Hotel Suite Design Evokes a Narrative of a Fictitious Character

This week’s instalment of the Project of the Week series features a whimsical hotel suite design by 2021 SBID Awards Finalist, Blue Sky Hospitality.

THE GYLE is an intimate 33-room hotel, crafted from three heritage-listed Victorian houses, built in 1845, located on Argyle Square, across Kings Cross station. It takes its name from the Duke of Argyle, Chief of Clan Campbell, who used to own property in the area.

What was the client’s brief? 

Convert a set of three 19^th century listed buildings into an upscale boutique hotel that reflects the history of its location, drives high room rates, and acquires a high reputation.

• Optimise the internal volume and reduce impact of constraints.
• Draw inspiration from its location.
• Provide a joyful environment for staff and customers.
• Offer a unique, memorable social space.
• Enhances the neighbourhood of Kings Cross- St Pancras.

What inspired the design of the project?

The quirky boutique hotel has been conceived as a complete work of storytelling design by British artist and designer, Henry Chebaane, based on his first novel soon to be published. The design tells a story about Kings Cross and Scotland in 1880, blending facts and fiction.

The design narrative evokes the residence of a fictitious character from Nova Scotia, who while fighting a conspiracy, becomes caught in a space-time rift caused by Victorian scientists. The result is an irreverent juxtaposition of steam-age heritage, whimsical details and 21st century modernity…inspired by 19^th century St Pancras coal and gas industries, and Kings Cross steam trains to Scotland. This is manifested through a layered palette of black, silver and greys accented by moss, fern and juniper greens.

The bespoke furnishing, made in Britain are all elements of storytelling that juxtapose past and present, facts and fiction, style and humour in a quintessentially British fashion. THE GYLE is truly ‘a surreal townhouse in a real London square’.

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

Optimising the internal layouts to make it efficient to operate and provide a pleasant customer experiene, while respecting the Health & Safety and Grade II Heritage to maintain period internal layouts and façades.

A discrete extension was added behind the original houses, this increased the key count to 33 and provided a common footprint at ground floor, in which to set up the public areas.

What was your team’s highlight of the project?

The creation of a fully immersive art installation that functions as the resident lounge and whisky bar. The resin floor is a seamless image of the sky reflected in Loch Fyne, while the whole ceiling is an upside-down lawn ripped open by a 40 feet long ‘space-time’ rift from which lighting strikes and odd sounds emerge throughout the day.

Why did you enter this project into the SBID Awards?

We entered the SBID Awards to thank our client for the trust and confidence in our work.

Questions answered by Henry Chebaane, Creative Director, Blue Sky Hospitality.

This week’s instalment of Project of the Week series features an intricate historical bar design by 2021 SBID Awards Finalist, SHH.

SHH created new design strategies for The Bar at The Dorchester alongside proposals for transforming an adjacent under-utilized space into one that complimented the function of The Bar. Proposals needed to ensure that each of the spaces be versatile in that they could be used comfortably by guests, and that these guests’ needs could be functionally provided for, during mornings, afternoons and through into the evening, guaranteeing constant usage of the space throughout the whole day.

The requirements for The Bar included an ability during the day to operate as a lounge serving small plates and bar snacks, and doing so without compromising its essential use as an evening cocktail venue. The design proposal balanced display, visibility, intimacy and privacy with seating flexible enough to adjust to smaller pairings and larger groups.

Making use of a richly detailed palette of materials, the design interwove references to the history of the bar and hotel, references to the sites pre-hotel past, and to the stories and events that have taken place within its walls.

What was the client’s brief? 

A significant amount of time had passed since The Bar had been refurbished, so the first part of the brief called for a new design that better reflected the character of the hotel and its brand, the buildings architecture, and the interiors of the other public areas within The Dorchester.

Secondly, a solution was needed that would allow the space to extend its operating hours beyond solely evenings, enabling it to be used comfortably by guests throughout the whole day.

The third part of the brief was to propose uses for an adjacent mezzanine area, and for which we designed a day-service tea room that could transform into an intimate evening whiskey and cigar bar.

What inspired the design of the project?

Honestly, we were spoilt for choice when it came to inspiration.

There was the personality of the bar manager Giuliano Morandin and stories of past guests and long-term residents like Sir Percival David, the collector of Chinese porcelain who kept large parts of his collection in his suite at the hotel and which was subsequently bequeathed to the British Museum.

There is the building itself which is that hybrid of Art Deco and Classicism. And period interior details such as fluted panelling; hand-painted wall panels depicting equestrian activities in Hyde Park; colour palettes combining gold, blues and greens.

And then there was Dorchester House that use to occupy the site and was the home of the Earl of Dorchester, the 3^rd Marquess of Hertford, and towards the end of its life the home of the American Ambassador whose guests included Mark Twain and Theodore Roosevelt. When the house was demolished one of its chimney pieces entered into the collections of the V&A.

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

The Bar at The Dorchester was last refurbished in 2006 and whilst the refurbished bar had a character of its own it felt alien to the rest of the hotel. The bar manager emphasised that existing guests and patrons were very attached to spaces in The Dorchester, meaning that any proposed changes needed to be done with sensitivity, addressing the desires of these existing guests at the same time as creating new appeal to attract a new generation.

What was your team’s highlight of the project?

The most amazing thing was designing a space within a building that had a history of its own, with its own stories to tell, architecturally and about the people who have and continue to pass through its doors. Digging into this past created extremely fertile ground around which we could build our design.

Why did you enter this project into the SBID Awards?

The SBID provides a great platform for recognition to practices who wish to showcase their work to a talented audience by bringing together high standards of work from across the world.

Questions answered by Brendan Heath, Director Hospitality & Commercial Interiors, SHH.

In this week’s interview with SBID Awards Product Design judge and Associate at SHH, Tony Duesbury discusses the nuances of designing for commercial and residential spaces. He shares his insights on designing guest experiences and how hybrid ways of working are changing the interior design scene.

How does interior design help to curate greater guest experiences within the hospitality industry?

Every hospitality project is unique and a distinct design narrative allows the opportunity to curate a guest experience. Interior design can help generate interest by creating “a narrative” that helps people engage with the space and learn more about where they arrived creating a ‘sense of place’. This placemaking curates the experience and makes the guest experience more personal.

We have done this in a recent brasserie where the details of the wall panelling took inspiration from the 1970’s façade of the building that was removed, enabling the staff and guests to talk about where the interior inspiration came from. This design curation helps discussion and the engagement between staff and customer to enable a unique personal experience.

When considering the future of the built environment, how do you incorporate sustainable design principles into your projects, from design to procurement?

Our priority when considering the future of the built environment is to look at all aspects of the environmental issues that may affect a particular project and determine what best fits the project. Whether it is creating more greening, checking the carbon footprint of materials procured or considering the MEP to be implemented. As a first step towards achieving that we will look into forming collaborations with consultants and suppliers who have a relevant approach that is beneficial to the process. We will look at individual suppliers and the principles they have in sourcing and manufacturing their materials. Buying local materials and finding unique local craftsmanship within the project vicinity is obviously a huge consideration in order to reduce the transportation carbon footprint.

When it comes to product specification, how does your approach differ between commercial and residential spaces? What are your key considerations?

The selection of materials will be different when it comes to addressing a residential project compared to a commercial project. This is due to two aspects, firstly, cost is a huge factor in. Residential schemes are led more by the heart, whereas commercial projects are led more by the purse. Secondly, it’s about the traffic of a space. Residential schemes can have more luxurious materials that don’t need to take the same wear and tear that commercial projects do. The high footfall in commercial projects, however, means that the durability of the base palette has to have longevity and accents that are easily replaced can have that more luxurious touch.

With new consumer lifestyles and hybrid ways of working, how do you see the design of workspaces evolving in the coming years?

This is something like everyone we have been keeping an eye on as it is an evolving discussion that has yet to settle and likely to be a debate for years to come. Most recently the hybrid way of working has changed by introducing more technological elements that enable a seamless change from working at home and then back in the office. The largest shift is really going to be about creating staff retention by giving those unique offerings within the public office space to engage people to want to be in the office. For instance, in a recent project we have been looking at weaving in the local community and creating more opportunities for social interaction. Additional opportunities for offering amenities within communal space benefits peoples busy life styles and will have an increase in staff retention. As well as a way of attracting new talent.

Finally, what advice can you give to designers entering the SBID Awards?

My advice would be to remain very concise about their design proposal and communicate all aspects of the idea, story and design detail as clear as possible. It is important that the descriptive narrative conveys the same message as the visual design and both are coherent with each other.

Questions answered by Tony Duesbury, Associate, SHH.

In this week’s interview with SBID Awards Product Design judge and Director of Design at IHG, Henry Reeve talks about the most important design and functional aspects of hotel interiors, key product specifications that influence choice and shares his personal sources of inspiration.

How can interior design influence greater guest experiences in hotel environments?

Good Interior Design I feel can make or break a guest experience. You need both form and function, yes of course we want to wow our guests with incredible atmospheres rich in detail and finesse but there is little point creating a spectacular environment if the space just doesn’t ‘work’. It’s easy to create that spaces that impress but are poorly equipped or ill-thought through and don’t accommodate guests needs and functions. I think one of the most important aspects of hospitality interior design is to ensure our guest don’t ever feel stupid. Our guests are in an unfamiliar environment, and we want them to feel at home, to relax and unwind. Designs must be intuitive, how many times has one had to desperately search for the light switch, or struggle to find a plug socket or worse cant find the wardrobe!

How do you approach product specification for hospitality projects? What are your key considerations?

Specifying product particularly recently has become even more tricky,  there is a wealth of options out there but so many factors go towards influencing choice, yes of course shape and form but external factors are now more than ever influencing specification, lead times, environmental impact, over-use and of course cost are playing a huge role.

Why is product innovation so essential for the interior design sector, and how can we expect the relationship between manufacturers and designers to evolve going forward?

Constant innovation is mandatory in this sector, the world is moving fast and constantly looking to what’s next. Environmental factors are becoming ever more influential on both consumer choices and economic too. I feel this will become in time a far more important aspect of specification than it perhaps once was. Product life-cycle too is something I am interested to see how the wider industry addresses, how is product recycled/re-used when coming to the end of its life?

What inspires you both professionally and personally?

Inspiration comes from anywhere, but I must admit that Travel is certainly one source of inspiration to me that I am thrilled is now possible once again. To experience how different cultures use spaces opens ones eyes to new possibilities.

Finally, what advice can you give to designers entering the SBID Awards?

Put your best work forward, ensure photography is exemplar and try to explain your work in a succinct way. I look forward to seeing some wonderful entries!

Questions answered by Henry Reeve, Director of Design, IHG.

In this week’s interview with SBID Awards Product Design judge, Maria Vafiadis discusses the compatibility of luxury design and sustainability, addresses the unique challenges between designing private residences and hotels, and shares her views on repurposing in the industry.

How would you define luxury today? Is it compatible with sustainability?

The luxury experience today is defined by space and how this space encourages us to make time for rejuvenation. This is one reason why many resorts and hotels are choosing to create standalone villas, cottages and treehouses where guests can quietly share time with family and friends and engage with the natural world.

Our new luxury values are increasingly compatible with sustainability. Government regulation, the marketability of eco-destinations, consumer demand and evidence that guests will pay a premium for experiences that respond to environmental and local community issues are coming together in a union which is already having an impact on hospitality. We are seeing a new, more thoughtful attitude to what luxury means together with a growing desire among owners and consumers to be better custodians of our planet’s resources.

How different are your priorities when you are designing a private residence versus a hotel?

My single focus when designing a private residence is the owner and his/her family. It is all about the owner’s aspiration and the family’s way of life, and the end result should reflect their personalities. By contrast, hotel design has several parties to please – the owner, the operator and, of course, the guest. As a hotel designer, it’s key to create a narrative as the wellspring for the guest experience while you also have to respond to an array of commercial and operational realities.

In your opinion, which offers the more interesting design opportunity – renovating a much-loved historic hotel or creating a new one?

It depends so much on the client and their aspiration; we have had amazing experiences working on both. Take for example Costa Navarino in Greece. It’s difficult to believe now but when we began our work on this resort it was no more than a bold vision to achieve a luxury destination which would celebrate the heritage and natural world of Messinia. It felt truly meaningful to work from a blank slate and create a new hospitality benchmark in the region.

Several years later, we were appointed on the recreation of The Burgenstock Resort in Switzerland. In its heyday, this had been a glamorous and pioneering destination and it was our task to take this legacy forward into a new era. This was a project that involved repurposing, refurbishment, extensions and new buildings. Its strapline ‘The Future has a Past’ was fascinating to honour and reflect in our work.

I must admit that I do enjoy delving into the past, discovering what was there and helping it to flourish again by combining the old and the new. We have just had a wonderful opportunity to do this in creating Matild Palace Budapest, a Luxury Collection Hotel. The lifestyle of the Archduchess of Austria who commissioned the original building was our inspiration and we wove our narrative around her imagined presence in the new hotel.

What are your priorities in making FF&E selections for your projects?

We love to work with artisanal and locally sourced products and, since sustainability is high on our agenda, we are always interested in re-purposed items. We believe in the inherent beauty of natural materials, tactility and in products that are well-made – longevity of things is one of the greatest gifts we can bestow on our planet.

You have recently published a book called Design Alchemist. What was the thinking behind this title?

At MKV, we believe in the power of design to affect behaviour and elicit emotion. This requires design that combines location, culture, history and modern life in any number of contextual stories which we tell. When they come together in the right balance for the particular project, alchemy results and a kind of chemistry is released between the space and its users.

Cover image: Alpine Spa, Burgenstock Resort

Questions answered by Maria Vafiadis, Founder & Managing Director, MKV Design.

SBID is excited to introduce a new weekly blog series – the Judges’ Interviews – in which, leading up to the 2022 SBID Awards ceremony, you will get to meet and find out more about the people who will be evaluating the contestants’ projects this year!

In this week’s interview with SBID Awards Product Design judge; design advisor & founder of Habitus Design Group, Samantha Drummond discusses her views on the hospitality sector, what innovations are needed in those spaces and how hospitality design can shape the guest experience.

How would you define the power of design?

Design is a means to problem solving. In a hospitality setting, this begins with understanding the customers’, as well as the client’s, needs and aspirations and from this developing a framework for concept development, innovation and creativity. Such an approach is as much linked to strategy as it is to aesthetics. Yes of course the look and feel are important but what matters even more is how the design makes guests feel. Are they at ease? Is their curiosity aroused while their sense of belonging is stimulated? Will the memories they take away with them convert family and friends into your next guests? Design has the power to evoke emotions, to change the way people experience a space and to encourage them to stay longer.

You design both extraordinarily large resorts and boutique, single-purpose hospitality destinations. How would you compare the challenges?

In fact, the creation of large resorts and small hospitality destinations face many similar challenges. All projects, regardless of size, require the same fundamental disciplines.

However, one thing that is different is that the larger the project, the larger the team and therefore more people management is required, sometimes internationally across different time zones. Also, it’s often the case that larger projects have more aggressive deadlines in order to achieve completion on multiple spaces simultaneously.

How do you use design to shape the guest experience?

Hospitality design is a wonderful opportunity to create a stage for guests to live a charmed life during their stay. We aim to craft experiences that make guests feel glamorous, special and cherished. There are many elements that go into the design mix but I do think lighting is very important in shaping the experience as are unexpected surprises – a beautiful repurposed item for example or curated collections of books and, of course, bespoke artwork. Such things help guests connect emotionally, add layers of meaning and create memories.

What inspires you both professionally and personally?

So much inspires me – I think that’s the nature of being a designer… food, art, music, craftmanship, the natural world. In my work, I love to take on an empty building, a vacant plot of land or even nothing more than a vision in the client’s mind. That’s when I really have to use my imagination to come up with something genuine which hasn’t been done before while also engaging my Advisory head and making a sound business case for my proposal.

There is also the ‘who’ inspires me and here I have been so lucky. From my extraordinary clients who have taught me so much about business over the years to the many world-acclaimed architects, designers, artists and chefs I have been privileged to collaborate with. They have all been an inspiration.

Do you think there are any hospitality sectors that would particularly benefit from product innovation?

Wellness is a sector that is constantly evolving in terms of treatments, new experiences and now the wide offering from pampering to medical interventions, mind and body wellbeing. I am sure there is opportunity for product innovation here. I also think that in the aftermath of the pandemic, “working from alternative locations” has become a way of life and the hotel bedroom desk could be ripe for a renaissance. However, this will not be as before. An innovative approach to resolving the room’s working space is definitely called for.

Cover image: Private Residence, Denmark

Questions answered by Samantha Drummond, Design Advisor & Founder, Habitus Design Group.

Kactus is a contemporary café in the heart of Saudi Arabia’s energetic capital, Riyadh. 4SPACE has designed this eatery in highly Instagrammable colours of vintage pinks and greens. The textures and fabrics used to create interest are oak, steel, leather, terrazzo, bold curved mirrors, a wall full of letters, and plenty of cacti. The café is an expression of international and contemporary lifestyles that celebrate youthfulness and culinary abundance. Kactus is an impressive 230 square metres of glorious space that nods to the 1950s and cleverly blended with industrial touches with corrugated wooden walls and clever pipe lighting.

Project brief

The client’s brief was simple. They wanted Kactus to look bright, fun, lively, quirky, inviting and comfortable. The use of various textures allows a sense of depth and discovery to keep diners coming back to their favourite city spot. Cactus plants are used throughout the design and are the central focus of desert biophilic living.

Concept

Kactus has a modern, chic, tasteful, and contemporary design and was wholly inspired by the fascinating xerophytes. The cactus is a collection of interesting plants that have adapted to live in extreme conditions and harsh environments. Cacti are found in arid, hot deserts across the world. Xerophytes have curious, almost animated features to prevent water loss, including thick, fleshy leaves covered in waxy, spiky and hairy coatings. Kactus allows patrons to connect to nature within a city environment. 4SPACE has paid attention to the unique requirements of desert biophilic design to create a refreshing atmosphere. Think baby-boomer years in Saguaro National Park and towering green desert sentinels that pepper endless landscapes under flushed pink skies.

Various design elements

4SPACE has highlighted an open ceiling concept with beams, hanging plants, and linear lighting at the mezzanine level. The walls and ceiling are kept clean and white and provide an unadorned backdrop for strong accent colours. A seemingly haphazardly placed lens mirror installation provides a central focus. Clever placement of a pink vending machine door, the expansive crossword wall and cacti of various heights, shapes and sizes provide a beautifully screwball vibe.

About the execution and ambience

4SPACE carefully selected expert artisans to fit out Kactus; they communicated frequently with their contractors to ensure a snag-free delivery.

The design is bright, fun, lively, quirky, inviting, comfy and minimalist.

Challenges overcome

The pandemic gave 4SPACE various challenges to overcome. Long-distance communication was necessary to manage contractors in Saudi Arabia. International product deliveries were also a challenge due to reduced shipping and logistics.

Unique features

Various fun features throughout Kactus encourage interaction and provide clever illusions and photographic opportunities for social media platforms. The mirror-clad ceilings create playful reflections whilst the crossword wall allows patrons to find their names in the pools of letters on the walls. Neon cacti lights adorn the walls of the café. The café entrance is designed as a pink vending machine door that provides an element of excitement and joy upon arrival.

Material selection

4SPACE has chosen multi-texture materials and used polished oakwood, steel, leather, and terrazzo throughout. The colours chosen are calm vintage hues of pink and green. Various complementary-coloured neon signs adorn the walls, and verdant plans hang fluidly from the beamed ceilings.

Furniture chosen

Furniture is minimalistic, and much has been taken from the ‘interiors 360’ collection. Two hand-crafted banquette seating arrangements are shaped like oversized bunny-ears cacti in pink leather.

The standout of this project and why

Kactus provides an inclusive and fun setting for people from diverse, multicultural backgrounds. The contemporary and ultra-modern design encourages interaction between people and on social media. The eye-catching façade and retro branding which was designed by the 4SPACE branding team is a significant statement on a busy sand-coloured Riyadh street.

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This week’s instalment of Project of the Week series features an elegant and modern spa design by 2021 SBID Awards Finalist, Ina Rinderknecht.

Situated in the Croatian town of Dubrovnik, sits the 5-star Rixos Premium, recently renovated by our design studio. Inspired by the surrounding culture, architecture and history, we were entrusted with the renovation of the hotel’s lobby, its two restaurants, the sports bar, the outdoor and indoor pools and the large spa area.

The spa area is over 2000 sqm featuring state-of-the-art treatments and offering various experiences. One enters the spa through the newly designed tea lounge featuring one of the best tea selections worldwide and a concept store that sells unique local pieces.

Passing through the spa, arched niches in white marble, rippled walls and the use of trees help to create a pleasant environment. A dry sauna, wet steam bath, cold room, a Himalayan salt room, a hammam and treatment rooms, together with small pools are all included in this spa as well as an indoor and outdoor pool.

What was the client’s brief? 

Taking into account the client’s brief to modernize the hotel we were inspired by the surrounding culture, architecture and history. We were given creative freedom to reinterpret the Rixos lifestyle brand in a fresh and unexpected way. The idea was to create a boutique style hotel in the scale of a large commercial project.

What inspired the design of the project?

Inspired by the surrounding culture, architecture and history, our design approach seeks to create a holistic environment where shapes, materials and light combine and balance each other naturally. The story is told across different areas always with a breeze of freshness and elegance. Playing with the symbolic meaning of ‘Libertas,’ the Latin word for freedom and liberty but also happiness and light, we created a place where people can express themselves whilst enjoying a sense of belonging. As with all of our projects, we have taken a holistic approach to interior design, to achieve architectural integrity and structural purity within the original building structure, simultaneously combining playful design elements and comfortable furniture.

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

Not only was the intensity of the time constraint from the beginning of conception to the end of construction was 8 months for a project of this scale, but the project was interrupted by the coronavirus and extreme collaboration and coordination between the international teams was very much needed during this time.

What was your team’s highlight of the project?

The 2000 sqm spa area was the heart of the project. The client’s wish was to transform the vast spa level into a unique oasis of recreation and well-being. The choice of treatment areas with sauna, steam bath, salt- and ice-rooms, massage rooms etc. were all fully renewed. The main focus was on creating a one of a mind tea lounge which would offer one of the largest tea selections worldwide.

Why did you enter this project into the SBID Awards?

We believe we have the high standards that represents SBID. We are a team of creative international designers who always seeks to create innovative yet timeless spaces, that are unexpected and fresh yet utterly comfortable.

Questions answered by Ina Rinderknecht, Owner & Creative Director, Ina Rinderknecht.

This week’s instalment of Project of the Week series features a stunning and unique restaurant design by 2021 SBID Awards Finalist, Bishop Design by Paul Bishop.

What was the client’s brief? 

The brief for Carna was simple, yet the end result is breath taking. Discovered on the 74^th floor SLS Hotel & Residences, Carna was to be a contemporary steakhouse and immersive meat experience.

What inspired the design of the project?

Meat is art, from preparation through to first taste, and it’s this story we aimed to capture through the interior. We appreciate the butcher to be a respectable symbol of society; a community monarch. They satisfy the most famished, and bring their unique skills to the table to fulfil the deepest of cravings. Their ancient trait is passed down through generations, and it’s this authentic craftsmanship that seethes through every crevice.

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

The sheer volume of space is jaw-dropping, and posed challenges at the onset, yet no corner has been left untouched. It’s strong, sensual and tantalizing of all the senses.

What was your team’s highlight of the project?

On the left resides a theatrical bar where seductive red provides a colour bomb to an architectural wardrobe otherwise dressed in shades of green and brown. Hand cut green tiles provide the backdrop to a magnificent showcase of rustic brass finishes which elegantly display the bar’s liquor sensations.

Why did you enter this project into the SBID Awards?

The SBID Awards celebrate the best in design and it is events like this that continuously motivate our team to create iconic experiences all over the world.

Questions answered by Paul Bishop, Owner and Founder, Bishop Design by Paul Bishop.

In this week’s interview with 2021 SBID Awards winners of the Restaurant Design category, design command share their tips on designing hospitality interiors with user experience in mind and talk about using natural materials in interior design projects.

How important is it to enter the SBID Awards & receive industry recognition for your work? What are the benefits?

Extremely important for us as an Interior Design Company that mainly specialise in hospitality design. To receive the recognition after the difficult years or 2020 and 2021 is an amazing achievement. Being recognised by SBID Awards introduces you to new contacts and you feel like part of a hospitality family.

What do you think made this particular design an award winner?

We didn’t follow current trends and mainly focused on reflecting the amazing views and this was the inspiration for all ff&e selections and the colour palette. We think this made this restaurant’s interior design unique.

When working on a hospitality project, how do you incorporate the end user’s experience into the overall vision and functionality of the interior?

The Interior has to be both captivating and a comfortable place to dine. Equally important is how it works operationally for staff as they use the space on a daily basis and we want to have an interior that they are proud to showcase.

Do you often work with natural or unconventional materials, such as stone, rope, reclaimed timber? What made you choose these materials, and are there any particular considerations when working with them?

We like to work with natural materials on most of our projects as we find they add more contrast and interest overall, whilst also being environmentally friendly.

We wanted to reflect the coast and surroundings as much as possible and chose a range natural materials to express this throughout. When choosing these materials it is important that you apply them to the correct areas within the space.

Now that you’ve won an SBID Award, what are the next steps? Is there anything new you are excited to be working on?

It was a big surprise and we are still taking it all in and looking forward to new opportunities in hospitality design for 2022. We are looking forward to working on new restaurant and hotel designs. I began my career in hotel design and am excited to bring that passion full circle.

What advice can you give to young designers starting out in the design industry?

Always believe in yourself and no matter how much experience you have never dismiss an idea – it could be the best one for that particular project.

Questions answered by Clare McDonald, Founder & Creative Director, design command.