answered by Sammy Bikoulis and Jo Aitken, Associate Designers at LXA Projects.
If you missed the last instalment of Project of the Week, featuring an impressive retail design, click here to read it.
Rachana Gupta, Founder & Principal Designer at Oraanj Interior Design, has given her insights into the industry.
I am the Founder and Principal Designer of Oraanj Interior Design, a London-based studio specialising in luxury residential, commercial, and turnkey interior design in London.
Our work focuses on creating practical, buildable interiors through space planning, interior architecture, bespoke joinery, and full procurement. We approach every project with a strong technical foundation—ensuring that what we design can be executed seamlessly on site.
Over the years, we have worked on a wide range of projects across London, from full home renovations to commercial spaces, always focusing on delivering well-planned, functional, and refined interiors that work in real life, not just visually.
I was always interested in how spaces affect the way we live, but what really drew me into interior design was seeing how often homes looked beautiful but didn’t function well. Early in my career, I worked on a London apartment where the finishes were high-end, but the layout was inefficient—there was poor circulation, limited storage, and the space didn’t feel comfortable to live in.
That experience made me realise that design is not just about aesthetics. It’s about solving problems through interior architecture and space planning in London. I wanted to focus on creating spaces that are not only visually refined but also practical and well thought through.
Today, that philosophy defines our work at Oraanj Interior Design. We prioritise layout, usability, and buildability from the start, ensuring every design decision improves how the space is used on a daily basis.
The part I enjoy the most is solving spatial problems and improving how a space works. Every project comes with its own challenges, and finding the right layout solution is always rewarding.
For example, we worked on a family home where the living and dining areas felt cramped despite having a generous floor area. Instead of adding more elements, we reconfigured the layout, adjusted door positions, and introduced bespoke joinery to create integrated storage. This instantly improved circulation and made the space feel much larger.
I also enjoy the detailing stage—working on lighting, materials, and finishes. Seeing everything come together through a turnkey interior design process is very satisfying because every detail has been carefully considered. It’s that transition from concept to a fully functioning space that makes the process enjoyable.
One of the most memorable highlights this year was delivering a full turnkey interior design project in London where we managed everything from concept to completion.
The project had several constraints, including structural limitations and a tight timeline. There were also coordination challenges between different contractors and suppliers. To manage this, we developed detailed technical drawings, planned procurement in phases, and maintained close communication with the site team.
Despite these challenges, the project was completed smoothly, and the client moved into a fully finished home without delays or stress. For me, the most rewarding part was seeing how a structured process can simplify what is usually a complex experience.
Moments like these reinforce the importance of combining design with execution. It’s not just about creating a beautiful space, but about delivering it efficiently and professionally.
I particularly enjoy projects where we are involved from the early stages, especially full renovations or layout reconfigurations. These projects allow us to apply space planning and interior architecture in London in a meaningful way.
In one project, the client wanted more storage and better functionality, but did not want to extend the property. By reworking internal layouts, integrating custom storage, and designing multi-functional furniture, we were able to completely transform how the home worked without increasing the footprint.
I also enjoy high-end residential projects because they require a balance between aesthetics and everyday usability. However, commercial projects are equally interesting as they involve a different scale and focus on user experience and brand identity.
The variety keeps the work dynamic, but ultimately, I enjoy projects where design can genuinely improve how people live or use a space.
One of the biggest challenges is managing expectations while working within real-world constraints. Clients often come with inspiration images, but every property has limitations—whether structural, regulatory, or budget-related.
For example, we worked on a project where the client wanted a floating staircase feature that wasn’t feasible due to structural restrictions. Instead of simply rejecting the idea, we developed an alternative design that achieved a similar visual effect while remaining safe and compliant.
In London, these challenges are quite common due to building regulations and property constraints. That’s why we focus heavily on technical drawings, planning, and coordination. Clear communication is also key—helping clients understand what is possible and how best to achieve their goals.
Balancing creativity with practicality is what makes the role challenging, but also very rewarding.
I wish I had understood earlier how important the technical and execution side of design is. Many people assume interior design is mainly about selecting finishes and furniture, but in reality, it involves much more.
Understanding construction, services, and how different elements come together on site is critical. For example, even small details like lighting placement or joinery dimensions can significantly impact the final outcome.
Over time, I realised that creating buildable designs and detailed technical drawings is what ensures a project runs smoothly. Without that clarity, even the best ideas can fail during execution.
This understanding has shaped our approach at Oraanj Interior Design, where we prioritise planning, coordination, and precision from the start of every project.
Focus on learning how things are built, not just how they look.
A strong understanding of space planning, technical drawings, and construction processes will set you apart in the industry. While creativity is important, the ability to translate ideas into real, buildable solutions is what defines a successful designer.
If you can design a space and clearly explain how it will be executed, you will add far more value to your clients and collaborators.
Interior design today requires both creativity and technical knowledge, and developing both skills early on will help you build a strong foundation for your career.
The industry is moving towards more comprehensive, full-service solutions. Clients are increasingly looking for designers who can manage everything—from concept to completion—rather than just providing design ideas.
There is a clear shift towards turnkey interior design in London, where the focus is on delivering a seamless experience. Clients value efficiency, clarity, and accountability, especially for complex projects.
There is also a growing emphasis on practical design—spaces that are functional, adaptable, and long-lasting. People are more conscious about how their spaces perform over time, not just how they look initially.
Overall, the industry is becoming more integrated, with design, execution, and project management working closely together.
Being SBID accredited represents professionalism, credibility, and trust. It provides reassurance to clients that they are working with a qualified interior designer in London who follows recognised industry standards.
For us, it also reflects our commitment to delivering structured, high-quality projects. We place strong emphasis on process, detail, and execution, and this accreditation supports that approach.
It’s an important recognition that not only strengthens our brand but also builds confidence for clients who are investing in their homes or businesses.
About Oraanj Interior Design
Luxury Interior Design in London for Residential and Commercial Projects delivered through a structured, technical, and design-led approach. As an award-winning Interior Design Company, Oraanj Interior Design creates refined, high-performance interiors for homes, offices and hospitality spaces across London and international locations. Our approach combines creative vision with technical expertise, ensuring every project is both visually compelling and practically deliverable. From concept to completion, we focus on space planning, interior architecture, lighting design, and bespoke detailing to achieve clarity, balance, and long-term usability. With expertise in technical drawings, procurement and turnkey high end interior design projects, we deliver fully coordinated, build-ready solutions, ensuring seamless execution and a refined, high-end result.
The SBID UK Interior Design Icons were selected to recognise leading design practices throughout the UK who have consistently displayed exceptional standards within our esteemed industry network.
This week’s instalment of the SBID Icon Insights series features Jestico + Whiles. Jestico + Whiles is an architecture and interior design practice with a proud heritage, driven by curiosity and focused on how design can transform people’s lives.
Our studio of specialist interior designers, architects and FF&E specialists, drawn from all backgrounds and from across the world, is led by James Dilley, Jennifer de Vere Hopkins and Joanna Grotowska-Hall, who have been working closely together for a long time. We are inspired by each other’s differing approach to design – and life in general – and united in a passion for design that ‘goes beyond’.
Every member of our team contributes to the creative direction of our work, and we encourage contributions at every level, informed by the open spirit of the studio and its staff.
We don’t have a recognisable design style, because our approach is always in response to the specific context of each project. While the outcomes may be disparate and diverse, our common process means there are recognisable red threads running through them all. This has helped us to attract a wide range of projects and clients, and to respond to each with freshness and authenticity.
Collaboration is not only enjoyable, but it produces the best results and challenges us to learn in real time. We are open and encouraging to every member of the team, both internal and external, to make meaningful contributions based on their experiences and background. Internally, we have practice-wide design reviews to unlock the widest range of perspectives.
We understand that in this fast-moving environment we must never stop learning, and we enjoy that process. While the main influence on our work is our own work, we are constantly visiting buildings of all types, across the world. While our background is in hospitality, we are increasingly seeing our expertise and approach being sought for work on buildings of all types, including mixed-use projects – an exciting evolution.
We think it’s essential to balance the analogue and digital worlds. Sophisticated digitally produced imagery is now an expected part of the presentation process. However, a watercolour, a pencil sketch or a handmade model remain intimate and personal ways of communicating our ideas.
We are excited by the opportunities of AI, which has a place both in sparking inspiration and expressing ideas. However, we know it will never replace human input in design which is grounded in empathy.
As early pioneers of environmentally conscious design, sustainability is intrinsic to everything we do – creating great design while caring for each other and the world around us is a core value of ours. We operate an ISO14001 environmental management system to monitor our environmental impact, and have published a Carbon Reduction Plan since 2022, reviewed annually to reduce our carbon emissions. Our B Corp certification, achieved in 2024, underlines our continued commitment to high standards of social and environmental performance, transparency, and accountability.
Our in-house sustainability team, plusZero, comprises architects and interior designers from various sectors within the practice, including three Passivhaus Designers. Our projects include those with LEED, BREEAM, NABERS, WELL and other recognised sustainability certifications.
We are driven by a commitment to beautiful design that emphasises wellbeing, sense of place and emotional and physical connection. We endeavour to prioritise material selection with high recycled content, low VOCs, and FSC-certified timber, working with the highest quality furniture suppliers and manufacturers to specify locally sourced and quality crafted products.
The world of design is too vast to comprehend, and it is rare that anyone might see their future path with any clarity. Embrace your own journey of uncertainty and accept that there is not, most likely, a firm destination – and this is only positive. Use your early years to immerse yourself in a range of opportunities. That means, above all, to get as much exposure as possible to inspiring people as possible; seek out your mentors and keep in touch with them, as frequent sense checks are invaluable. It will be the unexpected, disruptive, challenging or curio project, or person, that may be uncomfortable but will push you into a new orbit. Don’t dismiss a prospect without careful consideration.
About Jestico + Whiles
Jestico + Whiles is an architecture and interior design practice with a proud heritage, driven by curiosity and focused on how design can transform people’s lives. We have a global reputation for excellence, working around the world from Zanzibar to Luzern. Delivering projects at every scale, from a four-seat café to a 2,500-cabin cruise ship, we work with clients ranging from independents to global operators. Working across sectors and typologies, we’re increasingly applying our experience in hospitality design to the fields of retail, workplace and residential, as well as innovative blended-use schemes. We actively pursue unusual projects, from a Victorian textile factory and a Swiss Belle Epoque palace to the grade-I listed country house of Sir John Soane. We are proud to have won five international design awards in 2024 alone, including Hotel Designs’ Brit List Awards, and the Restaurant & Bar Design Awards.
Deirdre Hayes, Founder of Studio Hayes, has given her insights into the industry.
My route into interior design began with a fine art background, where my focus was painting and drawing. Beginning a degree in Interior Architecture was a significant shift, and adapting to technical drawing and structured design principles took time. However, it opened a new way of thinking about creativity within the built environment.
A defining moment came when I spent a summer as a student living and working in London. Coming from Ireland, the scale, pace and cultural diversity of the city was eye-opening, and exposure to other design disciplines broadened my understanding of design as a wider profession.
I spent much of my free time exploring London’s museums and galleries and was struck by how strongly buildings and interiors could influence how you feel, from the quiet, cathedral-like galleries of the V&A to the industrial drama of the Turbine Hall at Tate Modern. That experience confirmed that I wanted to design the spaces people move through and experience every day.
I enjoy the moment when a concept truly clicks, when brand, operational needs and user experience align in a clear design direction. I am particularly drawn to the strategic side: understanding how a space must perform commercially as well as emotionally, and translating that into layouts, details and atmosphere.
Collaboration is also a major highlight. There is nothing better than problem-solving live on site with a contractor or builder, navigating constraints and finding smart, buildable outcomes together. A strong collaborative team or lack of one can make or break a project, and when collaboration works well, it is one of the most motivating parts of the process.
The standout highlight this year has been launching my own practice while continuing to work at a senior level on hospitality and experiential projects. After many years leading an in-house design team and delivering projects for international brands, stepping into my own studio has been a major milestone.
A particular highlight has been the positive response from clients and peers to a more hands-on, director-led approach, with senior expertise embedded throughout each project. Reconnecting with past collaborators, building new relationships and shaping my own way of working has made this year feel like a real turning point. While starting a business is not always the easiest path, investing my time and energy into something of my own has proved to be the most rewarding aspect of my career.
I am especially drawn to hospitality and social spaces such as bars, restaurants, leisure venues and hotels. These projects are centred around connection; they are where people come together, celebrate, relax and create memories. I enjoy the complexity that sits behind the atmosphere, from circulation and operational efficiency to layouts that support a strong commercial return, paired with the challenge of making the final experience feel effortless, welcoming and atmospheric.
I also enjoy working with heritage and older buildings. Their construction, detailing and layers of history bring a depth of character, and part of the design challenge is respecting that while adapting the space for contemporary use. Through recent residential work, including renovating my own Victorian terraced house in North London, I have developed a deeper appreciation for how these buildings are put together, with each layer revealing a different story. Balancing old and new adds a richness that cannot be replicated.
Balancing ambition with reality is always a challenge. Budgets, programmes and existing buildings do not always cooperate with the initial vision, so you need to be resourceful and solutions focused. Managing expectations and communication across large teams, including clients, operators, contractors and stakeholders, can be demanding, especially when things change late in the process. However, those challenges are also what make the successful moments so satisfying.
I wish I had fully appreciated how much time is spent on coordination, communication and detail rather than purely on design. A strong concept can fall flat if the technical information, drawings and site coordination are not robust. I would also tell my younger self that understanding how projects are financed, procured, built and operated is just as valuable as a good eye; commercial awareness and curiosity about the wider process make you a far stronger designer.
I have also learned the importance of understanding different perspectives. Clients, designers and contractors often approach a project from different standpoints, and acknowledging those differences early on makes collaboration more productive and outcomes more successful.
Spend as much time as possible in real spaces, rather than relying solely on mood boards and digital references. Visit sites and new venue openings, observe how people use them, speak to staff, and take note of bottlenecks, quiet corners and missed opportunities. Form your own design opinions and let those observations guide your thinking.
Seek out a mentor for support, whether within the industry or someone with strong leadership experience. Build strong relationships with your peers, and do not be afraid to ask for what you want or to articulate the direction you want to grow in. Enjoy the wins and learn from the setbacks.
I expect a continued move toward spaces that support fluid, real-world use: places that can transition naturally from day to night, from work to socialising, and from private focus to shared experience. Clients are looking for environments that feel authentic and uplifting, not formulaic. Sustainability will also move further into the mainstream, with increased focus on longevity, reuse and responsible specification.
In hospitality, people are craving connection and shared experience in a world that feels slightly unsettled. This is evident in the rise of concepts rooted in familiar traditions and nostalgic social rituals, from competitive socialising to modern reinterpretations of the corner shop, pub or clubhouse. There is a renewed appreciation for places with heritage, soul and a sense of belonging, which may prompt a return to more timeless design, craft and spatial storytelling, even within larger brands.
AI will become more integrated into the design process, supporting research, visualisation and efficiency. Its value lies in enhancing human creativity and informed decision-making, rather than replacing the designer.
Being an SBID Accredited Interior Designer represents professional credibility, accountability and a commitment to best practice. Accreditation by the Society of British & International Interior Design provides reassurance to clients and collaborators that my experience, training and approach meet recognised industry standards.
It reflects the importance I place on integrity, ethics and continued professional development. Interior design balances creativity with technical knowledge and responsibility, and accreditation reinforces the need to uphold all three consistently.
On a personal level, SBID accreditation acknowledges the breadth of my career to date, from leading in-house design teams to establishing my own practice. It also connects me to a wider professional community and supports my commitment to delivering thoughtful, well-considered design that responds to people, place and context.
This week’s instalment of the SBID Icon Insights series features Hill House Interiors. Their creative collaboration is built on a shared belief that beautiful surroundings can transform people’s lives.
We maintain an open-plan office layout, which we find enables seamless and efficient communication between ourselves and our interior architecture team, FF&E designers, and support team. This constant collaboration helps us stay on top of every detail, keeping every project on track, highlight each individual’s strengths, and build trust. The result is a cohesive process from concept to completion.
We’re always exploring what’s next, whether it’s innovative finishes, forward-thinking concepts, or emerging technologies like AI. We don’t chase trends for the sake of it; instead, we stay curious and selective. Attending international design fairs, such as Salone in Milan, is a major source of inspiration for us. We love spotting prototypes and conceptual pieces that might not be released for several years, as they help us anticipate what’s on the horizon. Our process is equally informed by the synergy between fashion and interiors—tracking colour palettes, materials, and silhouettes to keep our work current yet enduring.
Wellness is an absolute standout right now—think home spas, ice baths, salt rooms, and hot yoga studios, all designed to recreate a five-star hotel experience right at home. We’re also finding new ways to work with innovative finishes and clever ways of incorporating classic materials, giving them a fresh twist that feels interesting and ahead of the curve.
Another shift is the rise of “couture interiors,” where carefully curated, one-off pieces take centre stage, rather than relying solely on big-name brands. This approach really elevates the ultra-high-net-worth design portfolio, ensuring every project feels entirely unique.
We’re also delighted to see more sustainable innovations, like a new outdoor rug collection made from recycled ocean waste. These rugs emulate the look and feel of indoor styles, helping us create sophisticated, eco-friendly spaces that are as kind to the planet as they are pleasing to the eye.
Technology is a delightful layer in our designs—subtle but undeniably impactful. Whether it’s discreetly integrated climate control or customisable lighting scenes that set just the right ambience, we love how modern innovations can elevate everyday living without ever compromising aesthetics. It’s remarkable how far tech has come; we can now design seamless, invisible solutions that blend beautifully with our interior schemes.
For us, the best technology is the kind you barely notice—it simply works in the background, ensuring complete comfort and convenience. It’s this effortless sophistication that resonates with our ethos of understated luxury. When done right, innovation becomes a natural extension of the design rather than a distraction, allowing our clients to enjoy a space that’s as practical as it is elegant.
Helen: Never be afraid to ask questions. Hands-on experience is invaluable, even if it means starting out in a junior position or offering your time for free. It’s all part of the process. Keep yourself organised, stay curious, and don’t be put off by the long hours—when you see how far you’ve come, it’ll be well worth it. One of the best feelings in this industry is looking back and realising how much you’ve grown by embracing every opportunity to learn.
Jenny: Seek inspiration wherever you go—from major design exhibitions, to a stroll around your local market or your favourite holiday destination. You never know which unexpected detail might spark a brilliant idea. The more experiences you gather, the richer your creative palette becomes. Above all, keep an open mind and a sense of wonder—design is a continuous journey of learning, exploration, and collaboration.
Mentorship has always been close to our hearts. We’ve been in the industry for almost three decades, and we feel strongly about supporting the next generation of designers who share our passion for creativity and craftsmanship. Each year, we attend the Inchbald Graduate Exhibition and we offer internships, many of which have blossomed into full-time roles for talented individuals who truly shine.
We also love taking part in panel discussions—there’s something wonderfully fulfilling about passing on knowledge we’ve gained over the years, hearing fresh perspectives from newcomers, and sparking that sense of excitement in the field. Judging on the SBID panel is another enriching way for us to give back, as it connects us with peers and provides a platform for constructive feedback that helps raise the bar for everyone.
Collaboration is part of our everyday fabric. We believe there’s a specialist for every aspect of a project—from architects and engineers to artisans who craft bespoke finishes. Over the years, we’ve joined forces with iconic names like Lalique, Ralph Lauren, and Benjamin Raymond to create inspiring, one-of-a-kind environments. We also love teaming up for events and showroom exhibitions with brands such as Gladee and Bella Figura, where we can collectively showcase design at its finest.
A recent highlight was our collaboration with Glancy Fawcett, Sylka Carpets, and Parkway England at the Dubai International Boat Show, presenting a “Best of Luxury British Brands” experience. Bringing together a diverse group of experts in one space allowed us to truly celebrate the richness and depth of British design on a global stage.
We’re also working on lots of new ideas in the background so watch this space!
About Hill House Interiors
Hill House Interiors is the fruit of a 25-year friendship between its founding partners, Jenny Weiss and Helen Bygraves. Their creative collaboration is built on a shared belief that beautiful surroundings can transform people’s lives. Their client-centred approach has garnered a multitude of awards while their business has grown over the years into one of Britain’s leading interior design practices, with a 30-strong team of designers and architects. Hill House Interiors operates out of a creative studio and lifestyle showroom in the UK, and a luxurious newly opened office near the DIFC in Dubai. With a global reach, Hill House Interiors works on high-end projects in the residential, yacht and hospitality sectors, in locations as diverse as London, New York, Lake Como, Antibes, the Bahamas, Ibiza and L.A. Projects can range from exclusive penthouse apartments to palatial homes, lakeside villa retreats, luxury boutique hotels or beautifully engineered yachts.
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