Rachel McLane Designs a Brasserie-Style Restaurant from the Former York Minster School

A Brasserie-Style restaurant converted from the 19th-century Grade II-listed former Minster School, the design respects and enhances the old Music school building, doing justice to its historical importance. Simple colours, furniture, and pared-back materials allow the building to stand in its own integrity.

Rachel McLane Ltd wanted to retain the school’s tradition of being a “coming together space.” We kept the integrity of the school lunch/music hall, once the main assembly area, as one big dining space.

Within the limitations of a Grade II listed building, adaptations were made to meet building control and fire regulations, such as installing a lift, new WCs, and air conditioning. Provisions for accessibility were also made by dropping the floor, removing the steps at the entrance, and installing sandstone ramps. All this required a balancing act involving all parties, including the Minster itself.

Our commitment to sustainability is evident in our approach to materials. Wherever possible, we reused existing materials, lifting and relaying stone flags. Stone lintels and mullions were restored, and timber trusses were sandblasted to remove layers of old paint. This preserves the building’s original character and reduces our environmental footprint, a testament to our commitment to sustainability.

All materials used were sympathetic and in tune with the Minster, including wood that is medium to dark oak, antique brushed brass, and furniture that marries a style that is relaxed and eclectically functional.

The simple colour palette allows the building to have its own voice. Muted tones on walls are broken by panelling – some existing and some new. Some of the old scholarship boards are re-hung in situ as a nod to the building’s past.

We created bespoke chandelier lighting from printed manuscripts from the Mister Chorister archives. We printed these onto cotton parchment to make shades and as details on the fixed seating screens. We littered the walls with an eclectic mix of musical instruments. We created a gantry that hung over the central detain section with props from typical school subjects such as globes, rugby boots, chemistry apparatus and so on. We also designed a bespoke piece of back lit wall art made up of the iconic yellow and black HB pencils.

The WCs are individually designed and quirky with a school-related vibe – reflecting, perhaps, the habits of pupil’s past, escaping to the WC instead to avoid maths!

An old pulpit was repurposed as a meet-and-greet station/reception, setting a monastic, scholarly feel for arriving guests.

A dropped ceiling detail conceals mechanical/electrical services and air conditioning. The double-height front windows are single-glazed – counteracted with mechanical heating rather than double-glazing the windows.

As regulations require, fire doors are compartmentalised as sympathetically as possible throughout the interior and made to look like they had always been there.

We acquired old-school subject artefacts that are displayed in the gantry above the banquette seating, a nod to the building’s school heritage. We also used copies from original manuscripts associated with the Minster and its choristers, which we printed onto canvas and parchment and incorporated into bespoke chandeliers and screens.

York Minster Refectory is the first listed building in York to have solar. The installation of solar slates on the roof is forecast to produce 11,000 kWh of power annually on average. The energy accumulated from the solar slates feeds into the invertors, which subsequently feed the hot water supplies to the washroom facilities.

An ASHP (Air source heat pump) on the plant deck serves power to the building and underfloor heating system to the entrance lobby.

The front entrance of the York Minster Refectory was designed with a simple, flexible, and easy-to-use takeaway kiosk. The Refectory offers takeaway drinks, cakes, and snacks during the day and is also used for finer evening dining.

The upper floor, which was the school’s old science labs, IT suite & geography room, was reconfigured to accommodate accessible WCs with lift and a more open plan, lounge-type hub and meeting area, with mixed seating and tables and spaces for private dining and smaller functions, such as weddings.

York Minster Refectory was opened by King Charles III and Queen Camilla in April, which was kept secret until just before the restaurant opened.

We didn’t know until late in the development cycle that there would be a Royal opening, and it meant we had to bring forward and adapt a lot of the project schedules across all aspects of the design work, including signing off concepts, procurement and sub-contracted items.

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The Abel Heywood sits proudly in the Bustling Northern Quarter of Manchester City centre and has been a popular destination since it was first developed in 2015, from a derelict and fire damaged cotton warehouse, into a stylish pub and boutique hotel. After tirelessly serving its loyal customers for the past 9 years, the site’s owners, Hydes Brewery, appointed MGI to develop and project manage a refurbishment scheme that will ensure the site will maintain its status as a landmark of the Manchester hospitality industry into the future.

The brief given by Hydes’ Managing Director was to move the site from its previous industrial leaning design toward a modern-traditional public house whilst paying tribute to the history of Hydes Brewery and to Manchester’s iconic music heritage.

MGI proposed the introduction of feature wallpapers, Victorian tiling and bright heritage colours in order to create a light and airy atmosphere away from its previously scumble glazed ceilings and worn plaster effect walls. All industrial light fittings were replaced with new antique brass period lighting and industrial shelving units and back fittings removed in favour of new timber back fittings and antique Victorian wall shelving.

Much of the existing furniture was given a new lease of life through refurbishment and reupholstery, with new feature furniture introduced to compliment the proposed layout changes. Feature cast resin tables with vinyl records from Manchester`s most famous bands, or Hydes’ brewery beer clips were included to provide points of interest and conversation points for visiting customers. New music and local interest themed bric a brac adorns the walls and compliments the overall finish of the site.

Layout changes to the ground floor were kept to a minimum with only the removal of existing face to face booths and introduction of new horseshoe booths and mid-height fixed seating.

The underutilised first floor of the pub was redesigned to encourage dining whilst the ground floor area remains focused on drinking and light bar snacks. The introduction of bi-fold doors to close off an area of the first floor provides a contained function room space for parties and meetings.

Feedback from the client and customers has been unanimously positive and MGI are confident that The Abel Heywood will continue its reign as king in the north(ern quarter) for years to come.

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This week’s instalment of the Project of the Week series features a luxurious care home design by 2023 SBID Awards Finalist, Catalyst Interiors.

Catalyst Interiors were commissioned by their client Cinnamon Luxury Care to design and fit-out The Gables care home in The Midlands with luxury and hospitality in mind; the first impression of the bright and welcoming reception and piano bar is one of style and elegance. Every detail has been considered to include a coffee bar, piano lounge, hair and beauty salon, cinema and private dining room together with an array of other facilities where residents, their families and friends can enjoy time together.

What was the client’s brief? 

Our client, Cinnamon Luxury Care, strive to provide the highest level of care in a beautiful home, where every detail has been designed with luxury and hospitality in mind. First impressions count and the central communal area should be bold yet elegant, bright, and welcoming. The interior should then transition to a more homely feel within the residential areas. The right environment coupled with the right care and the right stimulation can transform people’s lives, helping them to feel happier and more fulfilled – this was our ultimate goal. The resident was always at the centre of the design from initial room layouts & colour schemes, right down to selecting the final finishing touches in artwork & accessories.

What inspired the design of the project?

With The Gables, on a suburban site with panoramic views across the Clent Hills & further Midlands, a key element we looked to achieve with the interior design was to make the space feel warm and welcoming whilst also being bright to bring the landscape and greenery into the surrounding rooms by day and then to transform the outdoor terraces at night using lighting to create a dramatic visual backdrop to the lounge, bar and restaurant. Residents also have the luxury of an onsite beauty salon, private dining room and cinema – this offers residents a life of independence without leaving the safety and security of the care home. However, this is the place the residents of The Gables call home, and as you journey into the care home from the piano bar the design style transitions to a more homely and relaxed atmosphere. Having a new home should always be exciting and something to look forward to and this is what we looked to deliver with our design, without compromising on the practical elements required in a care setting.

What was the toughest hurdle your team overcame during the project?

The main communal hub at The Gables (Reception, Piano Bar, Salon & Private Dining Room) was a total of 130sqm – fitting in all the amenities whilst ensuring the space didn’t feel too cramped or busy and allowing appropriate space for walking aids/wheelchairs was challenging at times. We overcome this by working in collaboration with the architect before construction started to amend the main building layout by moving doors, internal walls and creating illusions of separate areas using varying types of flooring & ceiling coffers that are even wallpapered in some areas instead of physical walls. And of course, construction of The Gables started at the end of 2020 – this meant that Covid & the after-effects of Covid caused a few delays and stock issues along the way!

What was your team’s highlight of the project?

When designing The Gables I used ‘outcome based’ design techniques to create an environment that fully supports residents living with age related health and mobility conditions as well as dementia. These include ‘Invisible Design’ , ‘Homeliness’ & a ‘Wayfinding Strategy’. Invisible Design included installing electric scent diffusers in Dining Rooms and Bathrooms. Half an hour before mealtimes, the scent diffuser will start to diffuse smells of fresh baked goods for example to entice residents to the dining area – prompting hunger and thoughts of mealtimes. Scent diffusers are also used in the Assisted Bathrooms where the scent of essential oils is released into the air to create a calming atmosphere and to help relax residents.

Also in the Assisted Bathrooms homeliness is implemented, there is a very apparent stigma that care homes are clinical environments – especially bathrooms. One way we tried to break this stigma was with signage and the language used. Instead of ‘Assisted Bathrooms’ we have created ‘The Spa’ – with a very soft palette of beiges and natural woods, non-slip tiled flooring instead of safety vinyl and privacy screens that are designed using decorative fretwork screens with mirrored back and shelves. This helps residents in the bath to feel more relaxed and to shield them from the door and reduce the feeling of being watched by staff in the room for safety reasons. However, through the open shelving design staff can keep a watchful eye without affecting the relaxation of the resident.

The Wayfinding Strategy is used to help residents navigate their way around the dementia community. Each wing has a different feature colour, with landmark objects at decision making points along the corridors. Residents are actively encouraged to take part in activities in the 3 themed wings: Fashion, Music, Travel/Transport. Each bedroom at The Gables has a media unit. Each media unit has a chamfered display on the end that faces out into the doorway. Not only does this promote wayfinding in helping residents recognise their own room with their own photographs/ornaments on the shelves but it also makes their bedroom feel more homely.

Once The Gables was complete, I visited with several copies of a document highlighting the importance of these design techniques and held a half day session with staff including Home Manager, Care Staff & Housekeeping. The importance of educating the people who will be responsible for the day to day running of the care home is invaluable as it helps to ensure after cleaning for example that wayfinding landmarks are returned to their original location. When designing for care – I always think it is vital to ask yourself “would this be something you would have in your own home?” because after all – it is someone’s home! Of course, we all have personal style and colour preferences – but I feel design is not only about looking beautiful. It is about functionality first – then beauty. To create a successful interior (especially within a care environment!) is being able to drape the functionality with the beautiful elements to create a home for the residents where they will be safe, happy, and given a helping hand where needed.

A Wayfinding strategy tailored to each dementia community is just one of the ways we help to achieve this at Catalyst. Bold and contrasting colours yet still complimentary of each other, traditional patterns and textures with subtle locational cues and wayfinding items such as the artwork, retro kitchen accessories, montage of retro food signs and plaques. These are the sort of items that offer a helping hand to people living with dementia to emphasise the use of a space without compromising on the style and homeliness of a space.

The highlight of any project has to be going back to visit the home when residents have moved in. Seeing the space being used and enjoyed by residents, their families and even the local community – encouraging more visitors and creating more social opportunities for residents who otherwise may not get these opportunities living in their own home. Witnessing and hearing about how residents live a more fulfilled and enriched life at The Gables because of our design techniques is the most rewarding part of the project and the reason I love what I do!

Why did you enter the SBID Awards?

The SBID Awards are one of the most prestigious Interior Design awards globally and to be recognised for this award is a huge achievement that we are very proud of. I also think it is important to highlight the Care Home design sector and the design constraints associated with care homes within such a reputable design community – I am grateful to SBID for including our sector in the International Design Awards alongside some of the best interiors in the world.

What has being an Award Finalist meant to you and your business?

As Healthcare Interior Designers we have been nominated for and won many Healthcare Design Awards. However, as SBID is considered one of the most prestigious accolades in interior design by the best in the industry, the SBID International Design Awards are awarded purely on the quality of the design, innovation, and aesthetic. This means that being a finalist in the International Design Awards has really put us in the spotlight as a company for our Interior Design capabilities – it is an achievement were very proud of!

Questions answered by Jade Mannion, Lead Designer of Catalyst Interiors.

Visitors will also have access to the schedule of content at the co-located CSI Design Expo Americas providing even more opportunities to leave the show inspired.

Secure your complimentary conference and networking pass here to join the hotel & resort design community in Miami on 6 – 7 June.

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This week’s instalment of the Project of the Week series features a unique bar design by 2022 SBID Awards Finalist, Adam Hunt Ideas and Gemma Lin.

At the start of the Covid Pandemic, the Australian Government sealed its borders shut – even to Australian Citizens – for more than 2 years. The Australian/Taiwanese Artists & Interior Designers Adam Hunt & Gemma Lin were visiting family in Taiwan when they became two of the tens of thousands of Australians unable to return home.

With their Sydney Bar/Restaurant locked down for nearly 8 months & no prospect of going back, they decided to keep themselves busy by creating a unique venue based on their Interior Design Philosophy: that the future is best served by reimagining the past. They call it “The Art of Extreme Sustainability”.

The Plan was to have no Plans. Once the location was secured – a 150 year old derelict building – a 3 month journey began to collect recycled building materials from the beaches, the rocky coast, abandoned dwellings & fishing villages around the ancient Port City of Keelung. They harvested wood from old fishing boats, rope & plastic floats from fishing nets, rusty old anchors, driftwood, buoys & abandoned broken furniture from the streets.

The Interior Design evolved from whatever they found – all furniture, light features, vanity units, decor & art was recycled, up-cycled, repaired or created from scratch. It sure beat doing nothing.

What was the client’s brief? 

The Art of Extreme Sustainability.

What inspired the design of the project?

The ancient Port City of Keelung on the wild North Coast of Taiwan has been inhabited by The Ketagalan Tribe of Aborigines (who share DNA with the Samoans) for over 6,000 years. And they’re still here – despite having been invaded, occupied & pillaged over the centuries – starting in 1544 by The Portuguese, followed by The Spanish, Dutch, French, The Qing Dynasty Chinese, and then the Japanese Colonial Era from 1895 until the end of WW2.

The Japanese began the historic Kànzǎidǐng Night Street Fish Market in Keelung over 120 years ago, and our location is right in the middle of its fully chaotic midnight to dawn hustle & bustle – sandwiched between the Red Light District and the 17th Century Temple to The Great Goddess Mazu – Patron Saint to Seafarers everywhere.

So we decided to build our Bar out of an old Fishing Boat – to honour the Great Goddess Mazu, who was particularly Badass. According to Legend the Demons Qianliyan (“Thousand-Mile Eye”) and Shunfeng’er (“Wind-Following Ear”) both fell in love with her – so she conceded that she would marry the one who defeated her in combat. Being a supreme Martial Artist, Mazu easily dispatched them both & thus remained single. That’s Girl Power right there. Our portrait “Wall Of Bad Mamas” celebrates strong, fierce, independent Women – from a local Female Pirate, to Frida Kahlo, from the first Woman in Space, to Amy Winehouse – because let’s face it… well behaved women seldom make history.

What was the toughest hurdle your team overcame during the project?

Anyone can have a crazy idea like: “Let’s build our Bar out of an old Fishing Boat” – but you have to be truly mad to believe you can actually pull it off.

The challenge was not only to find a Fishing Boat exactly the right size for the room, but also to somehow fit it up the incredibly narrow alleyway behind the enormous 17th Century Mazu Temple, that’s literally just 38 inches across from our front door.

I could literally write an action adventure novel about that 2 day journey to get the boat… or… you could just watch this.

What was your team’s highlight of the project?

We found God! Our ‘Rescue Deity’ was discovered sitting in an abandoned derelict Seaside Hotel. He seemed pretty happy to see us, so we built him a plinth out of old wood from a fishing boat, as well as his very own Bamboo forest & garden of ocean-tumbled rocks in a light well.

Now anyone who visits Bad Mama can also find God – whenever they need to find the bathroom.

Why did you enter this project into the SBID Awards?

We wanted to see if a Husband & Wife Team – with zero education or Training in Interior Design – could mix it up with the big guys on the Global Awards Stage.

We are Artists, Painters, Sculptors, Designers, Builders, Furniture Makers, Chefs & Cocktail Specialists. We have a passion for Sustainability & a fresh vision for the Future based on how we reimagine the Past. Cheers!

Questions answered by Adam Hunt, Founder, Adam Hunt Ideas.

This week’s instalment of the Project of the Week series features a luxurious hotel suite design by 2022 SBID Awards Finalist, Jeffrey Beers International.

Uniquely situated in the heart of Midtown Manhattan, Hard Rock Hotel New York offers a backstage pass to the city’s historic Music Row, honouring its legacy through intricate design, curated amenities, and award-winning guest experiences. Sitting atop the 36th floor is the jewel of the Rock Star Suite, a glass-enclosed penthouse with expansive city views, original contemporary artwork, bespoke music memorabilia, and one of the largest terraces for entertaining in New York City at 1,600 sq. ft. The sleek interior design includes double height ceilings and rich tones and textures creating an inviting and timeless space. On its first level, the suite features an open-plan living and dining area with a bar and butler pantry, an outdoor bar, VIP direct access to the RT60 rooftop bar & lounge, and more. Guests can retreat upstairs to a luxurious bedroom area with a walk in closet and contemporary bathroom featuring a red free standing bathtub.

What was the client’s brief? 

The double story suite is to be used as both a guest room and an event space as well. We therefore designed the separate bedroom on the upper level, as well as created a direct access to the public bathrooms on the floor below. Last but not least, the space exemplifies what the guestrooms are about: to make the guest feel like a rockstar.

What inspired the design of the project?

The rich history of New York’s Music Row, as well as the culture of the Hard Rock brand. The city’s energy at dusk, when the Marquee lights of Times Square come out, also inspired our design.

What was the toughest hurdle your team overcame during the project?

Creating maximum impact with a reasonable budget. Also every material has to be high quality and resistant without feeling commercial. Being the only Rockstar Suite it has to be ADA accessible.

What was your team’s highlight of the project?

The red bathtub with a view feels very unique.

Why did you enter this project into the SBID Awards?

It is a wonderful honour to be recognized by an internationally focused design award. We also greatly enjoy the opportunity to visit London for the awards event.

Questions answered by Pierre Josselin, Associate Principal, Jeffrey Beers International.

In this week’s interview with 2022 SBID Awards winners of the Retail Design category, L’Atelier Five, Jasmine Bagaria talks about portraying the brand’s heritage in a modern way, using technology to aid storytelling, and the challenges of working in a pop-up space.

The team elevated the brand’s assets through digital and luxury art installations in an immersive digital tunnel, which portrayed the rich heritage and storytelling of the Panthère. 

Firstly, tell us a bit about the design of your project. What were the key ideas, concepts and processes behind it?

The brief was to create an interactive and luxury experience in the Harrods Exhibition windows. Celebrating the story and heritage of Panthère de Cartier through a series of experiential rooms and playful takeaways. We used the internal Cartier guidelines to start the initial storytelling and then elevated the experience in true LA5 style. Pushing the boundaries and showing the client how we can create an impactful and modern pop-up.

What was your biggest takeaway or highlight from completing this project?

The most challenging part of this project was having to design during a lockdown. Most of the design was done over zoom meetings and phone calls whilst we were all under government orders to stay at home. This was the first project where we had to consider social distancing, covid screens and general covid safety into the design. It was a completely new scope to introduce and of course we wanted to ensure the features moulded well with the concept and didn’t seem an afterthought.

Another challenge was to develop the strong heritage of the Panthere de Cartier and showcase the assets in a modern and immersive way. We had a lot of assets to work with and we wanted to create an area for engaging with them, that allowed the story to shine but in a contemporary way. We came up with the infinity tunnel and turned the assets into an impactful digital timeline that took over the space. Using a series of digital tiles and mirror, we managed to create the first ever digital room in the Harrods exhibition windows. As it was the first, there were also some challenges in terms of production. However we worked closely with all parties involved to ensure perfect execution.

What has winning an SBID Award meant for you and your business?

We are honoured to have won the award as it shows our hard work, dedication and passion for what we do. As a business it has inspired us to continue to go further and push to create unique experiences.

The design of the space uses a lot of digital elements and installations. How do you think technology can help tell the brand’s story and connect with the customers?

The use of digital allows you to showcase content in new and exciting ways. Compiling all the assets in a dynamic, moving visual, that pulls people in to explore. You only have a few moments to catch someone’s attention and playing with these elements creates more intrigue than plain text.

What are some considerations of working on a pop-up space design? What are the biggest challenges and how do you overcome them?

We always want to provide a 360 experience, so the visitor can take home a piece of the pop up with a memorable takeaway. Whether through branded giveaways or bespoke photo moments.

It can be challenging at times to translate the Brand guidelines into a space that has their own guidelines. We love to push the boundaries and ensure the pop-up is unique and stands out as a brand activation. Hence why we work closely with all parties to create the ultimate experience.

How do you hope Panthère de Cartier design will impact the customer? What impression are you hoping to leave?

With all our projects, we hope to leave a memorable impression on all visitors. We love creating modern and impactful experiences that engage the visitors and ensure commercial success and brand awareness.

Questions answered by Jasmine Bagaria, Lead Designer, L’Atelier Five.

This week’s instalment of the Project of the Week series features a luxurious bar-restaurant design by 2022 SBID Awards Finalist, Albion & East.

What was the client’s brief? 

To create a 300 cover bar-restaurant with a grand, centre-piece bar, a very open kitchen integrated into the space and two iconic outside terraces.

What inspired the design of the project?

The building is the former 1930’s Forum Theatre, designed by Mr Stanley Beard who specialised in cinema architecture, but had long since closed and remained abandoned for 15 years until we resurrected it as Teatro Hall. The original interior had an Italian Renaissance style design with high ceilings and large columns. Our inspiration was to resurrect the building in ‘Stile Liberte’, an Italian variant of Art Nouveau and named after Arthur Liberty and the store he founded Liberty’s. We were rediscovering, resurrecting and reawakening and building of grand proportions in a subtle, not slavish, mind to its history.

What was the toughest hurdle your team overcame during the project?

With new Brexit laws, delivery of bespoke items made for us in Europe needed careful planning and challenged budgets. Coupled with increases in raw material costs we had to focus hard on design elements which were stand out. Having to work harder than ever before, we didn’t compromise on design and hit budgets through planning and extending our network of suppliers of bespoke and hand made items.

What was your team’s highlight of the project?

A grand island bar takes centre stage with a tall backdrop of etched blue Venetian Glass housed in cherry wood, marble bar top and pale parchment under tiled counter. Our Clock Tower is reminiscent of seating in the Waldorf Astoria lobby in NYC. Banquets, with rich midnight velvet seats and pale cream linen curtains, create intimacy. Four handmade Murano glass chandeliers, with over 100 glass columns each, create grandeur that the space demands.

Why did you enter this project into the SBID Awards?

Having followed the awards for several years, I have always been impressed at the quality and diversity of the finalists. It has been a source of interest and inspiration for me over the years as I have been developing my company. SBID is a well recognised and prestigious organisation and it’s an honour to be a finalist with you.

Questions answered by Sarah Weir, Lead Designer and the Founder & Managing Director, Albion & East.

4SPACE is celebrating its 10 year anniversary. Can you tell us how the company grew to this stage and what your visions are for the future? 

From humble beginnings, 4SPACE has grown from a small, humble office and a team of two to a buzzing design entity with over 20 employees with an expansive and vibrant office in the heart of Dubai.

Founders Firas Alsahin and Amjad Hourieh always dreamed big. They understand that dreams without goals are merely dreams. They set appropriate goals and put in place a comprehensive 10-year plan to provide a roadmap for the necessary steps to achieve success. By the tenth anniversary, Design Middle East Awards bestowed 4SPACE the prestigious boutique firm of the year award in 2022. 4SPACE continues to grow, and the team aims to be the top international architectural and interior design firm by 2032, with branches across Europe and Asia. They have various projects in the pipeline, including hype entertainment venues, government commercial spaces, unique food and beverage concepts and a hospitality project.

Within the next five years, 4SPACE intends to transform from a boutique design studio to a much larger design firm with at least 50 employees by 2027 and over 140 by 2032. They aspire to be one of the top five design firms within the region by 2027. They aim to have a sustainable business model and dynamic company structure so that the company can expand into new areas of business, clients and markets. 4SPACE targets companies and private clients seeking a one-of-a-kind design and superior service. They are adopting a new company structure, systems, workflow, techniques and a sophisticated hiring strategy to achieve these changes. They anticipate that 4SPACE will promote much of their team to take on additional responsibilities and be involved in managing this vision and development.

How have you found that projects, their requirements and client expectations have changed throughout your years in practice?

Client expectations and requirements vary depending on market trends. Pre-pandemic, clients wanted open and shared spaces for a collaborative environment. During the pandemic, privacy and partition-closed spaces became necessary, with the online market and cloud kitchen prevalent. Post-pandemic, clients want innovative and sustainable designs. 4SPACE created many mind-blowing ideas from various techniques and 3D software programmes. Because of these changes, the team at 4SPACE has adapted, followed trends, learned new softwares and techniques and explored a host of different materials and designs.

Do you think the Metaverse will impact the interior design profession? What opportunities could it present for interior designers?

The Metaverse is having an impressive impact on the design industry. Alsahin explains, “Brands and businesses will be more and more willing to be a part of the next big thing; they will need to exist where their customers exist and in order to achieve that, they need to invest in the virtual world”.

Alsahin believes that the Metaverse is a stepping stone to cultural evolution and a limitless capacity for art. There are many more opportunities for designers inclined to use 3D software programmes. They used to quote, “From sketch to reality” with the formation of Meta4SPACE, the mantra has changed to “From sketch to metaverse world”. Alsahin continues, “In the near future, users will be able to use augmented reality smart glasses, which are wearable computer-capable glasses that add extra information; ideally 3D images and information such as animations and videos, to the user’s real-world scenes by overlaying the computer-generated or digital information over the user’s real-world”. Now that everything is limitless and with the advent of various Metaverse environments, the industry will need skilled designers and architects who can master future virtual and AI technology. “Virtual, augmented, and mixed reality technology will become important not just to present a designed space as a visualization method, but rather to be a designed form of space itself”.

What are the most notable achievements 4SPACE has accomplished over the past decade?

It takes many years to create something special. Over the last decade, 4SPACE has created a great team, has access to better technology and creating new goals. The team has received numerous awards and recognitions from internationally acclaimed award-winning bodies, including the SBID overall winner in 2018 and Design Middle East Awards boutique firm of the year 2022. With project requirements increasing, there is a new wave of employment opportunities post-pandemic. The new office space is fully automated and includes a new architecture company and Meta4SPACE and increasing staff levels. Power 50 nominated Alsahin for fourth place in this coveted award.

What key advice would you give to emerging designers for building a successful interior design business? 

As the old saying goes, “no man is an island”. Building a company in a foreign land has its challenges. Success requires sound finances, and self and team trust are hugely important. 4SPACE has created a great team, ensures that no one is self-sufficient and encourages the team to rely on and support each other. Together, the team has various goals, ensuring they achieve them no matter what. Alsahin and Hourieh encourage their teams to succeed, be inspired, share insights and do better each day. They understand that physical and mental health is important and inspire their teams to have a healthy work-life balance, enjoy the fruits of their labour and pay it forward.

Questions answered by Firas Alsahin, Co-Founder, 4SPACE.

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This week’s instalment of the Project of the Week series features a timeless restaurant design by 2022 SBID Awards Finalist, EDG Design.

What was the client’s brief? 

Singapore’s famed Orchard Road was once lined with fruit plantations, spice gardens and orchard groves (hence its name). But with the country’s modernization these plantations gave way to office towers and shopping malls that we see today. Our brief was to pay homage to this bygone era of the location’s Colonial past, agricultural history and the beauty of the tropics seamlessly merged for diners to enjoy morning, noon and night. Thus the concept of Estate was born, a series of three distinct dining rooms linked to open theatrical food kitchens that celebrate one of Singapore’s favourite pastimes…eating!

What inspired the design of the project?

Using the concept brief as a starting point, we developed a story of a 19^th Century plantation owner living in a grand estate surrounded by lush orchards growing crops of cinnamon, nutmeg, gambir and peppercorns. The architecture of these Colonial houses also served as inspiration. We utilized a similar approach of creating a series of intimate yet interconnected rooms for dining, kitchens and private areas which encourage exploration while creating an inviting and comfortable atmosphere. The restaurant thus became a modern interpretation of a grand colonial estate that celebrates its heritage through design, palette, intricate details and gastronomy.

What was the toughest hurdle your team overcame during the project?

This building is an iconic landmark on Orchard Road and although constructed in the 1970s, is considered old for Singapore. As such, the building has lower floor-to-floor heights seen in today’s towers; therefore we were challenged to maximize the interior ceiling heights and did so by streamlining mechanical services and adding visual tricks such as blackened mirrors on the ceiling which create the sense of height and depth in a subtle manner. We also found a hidden structural column in the middle of our buffet kitchen which was not on the original architectural drawings. We managed to re-plan the kitchen and dining rooms quickly whilst still maintaining the integrity of the design.

What was your team’s highlight of the project?

Seeing the total transformation from the old space into a beautiful and timeless restaurant and sharing in the positive energy and excitement of our client is what makes design so gratifying. Developing a strong design narrative told through design, overcoming a challenging building and unforeseen challenges, and adapting to a new working model of executing design and construction during the unpredictable heights of Covid-19, we feel especially proud that Estate has come out with the rest of the hotel as an exciting new venue for guests and visitors to enjoy.

Why did you enter this project into the SBID Awards?

SBID is one of the most well-known and prestigious design awards in our industry. As an international design and branding studio, we feel the opportunity to promote our work through SBID’s platform also helps EDG Design gain visibility and recognition from the voting public as we continue to create exciting and memorable guest experiences through design.

Questions answered by Simon McDonald, Design Director, EDG Design.