This week’s instalment of the Project of the Week series features a warm and inviting family home design by 2025 SBID Awards Finalist, Claudia De Sousa Interior Design.
Home in Strassen, Luxembourg by Claudia de Sousa Interior Design seamlessly blends functionality and elegance, creating a warm and inviting family home. Designed for effortless living, the space features an open-plan social area connected to the garden, fostering togetherness while maintaining fluid circulation. A striking five-meter-high fireplace anchors the living room, complemented by sculptural lighting to enhance the double-height architecture. The couple’s private floor evokes the luxury of a hotel suite, but fully tailored to their lifestyle, designed with attention to detail to feel personal, intimate, and uniquely theirs.
Category: Residential Apartment Under £1M
Design Practice: Claudia De Sousa Interior Design
Project Title: Strassen Home
Project Location: Strassen, Luxembourg
Design Practice Location: Barcelona, Spain
Create a home for a family of 5 but with a main living area and pool area also prepared for social events.
I was inspired by warm minimalist design with detailed lighting.
The biggest challenge we faced was how to emphasize the double height of the living room, as it was the heart of the house and we wanted it to work from all angles, even when viewed from above on the first floor.
Apart from designing the space we were also very focused on the light and are very happy with the result.
I entered out of curiosity, I really liked the result of this project and also the amazing photos so I thought I could give it a chance, is the 1st time I compete, so let's see!!
This business sometimes is very hard, competitive and when working on your own, is very nice to receive recognition for such an important organization as SBID. So it would mean that we are going in the right way. Although I think our clients already tell us this, it is always good to have someone so expert saying too.
Questions answered by Cláudia Morgado de Sousa, Founder of Claudia De Sousa Interior Design.
We hope you feel inspired by this week's design!
If you missed the last instalment of Project of the Week, featuring a grounded penthouse design, click here to read it.
NB Interiors was commissioned to transform the principal living and dining spaces of this Suffolk period home, creating interiors that celebrated the property's original character while reflecting the client's love of colour, antiques and collected pieces.
For the living room, the brief was to create an elegant and vibrant space with the atmosphere of a traditional gentleman's club, but interpreted in a more colourful and individual way. During the renovation, the existing carpet was lifted to reveal beautiful original parquet flooring beneath. Rather than replacing it, the flooring was carefully revived, immediately bringing warmth and a sense of history back into the room.
Existing wallpaper was stripped from the decorative wall panels and replaced with a striking hand-painted de Gournay design. Its botanical pattern became the starting point for the wider colour palette, with soft green walls allowing the wallpaper to remain the focus of the room.
The client was confident and adventurous with colour, which gave us the opportunity to take the scheme further. A rich mustard tone was introduced across the ceiling, drawing out accents within the wallpaper while creating the darker, cocooning quality needed to achieve the desired club-like atmosphere. Mustard curtains continue the colour through the room and add another layer of warmth and richness.
Furniture was deliberately eclectic rather than overly coordinated. The client is an avid collector of vintage furniture and antiques, with individual pieces acquired over many years. Instead of replacing these, the design was developed around the collection, combining different periods, materials and styles to create an interior that feels evolved and personal rather than newly furnished. Contemporary lighting sits alongside antique and vintage pieces, bringing another layer to the scheme while preventing the period interior from feeling too traditional.
The adjoining dining room required a distinctly different atmosphere. Primarily intended as an evening entertaining space, the client wanted the room to feel dramatic, elegant and intimate.
Here, a richly detailed panoramic wallpaper provided the foundation for a much deeper palette. The surrounding architectural details and walls were enveloped in a complementary dark blue, allowing the wallpaper to become part of the architecture and creating the immersive quality the room needed.
The existing wooden floor was also revived and re-stained in a tone chosen to work with the new scheme, retaining another original element of the property while giving it renewed depth and richness.
Throughout both rooms, the approach was not to create a pristine period interior, but to celebrate the history of the house alongside the personality of its owner. Original architectural details, restored flooring, bold colour and statement wallpaper sit comfortably alongside a lifetime's collection of furniture and objects, resulting in a home that feels layered, characterful and entirely individual.
About NB Interiors UK
I have a passion for colour and texture, I enjoy helping clients be brave and take the leap into injecting personality into their homes. Whilst keeping spaces cosy, welcoming and feeling like their home. I aim to create spaces that can be truly lived in, comfortable and that will stand the test of time.
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This week’s instalment of the Project of the Week series features a grounded penthouse design by 2025 SBID Awards Finalist, Nu Infinity.
Turning every nook of one's home into a relatable and personal space makes it unique to this client's brief. Located in a prime spot overlooking Bondi Beach, it was imperative that all the important areas face outward and maximizes the view all day long - the TV hung from above, the sauna, the gym, the work desk, the living and dining areas; even the kitchen has unobstructed views. Nu Infinity's design philosophies and this year's design direction are aptly introduced but the most important part was the study and understand of our client with different lifestyle at a very unique location.
Category: Residential Apartment Over £1M
Design Practice: Nu Infinity
Project Title: Bondi Beach Penthouse
Project Location: Sydney, Australia
Design Practice Location: Kuala Lumpur, Malaysia
The brief was simple, yet it demanded thoughtful consideration. Our client entrusted us with the design of a penthouse perched above the iconic Iceberg’s Cafe at Bondi Beach, Sydney. A residence in such a prestigious location called for unobstructed views of the coastline. With wellness at the heart of his lifestyle, the brief centred on maximizing the layout to embrace Bondi’s sweeping horizon while seamlessly supporting his daily rituals.
The clients themselves were an inspiring duo. One, an Asian-born Australian, the other from South Africa, both sharing a profound appreciation for solid wood. Surrounded by sweeping views of the ocean, we envisioned a design that embraced natural timber as its foundation. This interplay between the vastness of the sea and the warmth of wood brought a sense of intimacy, creating a home that feels both inviting and grounded.
Convincing the client of two key ideas became our greatest challenge.
The first was rethinking the master bedroom. While the client wished to maximize the panoramic views of Bondi Beach, we proposed relocating the bedroom to the rear. This allowed us to design a custom sauna at the front, one that opens directly to the ocean views through the spacious gym, offering a serene wellness experience. Our reasoning was simple: at night, the bedroom view fades into darkness, but by shifting the private spaces inward, the open plan living, dining, gym, sauna, and even the workspace could enjoy the breathtaking scenery throughout the day.
The second challenge was the television. We resisted the idea of a conventional TV wall, which would have disrupted the openness of the floor plan. At the same time, we knew a small screen would never do justice to the space. Our solution was to propose a retractable 120-inch screen—an ambitious idea that initially seemed unfeasible due to its weight. Fortunately, we sourced a customized, whisper-quiet retractable system from South Africa. When closed, the screen disappears seamlessly into the ceiling, leaving the horizon uninterrupted. This became one of the client’s favourite features, balancing technology with the purity of the view.
We crafted a home that flows seamlessly around our clients’ daily rituals, achieved through a thoughtful choreography of space planning. By reorienting the bedrooms toward the rear, we created a private sanctuary, while the front of the residence was left fully open to the sweeping views, yet adaptable, with sliding glass partitions providing separation when needed.
Designing a penthouse with a sauna and open living overlooking the iconic Bondi Beach is a rare opportunity, and this feature became a defining statement of the project. Most importantly, the design never asked our clients to adapt to their home but instead, the home was meticulously choreographed to adapt to their lifestyle.
To be honest, winning the SBID Awards would be an accomplishment not just for us but a focal achievement for our team.
We have participated in multiple international and local awards and every time we win them, we bring back joy and motivation that drives our team to a new level. From one project to another, from one year after another, we unlock not just new projects but also unlock new strengths and talent.
Being part of the SBID Awards is like being part of a gathering among passionate creative minds that is not present to compete, but present to share, to reflect, to realise and for us, mainly to discover and grow. And that is why we have been submitting every year.
For over 16 years, we have pioneered our design practice, working with clients from diverse backgrounds across the globe. To us, design has never been just about aesthetics, it is about curating experiences that resonate on a deeper, more human level.
Placing our work on the international stage allows us to measure ourselves not only against global standards, but also against our own potential for growth. To be recognised by the SBID Awards, whether as a winner or a finalist, would mark more than an accolade, it would affirm that our journey is on the right path. Most importantly, it would inspire our team to push boundaries with even greater passion, constantly striving toward new heights.
Questions answered by Alex Lee & Nick Fong, Founders of Nu Infinity.
If you missed the last instalment of Project of the Week, featuring a timeless residential design, click here to read it.
Ask most people to picture an “accessible” interior, and they’ll describe something clinical — a ramp bolted onto a porch, a grab rail in stark white plastic, a bathroom that looks more like a hospital ward than a home. It’s an image built on decades of treating accessibility as an afterthought: something added once the “real” design work is done, to satisfy a regulation rather than to serve the person who actually lives there.
At Lumini Interiors, I start from a different premise. Accessibility isn’t a compliance checkbox to tick at the end of a project — it’s a design principle that belongs at the very beginning, alongside light, layout and materials. And when it’s treated that way, the results aren’t just more functional. They’re better spaces, full stop.
This isn’t a position I arrived at through theory. It’s personal.
My relationship with space changed when my health did. Living with a progressive neuromuscular condition has taught me to notice things most designers never have to think about: the distance between rooms, the weight of a door, the height of a shelf, the glare of a badly placed light, the extra ten steps a layout demands when you only have energy for three.
When your energy is limited, small friction stops being small. A stiff door handle isn’t a minor inconvenience, it’s an obstacle. A slippery floor isn’t a style choice, it’s a risk. A beautiful room that photographs perfectly can still be exhausting to actually live in.
That experience is why I don’t treat inclusive design as a specialism I’ve bolted onto a design practice — it’s the lens the whole practice is built through. I know, firsthand, what it feels like when a space wasn’t made with a body like mine in mind. And I know how different it feels when it was. That difference is the entire reason I believe every designer, not just those of us working in accessibility, should be thinking this way from day one.
Building regulations exist for good reason, and no one is arguing against them. But regulation sets a floor, not a ceiling — the minimum a space must do, not the best it could be. When accessibility is approached purely as a regulatory hurdle, it tends to get delegated to the end of a project, bolted on rather than built in. The result is predictable: door handles that meet spec but clash with every other finish in the room, “accessible” bathrooms that feel institutional, layouts where the wheelchair-friendly route is technically compliant but obviously an afterthought.
This isn’t a failure of the regulations. It’s a failure of imagination — a design culture that still quietly assumes “accessible” and “beautiful” sit in tension with one another, when in practice the opposite is true.
The most useful shift in thinking is this: features designed for people with disabilities almost always improve a space for everyone who uses it. This is the core idea behind universal design, and it plays out constantly in practice.
- Wider, clearer circulation routes designed for wheelchair users also make a home easier to navigate with a pram, a moving trolley, or simply an armful of shopping. - Lever door handles originally an accessibility solution for people with limited grip strength, are now a mainstream design default because they’re simply easier for everyone to use. - Strong tonal contrast between floors, walls and furniture — essential for people with visual impairments — also makes a space read as more considered and intentional to the eye, rather than a wash of matching neutrals. - Flexible, adaptable furniture layouts built around changing mobility needs also make a home easier to reconfigure as families grow, guests visit, or life simply changes.
None of these are compromises. They’re good design decisions on their own merit, which happen to also make a space usable for a far wider range of people.
For designers and clients who want to move beyond the checkbox mentality, a few starting points make a real difference without requiring a full accessibility overhaul:
- Lighting. Layered, adjustable lighting — rather than a single bright overhead source — supports people with visual impairments, sensory sensitivities, and simply anyone who wants a room to feel different at 8am versus 8pm. - Wayfinding. Clear sightlines and logical, intuitive room-to-room flow reduce cognitive load for people with dementia or neurodivergent conditions, and make any home easier to live in day to day. - Materials and finishes. Choosing slip-resistant flooring, rounded edges on furniture, and tactile variation between zones doesn’t need to look “medical” — it can be woven into a material palette as a deliberate design choice rather than a visible add-on. - Sensory consideration. Reducing visual clutter, managing acoustic reflection, and being thoughtful about strong pattern or high-gloss surfaces makes a space calmer for neurodivergent occupants and, generally, more restful for anyone.
For studios and A&D professionals weighing whether this is worth the extra thought, the commercial argument is only strengthening. An ageing population, growing awareness of neurodivergence, and a client base that increasingly expects homes to adapt with them over decades rather than years, all point the same direction: inclusive design isn’t a niche specialism. It’s where the whole industry is heading.
Clients who experience a truly considered, inclusive space — one that doesn’t announce its accessibility features but simply works effortlessly — remember it, and refer it on. That’s a stronger foundation for a design practice than compliance ever will be.
The distinction I come back to, again and again, is this: compliance asks “does this meet the minimum standard?” Good design asks “does this genuinely work for the person who’ll live here?” Those two questions can have the same answer, but only when accessibility is part of the design conversation from day one — not a revision made after the concept is already locked in.
That’s the conviction my studio was built on: bringing accessibility into the room at the start of every project, as a creative constraint that sharpens the design rather than one that limits it. I didn’t arrive at that belief in a classroom. I arrived at it by living in spaces that weren’t built for me, and then choosing to build ones that are. The homes and spaces that come out of that approach don’t read as “accessible” in the clinical sense at all. They just read as well designed.
About Lumini Interiors
Lumini Interiors is a London-based inclusive interior design and accessibility consultancy helping people create homes that are beautiful, functional, and barrier-free. We offer virtual accessibility consultations and audits, design-only packages, and turnkey installations tailored to diverse needs—mobility, sensory, cognitive, and chronic pain. Founded by Laure Tshilumba Kabuika, whose lived experience with disability shapes every project, we work with empathy, deep listening, and practical expertise to deliver dignified solutions that support independence and wellbeing. Our approach blends contemporary aesthetics with ergonomic planning and sustainable materials, ensuring each space reflects the client’s identity while improving comfort, safety, and everyday flow.
Moving into a newly built, more compact home marked the beginning of a new chapter for the client. While the scale of the home had changed, the way she wanted to live had not. The kitchen still needed to feel generous and refined, with the capacity to support everyday life as comfortably as it welcomed family and friends.
The original architectural plan proposed a conventional U-shaped kitchen with an enclosed pantry. It was functional on paper, but it would have restricted sightlines, interrupted the relationship between the kitchen and adjoining living areas, and made the heart of the home feel smaller than it needed to be. Mint Kitchens Moonee Ponds saw an opportunity to reconsider the plan entirely, moving beyond simply fitting cabinetry into the allocated space to create a kitchen that could shape how the whole home was experienced.
The revised layout replaces the enclosed arrangement with an open, light-filled kitchen organised around a substantial central island. Positioned between the primary work zones and the adjoining dining area, the island becomes both a practical preparation surface and a social anchor. Its generous proportions provide room for guests to gather without disrupting the person cooking, allowing conversation to move naturally between the kitchen, dining and living spaces.
A deep charcoal finish gives the island visual weight within the otherwise light palette. It grounds the room, defines the kitchen within the open plan and creates a measured contrast against the soft white cabinetry and expressive natural stone. The result feels layered and established rather than overly pristine.
One of the project’s most resolved planning decisions is also one of its least visible. Beyond the integrated refrigeration wall, a concealed walk-through opening leads into the butler’s pantry. By absorbing secondary preparation, appliance storage and pantry essentials into a dedicated back-of-house zone, the design allows the main kitchen to retain a composed, uncluttered presence.
This separation is particularly valuable when entertaining. Everyday mess can be contained out of view, while the main kitchen remains open and connected to guests. Extensive drawer storage keeps frequently used items accessible, and the pantry’s uninterrupted work surface provides additional space for food preparation and smaller appliances. Warm timber-look open shelving introduces a quieter shift in tone, distinguishing the pantry as a functional interior layer while maintaining continuity with the timber flooring beyond.
The aesthetic takes its cues from the home’s Coastal Hamptons influence, interpreted with restraint. Shaker-style two-pack cabinetry establishes a timeless architectural rhythm, while layered cornices carry the joinery upward and help it feel integrated with the wider interior. Ribbed-glass overhead panels add texture and depth at the upper level, breaking up the expanse of cabinetry without introducing visual noise.
Natural stone is used across the benchtops and splashbacks, bringing movement and individuality to the predominantly neutral scheme. Rather than treating the stone as a decorative surface alone, its continuous use connects the cooking, cleaning and island zones, giving the kitchen a cohesive material language. Brushed metal hardware and pendant lighting contribute a subtle sense of polish, while the timber flooring brings warmth and prevents the palette from feeling cool or formal.
Every element plays a practical role. Deep drawers replace difficult-to-access lower cupboards; integrated refrigeration contributes to the calm elevation; dedicated cooking and cleaning zones support an efficient workflow; and the long island offers both preparation space and comfortable seating. The design’s luxury is felt through ease, proportion and the considered placement of each function, rather than through excess.
Downsizing does not have to mean compromising on openness, hospitality or a sense of occasion. By moving beyond the limitations of the original plan, Mint Kitchens Moonee Ponds created a kitchen that feels larger through connection: connected to its supporting pantry, to the adjoining living spaces and, most importantly, to the way its owner wants to live.
The finished kitchen is calm and elegant, but never precious. It works hard behind the scenes while presenting a refined face to the home. This balance allows it to support quiet daily rituals, generous gatherings and the next chapter of life with equal confidence.
About Mint Kitchens by Designwize
Mint Kitchen Group is a Melbourne-based kitchen and interiors company specialising in the design, manufacture and installation of bespoke joinery. We create custom kitchens, bathrooms, laundries, wardrobes and interior spaces that are tailored to each client’s lifestyle, home and design vision. With a strong focus on quality craftsmanship, practical functionality and personalised service, our team manages each project from concept through to completion. By combining thoughtful design with locally made joinery and attention to detail, Mint Kitchen Group delivers beautifully resolved spaces that are made to be lived in and built to last.
This week’s instalment of the Project of the Week series features a timeless residential design by 2025 SBID Awards Finalist, Studio LBI.
The property occupies a stunning plot overlooking the Kyles of Bute with gardens reaching to the shore. The property was tired and overrun with tartan carpets and dark corners. The brief was to breathe new life into this period property and deliver a restful, cosy but thoroughly modern and functional holiday home, with an understated, luxurious and timeless aesthetic. The brief ran from soft furnishings through to kitchen and bathroom design, bespoke cabinetry and the selection of art and accessories throughout the house. For the clients this was a turnkey project and handed over complete and ready to move into.
Category: Residential House Under £1M
Design Practice: Studio LBI
Project Title: Argyll and Bute Holiday House
Project Location: Agyll, Scotland, United Kingdom
Design Practice Location: Glasgow, Scotland, United Kingdom
Our clients had recently purchased a holiday home in Argyll, set on the banks of the Kyles of Bute. Whilst surrounded by breathtaking scenery, the interiors felt dated and disconnected from their natural surroundings. Heavy tartan carpets and dark wall coverings closed the house off from the beauty outside.
The brief was to transform the property into a bright, welcoming retreat, that invited the outdoors in and embraced natural light. Above all, the clients wanted an open-plan space that would allow them to entertain and host family in a relaxed, elegant setting.
Our inspiration came from the surrounding countryside. We designed the interior in neutral, earthy tones with luxurious soft furnishings to create a cosy feel. The countryside in Argyll is so beautiful that we paid particular attention to window dressings so that the eye is drawn to the spectacular views.
The remote location brought some logistical challenges, but with such a beautiful journey to the property, it was hard to see travel as a burden.
The greater challenge lay in the property’s outdated electrical system which simply couldn’t support the requirements of a modern home. This was a significant hurdle, but through close collaboration with the builders, the system was successfully upgraded, ensuring the house could meet the clients’ needs both now and in the future.
The true highlight came when we handed the completed home back to our clients and saw their reaction. They had entrusted us to oversee every detail, from managing the trades and coordinating the installation of the kitchen and bathrooms to commissioning bespoke joinery by our cabinet maker. Every piece of soft furnishing and accessory was carefully sourced by the Studio LBI team to ensure the house felt cohesive and complete.
The installation itself was a memorable week, set against a rare Scottish heatwave with blue skies and temperatures in the thirties. Despite the challenge of moving furniture in the heat, the atmosphere was electric as everything came together.
When our clients finally walked into their turnkey-ready holiday home, their delight and emotion made all the effort worthwhile.
We value the recognition that comes from our industry peers and the credibility that the SBID Awards bring to our brand. To be considered among such a high calibre of finalists is both an honour and a privilege and it reflects the passion and dedication that goes into every project we deliver.
Being a finalist is a powerful recognition of our team as serious, professional designers within a competitive industry. The interior design market is crowded and standing out requires both creativity and credibility. Winning the SBID Award in 2023 elevated our profile within the industry and continues to give prospective clients confidence, as the award serves as a trusted mark of quality and excellence.
Questions answered by Louise Bramhill, Founder of Studio LBI.
If you missed the last instalment of Project of the Week, featuring a contemporary residential design, click here to read it.
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.
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.
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.
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.
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.
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