This week’s instalment of the Project of the Week series features a contemporary residential design by 2025 SBID Awards Finalist, Studio 95 Interiors.
Studio 95 Interiors, a West London-based design studio, was commissioned to add contemporary style to this charming 1930s family home in Ealing. Central to the project is a spacious new kitchen, dining and living area created as part of a generous rear extension. The fully refurbished entrance hall retains key original features, blending classic character with modern functionality to create a welcoming, open space adorned with tribal masks inspired by the family’s extensive travels. The newly designed master suite boasts an high pitched ceiling and a striking oriel window seat, offering serene garden views and a sense of retreat.
Category: Residential House Under £1M
Design Practice: Studio 95 Interiors
Project Title: Ealing Family Home
Project Location: London, United Kingdom
Design Practice Location: London, United Kingdom
The clients had decided to update and extend their large 1930's semi-detached two-storey family home in Ealing. As part of the refurbishment and extension project, they wanted a new contemporary kitchen which was to be situated in an open plan kitchen, dining and living space at the rear of their south facing property. They also wanted an updated entrance hall with new stairwell, a new master suite on the first floor along with refurbished rooms throughout. The following requests were raised by the client as their design brief.
- Generally: To honour the home's original character while introducing a contemporary aesthetic tailored to modern family life. - Kitchen, Dining & Living Area: Create an inviting, multifunctional space that balances elegance with everyday functionality and one that enhances the connection to the large south-facing garden. Create a cohesive lighting plan layout and specification for the rear extension incorporating feature lights along with functional downlights. Create a media wall with shelving. - Entrance Hall & Stairwell: Create a striking entrance hall to reflect the home's original character but in a contemporary way. - Master Bedroom Suite: Create a calm elegant room that enhances the newly designed architectural features of the high pitched ceiling and oriel window. Create a place of retreat which also connects with the outdoors.
On the ground floor, at the rear of the property, the open-plan ground floor kitchen, dining and living area was envisioned as the vibrant heart of the home, offering a generous, light-filled environment that opens onto the south-facing garden. We wanted to make the most of this wide 10 metre space and for each designated area to flow and work well with each other.
The entrance hall was to serve as a transitional space, subtly nodding to the home's 1930s heritage while embracing a contemporary design approach. It was a transitional space where you move from the reinterpreted original architecture at the front of the property to the modern extension of the kitchen, dining and living area at the rear. As a nod to its 1930s heritage, we added a classic monochromatic scheme of art-deco inspired black and white geometric flooring, black doors, grey painted wall panelling and a glamourous glass bauble chandelier. These reflect the overall design language of the home.
On the first floor, the master suite was designed to celebrate architectural volume and light. The pitched roofline was left open to enhance a sense of airiness. The feature oriel window which has a bespoke built-in window seat, creates a serene corner for relaxation and making the most of views and natural light.
There were a number of hurdles in this project, the main one was working within the budget that had been allowed. It was a large home and the client was refurbishing the entire house. So, with clever and imaginative use of the budget, we were able to make the budget stretch to achieve the thoughtfully curated look throughout and making some existing pieces work with the new.
The design carefully balances old and new, respecting the character of the original home while introducing light-filled, modern living spaces. Key highlights include: - Seamless Integration: A contemporary extension that harmonises with the existing architecture while offering a bold modern identity. - Maximising Light & Space: Open-plan layouts, large glazed panels, and thoughtful spatial planning bring natural light deep into the home, creating a sense of openness and connection to the garden. - Contemporary Living: Flexible spaces designed for modern family life, with a focus on flow, comfort, and functionality. - Craftsmanship & Detail: High-quality materials and refined detailing elevate the design, ensuring both durability and elegance. - Sustainability Considerations: Energy-efficient solutions and sustainable materials contribute to the longevity and environmental responsibility of the home.
The result is a home that redefines a traditional property for 21st-century living, blending heritage with innovation.
Entering the SBID Awards is an opportunity to push creative boundaries and showcase work to a global audience. Being shortlisted by a panel of highly respected industry experts is both an honour and a testament to the quality of a studio’s design. The awards not only provide valuable benchmarking against peers but also open doors to significant marketing opportunities, particularly when recognised as a finalist.
Being shortlisted for the SBID Awards is a significant milestone for my studio. Having a project recognised in the residential category for the third consecutive year affirms the consistency and quality of our work. The recognition serves as a powerful showcase, attracting attention from peers in the interiors industry as well as prospective clients, while reinforcing our reputation for professionalism, reliability, and design excellence. Beyond visibility, the awards have strengthened relationships with clients, suppliers, and media partners. On a more personal level, the journey highlights the evolution of the business - its beginnings, its growth over the past five years, challenges and achievements - making the experience both rewarding and invaluable.
Questions answered by Stephanie Gilsenan, Founder of Studio 95 Interiors.
We hope you feel inspired by this week's design!
If you missed the last instalment of Project of the Week, featuring a mid-century kitchen design, click here to read it.
Aisha Subhani, Founder of Aisha Subhani Design, have given her insights on design.
A home carries the hands that made it.
You see it in the line of a moulding, the weight of a cabinet door, the surface of a vessel, the way a piece of joinery seems to understand the room it sits in. These details may not ask for attention straight away, but they are often the reason a home feels warm, layered and deeply personal.
Craft has always shaped the way I think about interiors.
It is there in the way a room is planned, in the materials chosen, in the makers brought into the process, and in the details that stay with a home long after the installation is complete. How something is made matters. So do the people making it.
My relationship with craft began before I was designing homes for clients.
I have always been drawn to people who make things with their hands. The patience of it. The judgement involved. The knowledge that sits in a person’s fingers after years of working with the same material.
That understanding changed the way I look at interiors.
A room is never built from finishes alone. It comes together through proportion, use, material, detail and touch. The parts of a home people live with every day often carry the greatest importance. The cupboard opened each morning. The handle held without thinking. The shelf made for a particular collection of books. The object on a console that carries a story from another place.
Those are the details that make a home feel personal.
They also ask for time. A piece made for one room has to understand that room. Its light, its scale, its architecture and the people moving through it.
In my interiors, craftsmanship appears in practical and beautiful ways.
It might begin with bespoke joinery. A dressing room designed around the rhythm of someone’s morning. A kitchen cabinet made to hold the everyday things a family reaches for most. A library wall planned around existing architecture, rather than forced into it.
The same thinking applies to mouldings.
A profile can change the feeling of a room completely. It can bring softness to a clean space, restore character to a period property, or help a room feel more settled. The right moulding feels as though it has always belonged there.
Handcrafted details bring another layer again.
A carved stone basin. A brass fitting with a surface that will change over time. A ceramic piece shaped by hand. A textile woven slowly, with small variations that give it life. These pieces bring the maker into the room. They hold the memory of the person who worked on them.
That is where the richness lies.
I am thinking about this a lot in a current apartment project on Mount Street in Mayfair.
The building has history, but the home needs to work beautifully for the way people live now. That balance has made craft central to the design process.
We are designing bespoke joinery throughout, developing mouldings that respond to the proportions of the rooms, and introducing handcrafted details that give the apartment warmth and character. Craftspeople are part of the project at different stages, from the makers shaping the architectural details to the artisans creating pieces that will sit within the finished rooms.
There is a contemporary interpretation of Arts and Crafts thinking within this project. Materials, making, detail and use all sit at the centre of the work. The result belongs to modern living, but has the patience and skill of something made properly.
Craft is present in the larger decisions, but also in the smaller ones. The depth of a profile. The scale of a cupboard. The material chosen for a surface that will be touched every day. The way one handmade piece can shift the feeling of an entire corner.
A great deal of my work happens through conversation with makers.
I work with artisans across South Asia, Europe and the Middle East, and each workshop brings its own materials, methods and traditions. A maker who has spent years with timber, brass, clay, stone or textile understands that material in a way that comes from practice.
That knowledge changes the final piece.
A drawing can set the intention, but the maker brings judgement. They know where a line should be softened, where a material will resist, where a finish will age well, and where a small adjustment will make the piece feel more natural in the room.
That exchange is one of the most valuable parts of the process.
It allows a home to carry more than one point of view. The client, the designer and the maker each shape what the room becomes.
Ash Revive came from this long-standing relationship with craft.
For years, I sourced handcrafted pieces for private clients. Again and again, these objects became the pieces people loved most in their homes. A bowl on a console. A carved object on a shelf. A piece of brasswork catching the light.
The maker’s name, process and story were always part of the value of the piece. I wanted those stories to have more space.
Ash Revive allows the artisans I work with to sit beside their work. Each piece is chosen with care, and each collection keeps the story of the maker close to the object itself.
It grew naturally from the studio, because the belief is the same. Craft deserves to be understood, credited and lived with.
The homes I love most are full of details that feel as though they belong exactly where they are. The joinery follows the room’s own rhythm. The materials have been chosen with patience. The objects carry a hand you can sense, even when you could never name whose it was.
A handcrafted home is shaped by more people than the designer’s name suggests. The maker, the artisan, the client who trusted the process when it took longer than expected. Each brings something the others could never have created alone.
That accumulation, more than any single beautiful object, is what gives a home its depth.
About Aisha Subhani Design
Founded by Aisha Subhani, Aisha Subhani Design is a London-based interior design studio creating luxury interiors across the UK and internationally. Drawing on global craftsmanship, collectible design and a contemporary sensibility, the studio creates homes that feel deeply personal to the people who live in them. Services include concept development, art curation, bespoke furniture and sourcing from collectible makers, alongside Private Design Consultations with Aisha for those seeking considered guidance without a full design package. The studio works with a select number of clients each year, allowing each project the time, care and attention it deserves.
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Robert Glynn, Founder & Creative Director at Studio 31 Interior Design, has given his insights into the industry.
I'm the Founder and Creative Director of Studio 31 Interior Design. Before starting Studio 31, I spent seven years as a Director at Habu Interior Design, working on residential and commercial projects across Ireland.
Leaving Habu was one of the hardest decisions I've ever made. Starting your own business is daunting at the best of times, but I somehow decided it was also the right time to build my own home, launch a new company and raise a young family. Looking back, I honestly don't know how we got through it. It was incredibly stressful, but it also gave me complete clarity about the type of design practice I wanted to build.
Blackbarn became a turning point. Designing and building my own home reinforced everything I believe about good design and continues to influence every Studio 31 project today.
Studio 31 Interior Design is pleased to be among the inspiring global design talent to have been shortlisted as a finalist in this year’s SBID International Design Awards for its entry, Blackbarn in the Residential House Under £1M category.
I don't think there was one particular moment where I decided to become an interior designer. Looking back, I've probably always looked at buildings differently. Even now I'll walk into a restaurant or hotel and immediately start looking at the lighting, proportions and layout rather than the menu.
What drew me into the profession was the mix of creativity and problem solving. You're not creating art to sit on a wall; you're creating spaces people live in every day. If you've done your job well, life becomes a little easier, calmer and more enjoyable.
The beginning of a project is still my favourite part. Before we talk about colours or furniture, I want to understand how people actually live. Where do they drink their morning coffee? Who cooks? What frustrates them about their current home? Those conversations tell me far more than a Pinterest board ever will.
I genuinely believe the best interiors aren't designed around furniture—they're designed around people.
Without question, completing Blackbarn. It was the most rewarding and demanding project I've ever worked on. When you're designing for yourself there's nowhere to hide. Every decision is yours, and if you get something wrong, you're the one living with it.
Launching Studio 31 at the same time definitely wasn't the sensible option, but together those experiences have shaped the designer and business owner I am today.
Residential projects will always be my favourite because they're so personal. A house isn't just another project; it's where people build their lives.
The projects I enjoy most are those where we're involved early enough to influence both the architecture and the interiors. When everything is considered together from day one, the end result feels calmer, more cohesive and more natural.
Helping people understand the value of the decisions they can't necessarily see. Most people get excited about kitchens, sofas and finishes, but layout, proportion, circulation and natural light usually have a much bigger impact on how a home feels.
I probably have a slightly controversial opinion as an interior designer, but I think liveability just edges aesthetics. I want every project to look beautiful, but if it doesn't function brilliantly every day, then it hasn't quite succeeded. The best homes don't shout—they just quietly work.
Probably that only a small part of the job is actually designing. The rest is listening, communicating, solving problems and coordinating a talented team of people. Some of the best ideas don't happen behind a computer, they happen on site.
Stay curious. Don't just look at beautiful photographs online. Ask yourself why a space really works. Visit buildings, travel, spend time on construction sites and ask lots of questions.
And don't design for Instagram. Design for Sunday mornings, family dinners and rainy evenings. Those are the moments people actually remember.
I think we're moving away from designing homes around trends and back towards designing them around people. Clients are asking better questions about longevity, craftsmanship and how their homes will work in ten or twenty years' time. Personally, I think that's a really positive direction for the industry.
Starting Studio 31 was a huge leap of faith, so achieving SBID Accreditation feels like another important milestone. It's fantastic to receive recognition from such a respected organisation, but more importantly it gives clients confidence that they're working with a practice committed to high professional standards.
Awards and accreditation are wonderful, but the real reward is handing over a home and knowing it will genuinely improve how someone lives for years to come.
About Studio 31 Interior Design
Studio 31 Interior Design is a Dublin-based interior design studio specialising in bespoke residential and commercial interiors throughout Ireland. We create timeless, functional spaces tailored to each client's lifestyle, business and aspirations. Our comprehensive service includes interior architecture, space planning, lighting design, bespoke joinery, material specification, furniture sourcing and complete project management from concept through to completion. Every project is approached with creativity, meticulous attention to detail and a commitment to exceptional quality. Our work has been featured in leading Irish publications, reflecting our passion for creating beautifully considered interiors that stand the test of time.
This week’s instalment of the Project of the Week series features a sophisticated penthouse design by 2025 SBID Awards Finalist, Fenton Whelan Design.
Fenton Whelan Design was commissioned to design the interiors of a penthouse, with a vision of refined international luxury. The design merges modern minimalism with Asian-inspired details, expressed through rich textures, sculptural forms, and a harmonious palette of soft neutrals accented by green and blue. Calacatta marble, bespoke furnishings, and curated artwork bring depth and elegance to each space. From the panoramic city views of the living room to the serene, layered bedrooms, every detail reflects thoughtful craftsmanship. The result is a sophisticated, tranquil residence that balances contemporary aesthetics with timeless character and global influence.
Category: Residential Apartment Over £1M
Design Practice: Fenton Whelan Design
Project Title: Penthouse
The client wanted a home that transcended the idea of a traditional penthouse — a space that was at once modern and timeless, offering both dramatic views and a calm sanctuary. Their brief centred on creating a refined environment for entertaining while still feeling deeply personal and liveable.
The inspiration came from the dialogue between architecture and lifestyle. With panoramic views as the backdrop, the design sought to frame the skyline while layering in warmth through textures, craftsmanship, and carefully curated details. We were inspired by the idea of “quiet luxury” — elevating every finish, proportion, and piece of furniture so the space feels sophisticated yet effortless.
Balancing bold architectural gestures with intimacy was our greatest challenge. We wanted to honour the scale of the penthouse without losing the sense of comfort that makes a home truly inviting. Achieving that harmony required a meticulous approach to proportion, zoning, and lighting — ensuring the space feels both expansive and human.
The moment of installation, when all the layered elements — bespoke joinery, tailored furnishings, curated art — came together. Seeing the client walk into a space that reflected both their aspirations and our vision was an incredibly rewarding highlight for the team.
SBID represents excellence in global design, and entering the Awards felt like the right platform to benchmark our work against the very best in the industry. It was also an opportunity to share a project we are truly proud of with an audience that values innovation, craft, and impact.
Being shortlisted has been both validating and motivating. It reinforces our belief in pushing boundaries and confirms that our design philosophy resonates beyond the client. For the studio, it has opened new conversations, elevated our profile, and reaffirmed our commitment to delivering projects that blend vision with execution at the highest level.
Questions answered by Arta Marku, Creative Director of Fenton Whelan Design.
If you missed the last instalment of Project of the Week, featuring a cutting-edge podcasting studio design, click here to read it.
Feray Takmak, Founder & Creative Director of Studio Feray, has given her insights into the industry.
Interior design was never simply a career choice for me it was a calling. Although I originally studied Geophysics Engineering, I realised very early on that my true passion lay in creating spaces that positively influence how people live. I was fascinated by the emotional connection between people and their surroundings, and I wanted to combine creativity with problem-solving.
What I enjoy most is the transformation journey. Watching a project evolve from an initial conversation and a blank floor plan into a beautifully crafted home is incredibly rewarding.
I also love sourcing unique pieces from around the world. Every project becomes an opportunity to discover exceptional artisans, materials, antiques, and contemporary craftsmanship that bring individuality to each interior.
The greatest satisfaction comes when clients walk into their completed home and say, "This feels exactly like us."
This past year has been particularly meaningful for Studio Feray. One of the highlights was seeing our work featured on the cover of Maison France Magazine, celebrating our approach to timeless luxury interiors.
Luxury residential projects will always be my favourite because they allow for deeply personal design.
I enjoy working with clients who value quality, craftsmanship, and longevity. Designing a home is about much more than selecting beautiful furniture; it's about understanding how a family lives, entertains, relaxes, and creates memories.
The most successful interiors tell a story, and I enjoy discovering that story through the design process.
Managing expectations while balancing creativity, budgets, timelines, and technical requirements can be challenging.
Design is only one part of the profession. Successful interior designers also need strong project management, communication, negotiation, and leadership skills. Coordinating architects, contractors, specialist suppliers, and craftsmen requires constant attention to detail.
The challenge is significant, but it is also what makes the profession so rewarding.
I wish I had understood earlier that trust should always be supported by clear processes and written agreements.
Over the years, I've learned that while the interior design industry is built on collaboration, not everyone involved in a project will share the same level of professionalism or integrity. Whether it's contractors, suppliers, or third parties, it's important to protect both your clients and your business by documenting everything, setting clear expectations, and never relying solely on verbal agreements.
Never stop learning.
Visit showrooms, travel whenever possible, study architecture, understand construction, and most importantly, develop your own design voice rather than following trends.
Technology and AI have become valuable tools, but they can never replace curiosity, experience, observation, or genuine creativity. The best designers remain students throughout their careers.
I believe the industry will continue moving towards highly personalised, sustainable, and thoughtfully curated interiors.
Artificial intelligence will continue to transform the design process by improving visualisation, concept development, and workflow efficiency. However, the human element understanding clients' lifestyles, emotions, and aspirations will always remain at the heart of exceptional interior design.
For me, SBID accreditation represents professionalism, credibility, and a commitment to maintaining the highest standards within our industry.
It also reassures clients that they are working with a qualified professional who values quality, integrity, and responsible design practice.
About Studio Feray
Based in the heart of London's prestigious Walton Street, home to the capital's most renowned design houses, luxury boutiques, and artisan showrooms, Studio Feray has over 20 years of experience creating exceptional high-end residential interiors. Inspired by the craftsmanship and design heritage of one of London's most influential design destinations, the studio delivers bespoke interiors that combine timeless elegance, refined materials, and meticulous attention to detail. From concept and procurement to project coordination and final styling, Studio Feray creates sophisticated, personalised homes that balance understated luxury, functionality, and enduring quality for clients in London and internationally.
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.
This week’s instalment of the Project of the Week series features a luxury family home design by 2025 SBID Awards Finalist, More Design.
Inspired by Georges Seurat’s Neo-Impressionist principles, this residential project reinterprets domestic life through a “spatial pointillism” concept tailored for a multigenerational Asian family. The design team transformed the original structure to include a ceremonial basement social hub, intelligent zoning, and a 60-meter circulation loop fostering intergenerational connection. Blending Art Deco influences with digital fabrication, the residence features biomorphic mosaics, acoustic innovations, and daylight-responsive interiors. Through adaptive reuse, prefabrication, and low-impact landscape integration, the project redefines luxury living with cultural nuance, technical precision, and environmental sensitivity—creating a sanctuary where sculptural aesthetics and family warmth harmoniously converge.
Design Practice: More Design
Project Title: Afternoon Prelude
Project Location: Hangzhou, China
Design Practice Location: Hangzhou, China
The client is an Asian high-net-worth family consisting of a couple, their overseas-educated daughter, and two preschool-aged sons. Their core residential demands centered on three key aspects: first, intergenerational living adaptability, requiring a space that balances the diverse needs of family members across ages—such as creating zones for the couple's social interactions, the daughter's independent living, and the young boys' activities, while ensuring both connection and privacy among generations; second, natural integration, with a strong emphasis on "sunlight penetration" and "symbiosis with nature" to infuse the residence with natural vitality; third, personalized expression, hoping to translate the family's unique traits (including the female homeowner's connection to "flowers" as reflected in her name) into spatial attributes, and to have a living environment that combines a sense of ritual with relaxed comfort, realizing a poetic cohabitation experience.
The design drew inspiration from multiple layers, forming a cohesive creative framework:
Artistic origin: It took Georges Seurat's Neo-Impressionist aesthetics as the conceptual starting point, innovatively adopting the "spatial pointillism" technique to reconstruct the narrative of residential life, transforming the fragmented visual language of pointillism into integrated spatial logic.
Cultural gene: It rooted in the "coexistence and mutual support" cultural essence of East Asian families, aiming to materialize the intergenerational harmony of Asian households into spatial forms.
Personalized cues: The "flower" character from the female homeowner's name served as a core personal symbol—through parametric design, floral forms were deconstructed into floor mosaics and ceiling textures, creating a biomorphic spatial narrative that echoed the family's identity.
Market demand response: It closely aligned with the living aspirations of Asian high-net-worth families for "sunlit vitality and symbiosis with nature", integrating functional needs with aesthetic pursuit.
The team faced three core challenges, and addressed them with targeted innovations:
Challenge 1: Reconstructing the building's vertical functional logic The original spatial layout failed to meet the family's demand for "separation of dynamic and static functions" and intergenerational adaptation. The solution was a vertical reconstruction of the architectural structure: transforming the original basement (traditionally a neglected space) into the core social layer, integrating the foyer, art gallery, and piano area to form a composite field; converting the original ground floor into a private living space, and establishing a dual-entry system to clearly divide communal and private zones vertically.
Challenge 2: Balancing intergenerational interaction and spatial privacy Ensuring seamless connection among family members while avoiding mutual disturbance was a key difficulty. The team designed a 60-meter circular circulation path to weave through intergenerational interaction zones, enabling organic interweaving of children's activity routes and adults' behavioral trajectories; meanwhile, they implanted two-way acoustic speaker devices (inter-level acoustic dialogues)—these devices not only maintained the privacy of each space but also served as a physical medium for emotional connection, resolving the contradiction between "interaction" and "privacy".
Challenge 3: Achieving precise implementation of complex artistic components The petal-shaped ceiling, copper decorative pieces, and other custom components with complex shapes posed great challenges to construction accuracy. The team adopted BIM digital modeling and factory prefabrication technology: through digital simulation and industrialized prefabrication, they ensured the precise landing of these artistic components, realizing the in-depth unity of functional needs and artistic expression without compromising either.
The project stood out with multi-dimensional highlights covering aesthetics, space, technology, culture, and sustainability:
Aesthetic innovation: It constructed a contemporary living landscape integrating Eastern and Western aesthetics—by combining Art Deco decorative vocabulary with digital construction technology, and using parametric "flower" elements and dynamic light and shadow (realized through large-area floor-to-ceiling windows and skylights) to create a spatial experience with temporal depth.
Spatial intelligence: The "full-age adaptation" spatial planning achieved maximum functional efficiency—vertically, the dual-entry system clarified the division of communal and private functions; horizontally, the circular path connected study, fitness, and entertainment areas. The vertical reconstruction of the basement and ground floor redefined the value of each spatial layer.
Emotional connection design: The circular circulation path and cross-floor acoustic dialogue devices jointly built an intergenerational interaction network, turning the residence into a carrier of familial warmth while ensuring individual privacy.
Cultural expression: It took East Asian familial "coexistence" values as the core, broke the spatial separation between generations, and exported Asian residential wisdom through spatial narrative, forming a design paradigm with cultural recognition in the global context.
Sustainable practice: Adhering to the concept of "adaptive reuse", it extended the building's life cycle through structural transformation; optimized basement lighting and functionality with vertical expansion; reduced waste and construction period through prefabricated technology, and integrated into the mountainous environment with low-intervention measures.
Value creation: It established technical barriers through custom processes such as petal ceiling mold opening and acoustic device research and development, enhancing market premium capacity; and promoted the upgrading of high-end residential design standards through sophisticated circulation systems and full-age adaptation solutions.
The SBID Awards are renowned for recognizing design works that integrate innovation, functionality, aesthetics, cultural connotation, and sustainability—attributes that the project fully embodies, making it a natural fit for the award's evaluation philosophy:
It realizes the perfect integration of artistic inspiration (Neo-Impressionist "spatial pointillism") and practical living needs, setting a benchmark for "aesthetically pleasing and functional" high-end residential design.
It innovatively solves the universal challenges of intergenerational living in contemporary families (such as balancing interaction and privacy, adapting to multi-age needs) through spatial planning and technical means, providing a replicable and promotional solution for residential design.
It seamlessly blends Eastern and Western aesthetics and inherits Asian residential culture, demonstrating how regional cultural values can be innovatively expressed in modern design, which aligns with the award's emphasis on cultural diversity and design originality.
It achieves a win-win situation of commercial value (market premium), social value (community coordination, residential paradigm), and ecological value (sustainable practice), reflecting the multi-dimensional influence of outstanding design—an aspect highly valued by the SBID Awards.
By entering the awards, the team hopes to share this exploration of "poetic cohabitation integrating culture, technology, and nature" with the global design community, and contribute to the development of contemporary Asian residential design.
Being a finalist for the SBID Awards is a profound recognition and valuable impetus for both the team and the business:
For the team: It is an affirmation of their professional capabilities in multiple fields—including artistic creativity (interpreting Neo-Impressionism in spatial design), technical innovation (BIM prefabrication, acoustic device development), and cultural insight (translating East Asian family values into space). It strengthens the team's confidence in adhering to the concept of "people-oriented innovation" and encourages them to continue exploring the boundaries of residential design.
For the business: It significantly enhances the brand's visibility and influence in the global design industry, especially in the field of high-end Asian residential design. The project's positioning as a finalist proves the business's ability to create works that balance cultural connotation, technical advancement, and market value—helping to attract more clients who pursue personalized, culturally rooted, and sustainable residential solutions. More importantly, it establishes the business as a pioneer in "integrating regional culture with modern residential design", laying a solid foundation for further promoting Asian residential wisdom in the global design discourse.
If you missed the last instalment of Project of the Week, featuring an immersive property development design, click here to read it.
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.
Helen Bygraves and Jenny Weiss, Founder Directors at Hill House Interiors, have given their insights into the industry.
Hill House Interiors was founded by Helen Bygraves and Jenny Weiss in 1997, growing from a boutique studio into one of Britain’s most established interior design practices. Today, the studio is known for couture residential interiors for private clients in the UK and internationally, with projects spanning London townhouses, country estates, private residences, villas, penthouses and yachts.
Helen and Jenny came to interiors through different but complementary creative paths. Helen’s background as a professionally trained dancer informed an instinctive understanding of proportion, movement, theatre and composition, while Jenny’s lifelong love of art, textiles and film, alongside a background in property development, evolved into a passion for creating layered, welcoming homes. Together, their shared belief that thoughtfully designed surroundings can meaningfully enhance the way people live has shaped Hill House Interiors’ client-led, refined and deeply personal approach to design.
For both of us, interiors began with a very instinctive understanding of how powerfully a space can influence the way people feel and function within it. A home is never simply a collection of rooms; it is the setting for daily life, and when it is carefully considered, it can bring comfort, ease and a strong sense of identity.
Our individual journeys into design were different, but equally grounded in creativity. Helen’s early career in dance nurtured an appreciation for rhythm, spatial awareness and storytelling, while Jenny’s route evolved through creative exploration and hands-on experience within refurbishment and design of personal properties. What ultimately drew us both to interior design was the opportunity to bring together creative thinking with a more intuitive understanding of people, shaping environments that feel authentic, considered and genuinely supportive of the way our clients live.
Building relationships with clients is undoubtedly one of the most rewarding parts of what we do. Interior design is inherently personal; clients are inviting you into their homes and, in many ways, their lives. We value the process of getting to know a client on a more intuitive level, taking time to understand not only their aesthetic preferences, but what truly makes them tick, how they live, entertain, unwind and spend time with those closest to them.
We also thrive on the creative challenge of ensuring every project feels completely unique. Hill House Interiors has never been about imposing a recognisable style. Each scheme is shaped by a combination of the client, the architecture, the setting and how the space needs to perform. The satisfaction lies in carefully orchestrating proportion, light, texture, materials and detail to create interiors that feel cohesive, characterful and quietly assured, however considered the process behind them may be.
This past year has been particularly meaningful for us. Being awarded the SBID Icon Award was an extraordinary honour, not least because it is recognition from our peers within the industry. That level of acknowledgement carries a particular significance, as it reflects both longevity and contribution to the profession over time.
Alongside this, receiving two major international accolades has further positioned Hill House Interiors on a global stage. These achievements have expanded our presence beyond the UK and reinforced the relevance of our work within a broader, international context, which is both humbling and incredibly rewarding.
Our favourite projects are those which allow us to shape the foundations of a home from the outset, considering spatial planning, flow, lighting and atmosphere before layering in the decorative elements. That holistic approach allows for a more cohesive and resolved end result.
We are particularly drawn to private residential projects that are deeply personal to the client, whether that is a London townhouse, a country estate, an overseas villa or a yacht. The most rewarding briefs are those centred around lifestyle rather than aesthetics alone, where the aim is to create a home that truly reflects how someone lives and what matters to them.
One of the greatest challenges lies in balancing creativity with the level of precision required to deliver a project successfully. A refined interior is never solely about the final aesthetic; it relies on structure, technical understanding, project management, coordination and an exceptional level of detail. Behind every composed and considered space is an extensive and highly organised process.
There is also a significant level of trust involved. Clients are allowing you into a very personal aspect of their lives, and that requires discretion, consistency and sensitivity. The designer’s role is to anticipate, resolve and guide, often quietly behind the scenes. Ultimately, one of the most rewarding moments is seeing a client’s reaction at the completion of a project, particularly when the result surpasses their expectations. That emotional response is what makes the entire process worthwhile.
If we were speaking to our younger selves, we would say to stay curious and trust your instincts. Research is invaluable, and a willingness to keep learning will always strengthen your work.
We also came into building a business without formal business training, and in hindsight, we would strongly recommend seeking guidance early on, whether through a business coach or industry body. There will inevitably be challenging periods, so resilience, careful planning and a clear long-term vision are essential.
The SBID, in particular, has been a constant source of support, providing guidance, structure and reassurance as we have grown. Having that level of professional backing has been invaluable throughout our journey.
Understand your market and remain confidently within your lane, as that clarity will shape not only your design direction but also the clients you attract. For us, focusing on the luxury residential sector has defined both our creative approach and the way we position the business. Alongside this, presenting your work well is essential, so investing in professional photography from the outset will ensure it is perceived in the right way. Equally important is building a strong foundation around you by joining professional bodies such as SBID and engaging with networking groups and industry organisations. These connections provide invaluable support, visibility and opportunity, reinforcing both your credibility and your longterm growth within the industry.
Clients today expect more from their homes than ever before. A home is no longer purely a place to live; it needs to function as a sanctuary, a wellness space, and often a working environment. That shift has changed the way spaces are designed, with a greater emphasis on adaptability, comfort and emotional wellbeing.
Having experienced multiple shifts within the industry over the years, we have learned the importance of remaining agile and open to change. The ability to adapt, respond to new ways of living and interpret evolving styles is key to staying relevant.
The rise of AI is also influencing expectations, with clients arriving with highly visualised ideas of their ‘ideal’ home. A crucial part of our role is to interpret those ideas, assess what is both practical and achievable, and translate them into a design that works in reality, both functionally and aesthetically.
SBID accreditation means a great deal to us. It represents credibility, professionalism and a recognised standard within the industry. It provides reassurance to clients, while also reinforcing the integrity of the work we deliver.
Beyond that, it offers a sense of support and community. Having that professional backing, guidance and recognition has been invaluable throughout our career, and it continues to play an important role in how we position ourselves and our projects within the industry.
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 residential projects in locations as diverse as London, Dubai, New York, Lake Como, Antibes, the Bahamas, Ibiza and L.A. Projects can range from exclusive penthouse apartments to palatial homes, lakeside villa retreats or beautifully engineered yachts.
At T&A Property Development / Shi+Me Interiors, we specialise in delivering high-end, design-led residential projects across London where craftsmanship, detail, and materiality define the final outcome. One of our most recent luxury interiors presented a particularly refined challenge: the integration of authentic gold leaf finishes across key architectural and decorative surfaces.
Gold leaf is one of the most delicate and expressive materials in interior design. Its application requires precision, patience, and a deep understanding of both traditional craftsmanship and contemporary design expectations. Spanning approximately 12,500 square feet, this luxury London project presented an opportunity to combine traditional craftsmanship with exceptional attention to detail, with genuine gold leaf becoming one of its defining design features.
Unlike conventional finishes, gold leaf does not allow for error. Each sheet is ultra-thin and highly sensitive to environmental conditions such as humidity, temperature, and surface preparation. Even the slightest imperfection in the substrate can affect the final visual continuity.
Before application began, extensive preparation work was required to ensure all surfaces were perfectly smooth, sealed, and primed. Multiple test applications were carried out to achieve the correct adhesive balance and tonal consistency, ensuring the final finish aligned with the design intent.
One of the defining aspects of this project was the client's decision to use genuine gold leaf rather than composition (imitation) gold leaf. While imitation leaf offers a similar aesthetic at a lower cost, genuine gold leaf possesses a richness, depth of colour and permanence that simply cannot be replicated. Its ability to retain its brilliance over time made it the clear choice for a residence where authenticity and longevity were paramount.
However, selecting genuine gold leaf introduced an entirely different level of complexity. Every sheet is exceptionally delicate and demands meticulous handling throughout the application process. More importantly, achieving the client's vision required far more than simply choosing the material, it involved a collaborative design journey.
To ensure complete confidence before installation, our team produced a series of bespoke sample panels using different sheet sizes, layouts and application patterns. These mock-ups allowed the client to experience first-hand how the individual leaves aligned, how the seams interacted with light, and how varying installation techniques influenced the overall visual effect. Each sample was carefully reviewed and refined until the client identified the finish that perfectly reflected their design aspirations.
This level of prototyping proved invaluable. It minimised risk during installation, ensured absolute clarity before work commenced, and reinforced the bespoke nature of the project, where every detail was tailored specifically to the client's expectations.
One of the key challenges of working with gold leaf in a live London development environment was coordination between multiple trades within a restricted timeline. As the finish is highly sensitive, the application had to be carefully sequenced to avoid contamination from dust, movement, or adjacent works.
Lighting conditions also played a critical role. Gold leaf reacts dynamically to both natural and artificial light, meaning careful coordination with the lighting design team was essential to ensure the material delivered the intended warmth and depth without overwhelming the space.
Additionally, maintaining uniformity across larger surface areas required a consistent hand-applied approach, with specialist craftsmen brought in to ensure continuity of finish across all zones.
Despite the technical complexities, the result is a striking demonstration of how traditional materials can be reinterpreted within modern luxury interiors. The gold leaf surfaces introduce a sense of warmth, richness, and architectural depth that cannot be replicated by industrial finishes.
This project highlights the importance of collaboration between developers, designers, and skilled artisans. Every stage, from concept development to final application, was guided by a shared commitment to excellence and attention to detail.
At T&A Property Development / Shi+Me Interiors, we believe true luxury lies in the details that cannot be mass-produced. The use of gold leaf in this London residence reflects our commitment to delivering highly bespoke environments that balance artistic expression with technical precision.
Each sheet applied tells a story of craftsmanship, patience, and design ambition, resulting in a space that is not only visually exceptional but also deeply considered in its execution.
As London’s luxury property market continues to evolve, projects like this reaffirm the value of artisanal techniques within contemporary developments. Gold leaf, when executed with expertise and care, remains one of the most powerful tools for creating timeless, high-impact interiors.
About T&A Property Development
T&A Property Development is an award-winning design practice, proudly SBID-accredited since 2019. Led by Shiva Aghababaei, a chartered and award-winning Architect with over 25 years of experience, the company provides bespoke interior design services under its trading name, Shi+Me Interiors. Specialising in high-end residential and commercial architecture, the team combines creativity, functionality, and meticulous attention to detail to create distinctive and timeless spaces. From concept development and space planning to project delivery, T&A Property Development, trading as Shi+Me Interiors for its interior design services, is committed to delivering elegant, tailored, and highly functional design solutions.
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