This week’s instalment of the Project of the Week series features a luxurious family home design by 2025 SBID Awards Finalist, Hamilford Design.
This thoughtful project transformed a scientifically protected site into a luxurious family home, blending British countryside charm with modern elegance. Hamilford Design provided interior architecture, project management, full construction oversight and FF&E design. A neutral palette and natural materials, including a locally sourced stone fireplace and three-metre arched doorways, emphasise local craftsmanship to enhance character and quality. Thoughtful spatial flow and natural light were prioritised to connect indoor and outdoor spaces. Sustainability was prioritised through the use of smart technologies, eco-friendly materials and energy efficient systems.
Category: Residential House Over £1M
Design Practice: Hamilford Design
Project Title: Woodland Estate
Project Location: Gloucester, United Kingdom
Design Practice Location: London, United Kingdom
The client wanted a home that felt deeply rooted in its Cotswolds setting and fit in with its surroundings, somewhere that captured the palette and feel of the landscape while functioning as a modern family retreat. The brief required a balance between comfort and elegance, with interiors that respected the site’s protected status and celebrated British craftsmanship.
The starting point was the site itself. Set beside a designated Site of Special Scientific Interest, the surrounding woodland, lakes and rolling hills shaped every design decision. We drew inspiration from the textures and tones of the landscape; Cotswold stone, reclaimed timber and an earthy palette. But this was married with a modern elegance too.
Working within a scientifically protected site brought with it a responsibility to tread carefully. Every element (from sourcing local stone to ensuring construction methods respected the environment) had to be meticulously planned. Coordinating sustainability, craftsmanship and the client’s wishes was a challenge.
Seeing the home come together with so many bespoke elements, such as the three-metre arched doors, the hand-built local stone fireplace, the bespoke joinery, it was hugely satisfying. We work with trusted suppliers and craftspeople that we’ve known for over a decade, seeing them bring our vision to life is a wonderful feeling for the whole team.
It’s always a great feeling, sharing a project that you’re proud of and potentially having it recognised by the SBID is a real honour. The SBID awards are a real benchmark for excellence in design and entering helps us share our work within the design community as a whole. We felt the Woodland Estate embodies a lot of what the SBID stands for and we were excited to showcase a project which felt really personal to us as designers.
Being a finalist has been a proud moment for our whole team who are always striving to be creative and are so dedicated. Also, our suppliers and co-collaborators who we are constantly grateful for.
Questions answered by Manuela Hamilford, Founder of Hamilford Design.
We hope you feel inspired by this week's design!
If you missed the last instalment of Project of the Week, featuring a quietly luxurious wellness space, click here to read it.
This week’s instalment of the Project of the Week series features a classic residential design by 2025 SBID Awards Finalist, Artfocus Studio.
This interior design project features a highly detailed and meticulously developed concept, created for a young woman who deeply values timeless beauty, cultural heritage, and refined simplicity. Rooted in classical European design, the space is gently infused with subtle Provencal charm to bring warmth and a sense of lived-in elegance. Every element is carefully considered: traditional architectural features such as wall paneling, cornices, and balanced proportions establish a clear, structured foundation.
Category: CGI & Visualisation
Design Practice: Artfocus Studio
Project Title: Classical Line
Project Location: Chisinau, Moldova
Design Practice Location: Chisinau, Moldova
This project was particularly close to my heart. From the very beginning, I felt a deep connection to the client and her vision—a young woman with a refined sense of beauty, drawn to elegance, cultural roots, and timeless aesthetics.
She wanted a home that would feel serene, graceful, and emotionally rich—a space that reflects both sophistication and warmth. That became the foundation of our collaboration.
The design is rooted in classical European principles, but I infused it with subtle Provencal charm to create a softer, more intimate atmosphere. Every detail was carefully considered: traditional architectural elements like wall panelling, ornate cornices, and balanced proportions helped establish a timeless and structured base. From there, we layered in textures, tones, and moments of quiet luxury to bring her dream to life.
The main inspiration came from the property itself—a place rich with history, authenticity, and soul. It was a rare opportunity to work on a home that had already lived a life. The character of the original structure, the spirit of the past, and the historical furniture elements we chose to restore—especially the post-war fireplace—guided the entire design direction. Projects like this, filled with stories and a sense of time, are truly special and inspiring.
One of the most complex challenges was the spatial planning and zoning. The apartment was originally a former communal residence, divided into many small, disconnected rooms. We had to completely rethink the layout to create an open, flowing space that would accommodate the client’s specific requests: two bedrooms, a home office, a bathroom, and a combined living, dining, and kitchen area. Striking the right balance between openness and functionality required significant effort and creative problem-solving.
Without a doubt, the most memorable moment was the client’s emotional reaction during the final reveal. She was overwhelmed and could hardly believe this was her home. Those sincere, joyful emotions are the most meaningful reward for our work and serve as a reminder of why we do what we do.
Because it’s a powerful opportunity to share with the world the beauty and meaning we create through our work.
For me, it’s a powerful affirmation that every effort, every decision, and every moment poured into my work was truly worth it!
Questions answered by Reghina Ivanco, Founder of Art Focus Studio.
Denisa Popovici, Founder & Interior Designer at NISI MAISON, has given her insights into the industry.
I am the founder and interior designer behind Nisi Maison, a London-based studio creating refined, characterful interiors with a strong sense of place and individuality.
I grew up in a family of creative people, which led me to study interior design in the UK. Over the past eight years, I have worked as an interior designer with leading names in luxury interiors, including Ethan Allen, Bernhardt, Caracole and Harrods, gaining a deep understanding of quality, craftsmanship and the care discerning clients expect.
My approach is rooted in understanding how people want to live and translating that into spaces that feel considered, harmonious and personal. I am particularly drawn to the relationship between architecture, proportion, materiality and detail. I work closely with clients, makers and suppliers to create interiors that balance beauty with functionality and stay relevant for many years, rather than being tied to a particular trend.
I grew up in a family of creative people, so making things was always part of everyday life. One of my strongest memories is watching my dad build our family home. I saw it come together room by room, and I remember how much thought went into every decision, from where the light would come in to where we would all sit together in the evenings.
I didn't realise it then, but that was my first lesson in interior design. A home isn't just about how it looks. It's about how it makes you feel and how it supports the way you live. That idea has stayed with me, and it's still the reason I do this work today.
The very beginning of a project is very special to me, when I'm getting to know a client and their space. Those first conversations tell me so much: how they live, what they love, and what isn't working for them at that moment. That's when the ideas start to flow.
I also enjoy the details very much, probably more than most people would expect. How a piece of joinery meets a wall, how a lamp lights a corner in the evening, how a stone feels under your hand. Nobody notices these things one by one, but together they are what makes a space feel right. And nothing beats the moment a client walks into their finished home and it feels completely theirs.
My biggest highlight this year has been watching Nisi Maison grow into its own. When you start your own studio, there comes a moment when you stop wondering whether it will work and start seeing it take shape, and this year I felt that.
I've been lucky to work on projects where I could take care of everything, from the first sketches through to bespoke pieces, furniture and the final styling. Seeing something that once existed only in drawings, samples and long conversations become a real home still feels a little magical to me, especially when a client trusts you completely. That trust is something I never take for granted.
Homes, without a doubt. Maybe it goes back to watching my dad build ours, but I feel most in my element designing spaces where people actually live, raise families and make memories.
I'm especially drawn to properties with character, where the building has its own history and the job is to work with the architecture rather than fight it. I also love being involved with the whole interior rather than only one room at a time. When the layout, materials, lighting, joinery and furniture are all considered together, the home feels calm and connected. For me, the best compliment is when a space feels beautiful but also completely natural to live in.
The hardest part is balancing ambition with reality. Every project starts with big ideas, and then budgets, timelines, contractors and lead times all have their say. Changing one thing can affect all five others.
My job is to protect what makes the design special while also staying flexible, and that takes a lot of clear communication and, sometimes, difficult conversations. There is also real pressure today for everything to happen quickly. But good design needs time to be tested and refined, and part of my role is gently reminding clients that the best decisions are rarely the rushed ones.
I wish someone had told me how much of this job happens away from the mood boards. When I started, I imagined days spent choosing fabrics and sketching ideas. In reality, a huge part of it is project management, budgets, emails, site visits, chasing deliveries and solving problems nobody saw coming.
I've come to love that side of it too, because it's what turns ideas into real spaces. I've also learned that confidence doesn't mean always having an instant answer. Some of my best decisions came from saying "let me think about that" and taking the time to get it right.
Trust your own eye, and keep training it. With Instagram and Pinterest, it's very easy to end up designing what everyone else is designing.
Instead of just saving images, ask yourself why something works. Is it the proportions, the light, the materials or the craftsmanship? Visit buildings, hotels, galleries and markets in person, touch things, and notice how spaces make you feel. I learned so much growing up around creative people and watching them make things with their hands. Over time, all of that becomes your own point of view, and that's what clients will come to you for.
I think people are slowing down a little. Clients are thinking more about how long things will last and less about following trends. They want homes that feel personal and tell their own story, not something copied from a feed.
I'm seeing much more love for natural materials, craftsmanship, vintage pieces and buying fewer, better things. Technology and AI will keep changing how we visualise and develop designs, and that's exciting. But I don't think it will ever replace the human side: sitting with a client, understanding how they live and sensing what a space needs. That part will always be personal.
For me, it's a mark of trust. When someone invites you to design their home, they're trusting you with something very personal: their budget, their time and the place where their life happens. That's a big responsibility.
Being SBID accredited shows clients that behind the creative side there are proper professional standards, good practice and a commitment to keep learning. As a growing studio, that means a lot to me. It's a reminder of the kind of designer I want to be and the standard I want Nisi Maison to be known for.
About Nisi Maison
Nisi Maison is a luxury interior design studio based in London, founded by designer Denisa Popovici. The studio creates refined, personal interiors for private homes and selected commercial spaces, balancing timeless elegance with comfort and practicality. Every project begins with listening to how clients live and what they love, then shaping spaces through thoughtful layouts, bespoke joinery, considered lighting and a curated palette of materials, finishes and furniture. Working closely with trusted craftspeople and European suppliers, Nisi Maison guides each project from concept through to procurement, installation and styling, delivering crafted spaces that feel calm, characterful and made to last.
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Working alongside Absolute Architecture, the brief for Hillview House was to modernise a traditional country home and connect it seamlessly with a striking new extension. Pia Design's clients wanted a home that felt contemporary and cool, but still belonged in its rural setting – balancing clean lines and bespoke detailing with natural materials, rich colour and a softer, more rustic sensibility.
As a busy family home, practicality was just as important as aesthetics. Materials needed to be hard-wearing and forgiving, storage was carefully integrated throughout, and the overall scheme needed to feel timeless enough to evolve as the family grows. The result is a colourful, characterful home where contemporary interventions sit comfortably alongside subtle references to traditional country-house design.
The new extension was designed by Absolute Architecture, with its oxidised copper exterior providing a bold contemporary counterpoint to the original black timber and tiled country house. The distinctive turquoise finish became an important thread within our interior scheme, inspiring several of the colours and finishes used throughout the house.
We wanted the entrance to immediately set the tone for the rest of the house, wrapping the walls and ceiling in a deep, earthy red. A double-sided limestone fireplace connects the hallway with the adjoining reception room, while a simple timber bench creates a practical spot for putting on shoes. Moody and atmospheric, but still relaxed enough for everyday family life.
Mirror-image studies give both clients their own dedicated workspace, each overlooking the garden. Bespoke joinery provides generous concealed storage and shelving, while the fluted timber desks bring warmth and texture to the deep green scheme. The rooms are intentionally calm and cocooning – somewhere that feels good to retreat to as well as work in.
Our client wanted a subtle nod towards the heritage of a country house, but traditional applied panelling felt too formal for the architecture. Instead, we created the effect entirely with paint, using contrasting blue tones to frame the walls – and the artwork within them.
The palette itself takes its cue from the oxidised copper extension, while curved furniture and warm, tactile pieces from Soho Home soften the geometry and keep the room feeling contemporary and relaxed.
Small rooms are often the perfect place to be brave with colour. Here, deep red Bauwerk limewash wraps the walls and ceiling, creating a beautifully textured backdrop to a statement marble basin. The bespoke fluted vanity was colour-matched to the walls, allowing the marble and simple black fittings to take centre stage.
The kitchen continues our experimentation with washed timber, this time using a subtle green finish over oak veneer. Getting the balance right took plenty of sampling: enough pigment to give the cabinetry its distinctive colour, while retaining the warmth, variation and grain of the natural oak beneath.
Storage is integrated wherever possible, including a concealed bifold breakfast cupboard, keeping the kitchen calm and uncluttered when everything is closed away. Behind the open shelving, a liquid copper splashback introduces warmth and references the materiality of the extension beyond.
Sitting within the new extension, the dining space called for a cleaner, more minimal approach. A sculptural LED pendant creates a focal point above the oak dining table without competing with the architecture or views outside.
Behind it, we designed bespoke bar joinery in oak veneer with a translucent blue wash, allowing the natural grain of the timber to remain visible. It was a completely new finish for us, developed through extensive sampling with our joiners until we achieved exactly the right depth and tone. A mirrored splashback reflects the garden and bounces natural light back into this corner of the room.
Deep blue wraps the walls and joinery of the main bedroom, creating a restful, cocooning space. As in the reception room, a contrasting painted panel behind the bed provides a contemporary interpretation of traditional wall detailing, framing the bed and artwork without introducing unnecessary architectural decoration. Bespoke built-in wardrobes maximise storage while disappearing into the colour scheme.
The family bathroom brings the story back to the architecture, taking its colour inspiration directly from the oxidised copper extension. Textured verdigris-green Bauwerk walls envelop the room, complemented by beautifully varied square tiles around the bath and shower.
A bespoke fluted vanity was finished in the same deep green, while brushed brass fittings introduce warmth against the cooler blue-green tones. Practical enough for everyday family life, but with enough colour and materiality to make it feel like a destination in its own right.
Tucked beneath the eaves, the guest bedroom takes a quieter approach to colour. Soft sage green creates a restful backdrop, paired with warm timber, tactile fabrics and earthy neutrals. The restrained palette lets the unusual proportions of the room feel intimate rather than confined.
The children's bedrooms were designed as mirror images of one another, giving each child the same practical layout while allowing colour to create an individual identity. One is layered in shades of blue, the other in soft greens, with matching bespoke wardrobes and shelving providing plenty of storage as their needs change.
Natural oak furniture, playful textiles and simple brass lighting keep both rooms warm and characterful without making them feel overly juvenile – allowing the schemes to grow up with them.
A warm, neutral palette gives the shower room a distinctly earthy feel. Long-format brown tiles create depth and variation within the shower, complemented by black brassware and a bespoke oak vanity. The emphasis is on simple, tactile materials that will age gracefully rather than finishes that feel overly pristine.
About Pia Design
Pia Design is an interior design studio, led by Pia Pelkonen, on a mission to inspire our clients on a more sustainable way to refurbish, reimagine and create their dream home. We create beautiful interiors that reflect our client’s unique personalities. Spaces designed to be lived in, not just looked at - forever homes, not show homes. A love of nature is at the heart of our designs and everything we do has the future of our home planet at its heart - we actively champion more sustainable ways to remodel. We reuse, repurpose and refurbish before replacing. We believe longevity is the best form sustainability and by taking inspiration from nature we’re able to create spaces that improve with age. Spaces that grow with you and your family.
Enjy Fouad, Founder & Principal Designer at Envious Design, has given her insights into the industry.
Enjy Fouad is the Founder and Principal Designer of Envious Design, a Vancouver-based residential interiors studio established in 2009. With a Bachelor of Business Administration and formal education in interior design, she brings both design and business experience to her practice. Envious Design began in home staging and property styling and has since evolved into custom residential interiors, including new builds, renovations and fully managed turnkey furnishing and move-in projects.
Growing up in Cairo, surrounded by textiles, furniture, architecture and a culture of working directly with artisans, shaped Enjy’s appreciation for craftsmanship. Her travels throughout Europe and life in Vancouver have further shaped her design perspective, grounded in proportion, materiality and natural surroundings.
My earliest connection to design came from growing up around furniture and objects that carried history. My mother collected antiques, often finding pieces at auctions, and I was fascinated by the stories behind them and by the materials, details and craftsmanship that gave each piece its character. Growing up amid Cairo’s bustling streets deepened that fascination, as the old and the new came together through the city’s architecture, textiles and interiors with prominent European influence.
We also had access to skilled artisans, and it was possible to approach them with an idea for a piece of furniture and have it made. That freedom made creativity feel tangible and showed me the possibilities of having something individual made rather than choosing what was readily available. Together, these influences nurtured my passion for design and architecture. Interior design allowed me to bring that lifelong interest into my work, creating homes with character that reflect the people who live in them.
What I enjoy most is understanding how people live and translating that into an interior that feels connected to them. I begin by listening and then looking closely at the home’s architecture, proportions, light and natural surroundings. I let these elements guide the direction rather than imposing a style that does not belong. I also love sourcing and developing pieces with character. I have had the opportunity to work with European artists and furniture designers whose work is shaped by natural materials, specialised techniques and a strong creative story. That experience has deepened the way I approach furnishings within my interiors. Whether selecting natural stone, developing custom millwork or modifying the fabric, colour or finish of a piece, I enjoy creating relationships between elements so the final home feels refined, layered and deeply personal.
The most meaningful career highlight of the past year was completing my Diploma in Interior Design and becoming an SBID Accredited Interior Designer. I founded Envious Design in 2009 and have built my experience through many years of working directly with homeowners, builders and trades. Returning to formal study allowed me to deepen the technical knowledge behind that experience and look at my work from a renewed perspective.
Receiving SBID accreditation felt like an important recognition of both that professional journey and the standards I want Envious Design to represent. It was not the beginning of a new career, but a significant step forward in one I have been building for more than a decade. Together, the diploma and accreditation have given me a stronger foundation for the next stage of the studio and the projects ahead.
I am most drawn to custom residential projects where I can develop a clear direction for the home as a whole. New builds and substantial renovations are especially rewarding because they allow the planning, materials, lighting, millwork and furnishings to relate to one another from the beginning. It is that thoughtful relationship between material, function and story that gives a home depth and connects each decision to the whole. I also enjoy fully managed turnkey furnishing and move-in projects, particularly for executives, families relocating to Vancouver or clients preparing a second residence.
These projects allow me to consider the complete experience of living in the home. I love creating interiors that respond to the architecture and natural surroundings while reflecting the clients’ character, collections, and way of life.
One of the most challenging aspects is protecting the clarity of the original design through a process that involves many people, decisions and practical constraints. A change to the floor plan can affect the lighting, millwork and furniture, while a material substitution can alter the balance of an entire room. Good design depends on maintaining the relationship between all of those elements while responding to budgets, construction realities, lead times and the unexpected issues that arise.
There is also a great deal of responsibility in guiding clients through decisions they may live with for many years. It requires patience, clear communication and the confidence to explain when a choice may not support the larger vision. The challenge is not simply to produce a beautiful idea but to carry its intention through every stage until the home is finished.
I wish I had understood earlier that confidence in this profession is built gradually. It comes from making decisions, solving problems on site, learning from craftspeople and seeing how materials and details perform in real homes. Hands-on experience develops a different kind of judgement that cannot be rushed.
I also learned that not every idea needs to follow what is current. Trends can be useful indicators of how people are living, but they should not determine the identity of a home. The strongest work comes from understanding the architecture, listening closely to the client and knowing when to edit. Over time, you become more comfortable trusting that process and allowing a project to develop with clarity rather than trying to prove too much in every room.
Learn to look beyond the finished photograph. A beautiful image can attract your attention, but a designer needs to understand why the room works: its proportions, circulation, lighting, material transitions and relationship to the architecture. Train your eye to recognise strong design while developing your own judgement.
Be curious about how things are made and take the time to learn from contractors, fabricators and craftspeople. Understanding the process behind a material or object will make you a more thoughtful designer. Listen carefully to your clients without losing the ability to guide them. Most importantly, do not rush to imitate what is popular or force a signature style. A genuine point of view develops over time through experience, observation and consistency. The goal is not for every project to look the same, but for each one to carry the same level of thought and intention.
I believe the industry will continue moving away from interiors designed around short-lived trends and towards homes with greater individuality, permanence and connection to their surroundings. After years of too much, too fast, clients are seeking a slower, more considered way of living and homes that bring greater ease and support well-being. This is creating a deeper appreciation for natural materials, craftsmanship, vintage and collected pieces, and furnishings that can be kept rather than quickly replaced.
Technology and artificial intelligence will continue to influence how designers research, visualise and communicate ideas, but they cannot replace discernment, experience or the trust between designer and client. I believe luxury will increasingly be defined less by excess and more by quality, provenance and how well a home supports daily life. The designer’s role will remain deeply human: listening, interpreting and creating something specific to the people who live there.
Becoming an SBID Accredited Interior Designer has meant having my experience, education and commitment to professional standards recognised within an international professional community. Having founded Envious Design more than sixteen years ago, I found that acknowledgement especially meaningful.
It also reflects the level of responsibility that comes with designing people’s homes. Clients place considerable trust in a designer, both in the creative direction and in the decisions, coordination and guidance required throughout a project. SBID accreditation reinforces my commitment to approaching that responsibility with integrity, professionalism and continued learning. For Envious Design, it marks an important stage in the studio’s growth and reinforces the values that have always guided the work: close attention, creative focus and a highly tailored level of service, with every interior developed with intention.
About Envious Design
Envious Design believes each home should tell a story reflecting how its owners live and entertain. Our design philosophy is rooted in proportion, materiality, and shaped by the home’s character, and natural surroundings. The studio’s material language is expressed through bespoke details, rich tactile textures, natural stone, and curated furnishings, layered with intention to create a timeless aesthetic. A signature of Envious Design is our fully managed turnkey furnishing and move-in service for executives and families. Every element is considered from creative direction, and material selections to design management, and final styling. The result is a home that feels refined, collected and deeply personal.
Natalie Fry, Founder & Creative Director at Grid Thirteen Design Studio, has given her insights into the industry.
I’ve been fortunate to build a career exploring the relationship between furniture, architecture and the way we live within a space. My training in interior architecture and design laid the foundation for that, but much of my understanding has come through experience - working alongside some of the UK’s leading designers and architects, learning from the people around me and developing a particular depth of knowledge in furniture design.
As my career developed, I later went on to lead design studios for a number of companies, including those working with both SieMatic and Poggenpohl, with responsibility extending beyond the design teams into the technical and installation side of the business.
That combination of training and practical experience gave me a strong grounding in furniture, architecture and spatial planning, but perhaps more importantly, taught me that a strong concept is only part of the process. The real skill lies in carrying that design intent through the technical detail and into the finished space.
In 2013, I reached a point where I wanted to create a studio that reflected my own approach to design, and I founded Grid Thirteen. At the time, the youngest of our five children was just three, so it was a significant decision both professionally and personally. It was a busy chapter of family life, but it also felt like the right point in my career to build something of my own and establish the kind of design practice I wanted Grid Thirteen to become.
Grid Thirteen initially specialised in kitchen design, but as the studio has grown, that expertise has evolved into furniture design throughout the home - from kitchens and living spaces to bedrooms, dressing rooms, bars and other interior spaces. Furniture remains at the heart of what we do, with materiality and spatial planning helping to shape the spaces around it.
Today, we are an independent Yorkshire design studio with a growing team and our own handmade furniture offering alongside SieMatic. That combination gives us greater freedom in the way we approach furniture and interiors, allowing us to create highly personalised spaces with a design language that responds naturally to both the individual and the architecture.
I’ve always been fascinated by the relationship between people and space - why we respond instinctively to certain environments and how the spaces around us can influence the way we feel and live.
The more experience I gained, the more interested I became in the human side of design. Beautiful spaces matter of course, but understanding why somebody feels comfortable in one environment and not another, or why the same space might work completely differently for two people, is far more interesting to me.
That is probably what has kept me engaged with design for so long, there is always something more to understand - about people, materials, craftsmanship or the way we experience space. Experience gives you confidence in your judgement, but I don’t think it should ever stop you questioning, learning or being open to another perspective.
The people, no two clients live in quite the same way, and that is what continues to make residential design so interesting to me.
The early design process is as much about listening and observing as it is developing the design. I enjoy understanding the routines and small details of everyday life that can easily be overlooked - where the keys are put down, where the school bags end up, how a family moves through the house and what happens when everybody arrives home at once, those details tell us a great deal about what somebody really needs from their space.
For me, that is where our work goes beyond aesthetic preference and becomes about understanding the individual, how they live and how they want to feel in their home.
Our ‘The Architecture of Luxury’ project has undoubtedly been a highlight. The project won ‘Best Luxury Kitchen Design’ at the 2026 Designerati North Awards and has subsequently been shortlisted in the forthcoming national Designerati Awards and SBID Awards. It’s great to see the recognition this project has had in titles such as The Times, Yorkshire Life and The Yorkshire Post.
Alongside the recognition for our work, one of the things I’m most proud of is seeing the team develop, a number of our designers joined Grid Thirteen as graduates, and watching them grow in confidence, develop their own style and become accomplished designers in their own right has been incredibly rewarding.
My role is to give the team the technical grounding, support and confidence to trust their own judgement, seeing their individual design identities emerge, and watching that confidence grow, has been a real highlight for me.
I’m drawn to projects where we have the freedom to explore ideas and create something genuinely individual, I’ve never been particularly excited by designing to a rigid formula.
I enjoy the unexpected - contemporary alongside traditional, precision alongside craft, quiet architectural elements with something more expressive. Our blended concept is probably the clearest example of that approach, combining the precision and restraint of SieMatic with the tactility and individuality of hand-crafted bespoke furniture.
They are two different design languages, but I don’t believe they need to imitate one another to coexist, if they make sense together and create interest, then that is the approach we will take. For me, pushing boundaries isn’t about being different for the sake of it, it’s about understanding the principles, understanding the person, and having the confidence to challenge convention when the design rationale supports it.
One of the greatest challenges is maintaining the integrity of an idea from the initial concept through to the finished space. As projects become more ambitious, the relationship between creativity and technical understanding becomes increasingly important.
Proportion, tolerances, junctions, lighting, services, material behaviour and installation all influence whether a design ultimately feels resolved. Technical understanding gives you greater creative freedom - when you understand how a design will be constructed and the principles behind it, you have greater confidence to explore ideas beyond the expected.
Experience has also taught me to recognise when somebody else’s expertise can make a project stronger. I’ve always believed in collaboration over competition, and our relationship with William Howarth and Holly Stott, the co-founders of luxury bespoke bathroom design studio, Holt Living, is a great example of that. We’re aligned in our approach to design, the premium products we work with, the client experience we want to deliver and, importantly, the level of technical resolution behind the finished space. Their strength in creating bespoke bathroom designs, master en-suites, spa wellness rooms and custom-made bathroom furniture sits naturally alongside our focus on furniture design, allowing us to work collaboratively across more areas of the home and extend that collective expertise to each other’s clients for an exceptional outcome. Our successful partnership was recognised at the 2025 designerati North Awards winning the award for ‘Best Trade Collaboration’.
To trust my instinct sooner.
In the earlier years of Grid Thirteen, I probably believed that with enough effort I could make every opportunity, partnership or relationship work. Experience has taught me that recognising when something isn’t right is just as important as knowing when something is.
I’ve also become much more conscious of protecting the culture within the studio, design is collaborative, and our people produce their best work when they feel trusted and valued. We have a team with different strengths and perspectives, and I don’t want everybody around the table to think like me - our work would be far less interesting if they did.
Take your time to develop your own style and try not to get too caught up in the constant pursuit of the ‘latest trend’. When a client is investing significantly in their home, they want to feel that the design is genuinely theirs - a response to how they live, what they are drawn to and the architecture around them, rather than a generic aesthetic that may be superseded over time.
I would also say that it’s important to value the technical side of the profession. A strong concept needs to be technically resolved, and the creative at the front end has to be backed up by a process that supports the project all the way through to delivery and project completion. Understanding how a design develops from concept through to technical detailing and installation doesn’t limit creativity, it gives you greater freedom and the confidence to explore ideas with real intent.
Spending time on site with the people installing your work is invaluable, understanding the challenges they face and seeing how decisions made at the design stage translate into reality will make you a better designer. Some of the most valuable things I’ve learnt have come from those conversations, and from building relationships with people whose knowledge and experience are different to my own.
And finally, stay open to the people around you, I’ve worked in the industry for over 30 years and I’m still learning - sometimes from people who have been designing for far less time than I have. Experience brings knowledge and confidence, but there should always be room for another perspective.
There’s no question that technology and AI will inevitably continue to influence how we work and live, but I think there is an interesting counterbalance emerging. As our lives become faster and increasingly connected to technology, I find myself thinking more about how we experience our physical environments through the senses - and the role our homes can play in allowing us to step away from some of that constant stimulation.
Neuroaesthetics is an area I’ve become increasingly interested in, particularly how the pace of activity within a space, and the level of decision-making taking place, might influence the way we experience that environment. A kitchen or entrance hallway, for example, can involve fast movement, conversation, noise, multiple tasks and a constant series of small decisions. Compare that with a bedroom or wellness space, where the intention may be to reduce stimulation, slow things down and allow us to switch off. When designing for this approach, one question I always ask myself is – ‘if the demands we place on ourselves change from one environment to another, should the sensory demands of those spaces change with them’?
For me, this is something I want to explore further through our work as a practice. It raises interesting questions about how these factors can inform a more individual response to design, rather than being considered purely through the aesthetic of a space.
Becoming an SBID Accredited Design Practice is important to us because it recognises the professional standards behind what we do. Interior design is creative, but it also carries responsibility, and that requires knowledge, technical competence, integrity and accountability.
As an independent studio in Yorkshire, being part of SBID also connects us to a wider professional design community. We’re fortunate to work alongside some exceptional designers and architects here in the North, and I value the opportunity accreditation gives us to share ideas, learn from others and contribute to the wider conversation around our profession.
The SBID accreditation represents the standards we hold ourselves to as a practice, while giving us the opportunity to be part of a professional community that supports collaboration, knowledge-sharing and supporting the next generation of designers.
About Grid Thirteen
Grid Thirteen is an independent luxury interior design studio based in North Leeds, specialising in bespoke kitchens, bedrooms and living spaces throughout the UK. Every project begins with understanding how our clients live, ensuring each space is shaped around the way they live rather than passing trends. Our work combines interior architecture, technical precision and exceptional craftsmanship to create interiors that feel timeless, functional and deeply personal. Collaborating with carefully selected manufacturing partners alongside our own handcrafted furniture collections, we deliver beautifully resolved interiors where every detail has purpose, every material is carefully considered, and every project is approached with an unwavering commitment to excellence.
Andrew Rizza, Founder and Creative Director of Dream Design, shares how his background in craftsmanship continues to shape the company’s approach.
I began as a carpenter before moving into bespoke joinery and cabinetry, founding Dream Design in 1984. What started as a workshop making bespoke cabinetry grew naturally as our clients invited us to become involved in more areas of their homes.
Today, we specialise in kitchen design, bathrooms and complete residences throughout the UK and internationally. That grounding in craft still informs every project, from the overall proportions to the smallest construction detail.
We remain family-run, now in our second generation. My son, Connor, joined in 2018 and leads our brand and client experience, while I lead the studio’s creative direction. That year also saw us open our Design Centre in Christchurch, Dorset.
It grew naturally from making furniture. I became increasingly interested in the space around each piece and how the whole room could work better.
Interior design brought together the things I enjoy most: creativity, craftsmanship and practical problem-solving, with the opportunity to make a lasting difference to someone’s home and quality of life.
Helping clients see possibilities they had not considered. A conversation about replacing a kitchen might lead to relocating it, opening the house to the garden and transforming how the family uses the space. Kitchen design brings together so much of what we do, from spatial planning and bespoke cabinetry to materials, lighting and the practicalities of cooking and entertaining.
Those discoveries begin with listening. Seeing clients enjoy the result, then being invited back for another home or the next generation, is especially rewarding.
We recently completed a full refurbishment of a stunning coastal home in Dorset. What made the project particularly rewarding was the clients’ trust in us, which gave us complete creative freedom to explore the property’s potential. Considering the home as a whole allowed us to bring everything together into one cohesive design. That is how we most enjoy working and where we do our best work.
Another highlight was completing an extension to our 5,000 sq ft Design Centre in Christchurch, Dorset, where clients can explore fully realised kitchen displays alongside bathrooms and living spaces. It gives them an opportunity to experience the quality, craftsmanship and approach to design that define Dream Design.
Residential projects where we can become involved early and consider the home as a whole, whether a new build or a refurbishment. Developing the layout, lighting, materials and furniture together allows every decision to contribute to the finished result.
The architecture and the clients give each project its character. Discovering what will bring out the best in both is what interests me.
Carrying the quality of an idea through to the finished home. A seemingly simple detail can require considerable thought and coordination, so clear drawings and close relationships with craftspeople are essential.
Equally, clients need confidence throughout the process. Helping them understand priorities and make informed decisions is an important part of our responsibility.
How much depends on listening and communication. Asking the right questions at the beginning shapes everything that follows, while explaining decisions clearly helps everyone work towards the same result.
Learn how things are made. Spend time in workshops and on site, handle materials and follow your designs through installation. Understanding construction sharpens your judgement and gives you greater freedom to design with confidence.
I think considered advice will become increasingly valuable. Clients have access to endless inspiration and information; helping them decide what belongs in their home is where our experience makes a difference.
It gives clients reassurance when choosing who to trust with their home. From there, that trust is strengthened through thoughtful advice, careful detailing and consistent service, throughout the project and after its completion.
About Dream Design
Dream Design is a luxury kitchen, bathroom and interior design centre in Dorset, creating one-of-a-kind private residences across Dorset, Hampshire, Poole, the UK and internationally. Supported by its award-winning interior architecture and interior design studio, Dream Design specialises in bespoke kitchens, bathrooms, bedrooms, living spaces and complete home design. The 5,000 sq ft Design Centre brings together leading brands and specialist ateliers across kitchen design, bathroomware, appliances, surfaces, lighting, furniture and interior architectural details, creating a distinctive design destination for private clients, architects and developers seeking a considered, highly tailored approach to residential design, specification and project delivery.
This week’s instalment of the Project of the Week series features an earthy family home design by 2025 SBID Awards Finalist, Lucy Goldbart Interior Design.
Lucy Goldbart Interior Design carried out a full renovation and extension for Project Ten. This included updating the homes layout, specifying the interior architecture, furniture and soft furnishings. Lucy Goldbart's goal was to transform a previously lifeless and tired space into warm and striking home, with a nod to the earthy tones and retro shapes on the 1970s.
Category: Residential House Under £1M
Design Practice: Lucy Goldbart Interior Design
Project Title: Project Ten
Project Location: London, United Kingdom
The home originally featured stark white walls and white painted floorboards which contributed to a rather cold atmosphere. The goal was to breathe new life into the space, transforming the dated designs into a home that reflected warmth and character, with a nod to the earthy tones and retro shapes of the 1970s. Key to the brief was delivering this elevated luxury feeling on a more approachable budget.
We were heavily inspired by the gorgeous warm, earthy colour palettes and laid-back vibe of the 1970s. We wanted the space to feel comfortable, inviting and a little bit moody, so we blended our signature effortless, California-cool aesthetic with rich caramel tones and added interest with sculptural furniture.
Our main challenge was the compact bathroom spaces on this project, ensuring that they packed a punch and delivered a striking yet restful feeling. In the Master Ensuite we used large scale Patagonia slabs in the shower area to provide maximum impact without overwhelming the space, and colour washed the rest of the room in a deep ochre paint to add warmth.
Seeing the Master bedroom transform from a small, impractical space, to a generous light-filled room with floor-to ceiling windows was an absolute highlight. That space is by far the most transformed and is now such a beautiful warm and welcoming space.
I chose to enter the SBID Awards because they represent a respected benchmark of excellence in our industry. I’ve been a member of SBID since setting up my company and these awards give us a platform to share our work with an incredible global audience, who enjoy celebrating each other’s creativity.
Being recognised as an Award Finalist has been an incredible honour and gives validation to hard work that goes into each project. This gives our company an increased credibility which is great for attracting clients, and on a personal level, it has motivated me to continue pushing creative boundaries and having fun with design.
Questions answered by Lucy Goldbart , Founder and Director of Lucy Goldbart Interior Design.
If you missed the last instalment of Project of the Week, featuring an eco-conscious office design, click here to read it.
On a large residential development, the question is rarely whether every kitchen should be bespoke. The more useful question is where bespoke design will make the greatest difference.
Efficiency matters when a specification is being repeated across multiple properties, but so does character. Interior designers need to create homes that feel considered and distinctive while working within the commercial and practical realities of a larger programme.
The two ambitions do not have to compete.
A successful kitchen strategy can standardise the elements that benefit from repetition while allowing greater freedom in the materials, details and spaces that define the finished interior. The result is a more intelligent use of the design budget, with investment focused where it will be most visible and valuable.
At Roundhouse, our experience across luxury residential and multi-unit projects has shown that the key is not choosing between standardisation and bespoke design, but understanding where each earns its place.
Consistency across a development does not mean every kitchen needs to look the same.
A stronger approach is to establish a recognisable design language that can evolve between different property types and levels of specification. Proportions, sightlines, colour palettes, hardware and cabinetry details can create a sense of continuity, while layouts, materials and finishes respond to the individual property.
This also allows investment to be distributed more intelligently. A core apartment might prioritise a refined, repeatable specification, while a premium property introduces richer materials or more individual detailing. At penthouse level, the kitchen can become an entirely bespoke architectural feature.
Roundhouse supports this approach through three cabinetry collections within one design and delivery structure. Partner provides a solution for repeatable schemes, Studio introduces a broader choice of materials and configurations, while the fully bespoke Design collection allows considerably greater freedom in layout, material and detail.
The specification can therefore evolve without introducing a different supplier at every level. Design expertise, technical coordination, project management and BIFIS Accredited Installation remain part of the wider Roundhouse approach.
Not every element of a bespoke kitchen needs to be different to make the finished space feel individual.
Some of the most useful opportunities for repetition sit behind the cabinetry. Where property layouts allow, carcase dimensions, hinge and drawer systems, internal fittings, appliance interfaces and service positions can be rationalised across multiple kitchens.
Doing so reduces the number of variables moving through technical approval, procurement and installation. More importantly, it can release budget for the elements that homeowners will actually see and experience.
This process is particularly effective when the kitchen specialist is involved early. Founded by architects, Roundhouse designers can review layouts before key architectural and service decisions become fixed. A relatively small adjustment to a wall, opening, service position or kitchen dimension can sometimes allow a cabinet configuration to work successfully across several property types.
Our design and technical teams coordinate cabinetry with architectural drawings, MEP layouts and appliances, with samples, show kitchens and mock-ups developed where appropriate. Resolving these details early allows an agreed solution to be reproduced across a development with greater confidence.
Once the underlying specification is working efficiently, bespoke design can be concentrated where it has the greatest impact.
A sculptural kitchen island, beautifully matched veneer, specialist metal finish, distinctive door profile or illuminated cocktail bar can establish the character of an entire interior without requiring every cabinet to be individually designed.
This becomes particularly valuable in premium apartments and penthouses, where the kitchen may need to respond directly to the architecture. Cabinet widths can be calibrated around sightlines and architectural datums, while specialist finishes, unusual materials and purpose-designed pieces can create something entirely individual to the property.
Cabinetry can also extend beyond the conventional kitchen footprint into dining areas, bars and adjoining living spaces, allowing the design language to become part of the wider architecture of the home.
Made to order at our Malvern factory, Roundhouse's Design collection gives designers and craftspeople the freedom to develop ideas beyond a predetermined catalogue of dimensions and finishes.
The value of bespoke in these spaces is not simply greater choice. It is the ability to create something memorable and specific to the property.
A successful design concept is only valuable if its quality can be maintained across every property in which it appears.
For larger schemes, this means controlling variation rather than attempting to eliminate it. An agreed design hierarchy can be translated into individual property specifications, ensuring dimensions, finishes, appliances and bespoke details are manufactured and installed in the correct locations.
Physical samples provide an important reference throughout this process. Paint colours and specialist finishes can be approved against control samples, while the natural characteristics of timber, veneer and stone can be understood and agreed before orders are placed. Where particularly close visual continuity is required, materials can also be batched and reserved for a development.
Manufacturing plays an equally important role. At Roundhouse's Worcestershire factory, precision machinery provides repeatable accuracy while experienced craftspeople oversee veneers, specialist finishes and individual details.
The same thinking needs to continue onto site. A kitchen that appears economical on a cabinet schedule can quickly become more costly if service clashes, repeated RFIs, fragmented deliveries, installation delays and extensive snagging begin to affect the programme.
Looking at specification, manufacture and installation as one connected process provides a more meaningful measure of value than cabinet cost alone.
The most successful approach to bespoke at scale sits somewhere between complete standardisation and designing every kitchen independently.
It uses repetition deliberately. Technical elements are rationalised where doing so makes delivery more efficient, while greater design freedom is reserved for the materials, features and properties where it will contribute most to the finished interior.
For one apartment, that might mean a beautifully detailed island against a more repeatable cabinetry specification. In another, it could be a specialist finish, an exceptional run of veneer or a bespoke bar connecting the kitchen with an entertaining space. A penthouse may justify a completely individual response.
The point is not to introduce variation for its own sake. It is to give interior designers the freedom to create moments of distinction without losing sight of budget, programme or the practical demands of delivering multiple properties.
For Roundhouse, that balance is where bespoke bring value, combining design creativity and craftsmanship with the technical and manufacturing discipline required by larger residential developments.
If you are planning an upcoming residential project, get in touch with their Professional team or book a showroom visit to explore how Roundhouse could support your project.
About Roundhouse Design Ltd
Founded by architects, Roundhouse is a multi-award-winning British company, creating beautiful bespoke kitchens and furniture. Their stunning kitchen designs feature a signature understated aesthetic, influenced by contemporary and traditional design, using innovative materials, texture and colour. Each project is made to measure from a wide range of stunning finishes. Expertly crafted by skilled designers and makers in a state-of-the-art manufacturing facility in Malvern, Worcestershire. Visit any of seven Roundhouse Design kitchen showrooms; Wigmore St, Clapham, Fulham, Richmond, Cambridge, Guildford & Cheltenham.
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.
If you missed the last instalment of Project of the Week, featuring a grounded penthouse design, click here to read it.
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