Interiors are designed as part of the building rather than applied to it afterwards. Ceilings, lighting, joinery, sanitary ware and finishes are drawn against the same coordinated set as the services behind them, so the light switch lands where the hand expects it and the duct never fights the ceiling it shares a void with.
That is the advantage of an interior drawn by the same practice that drew the shell. There is no gap to negotiate between the architecture and the fit-out, because there is no seam — the plan form, the daylight and the surfaces are one argument carried through to the last fitting.
We work equally on interiors for buildings we designed and on fit-out within a shell built by others — common for tenancies, refurbishments and changes of use. The scale changes; the care with light, surface and detail does not.
Appointed as part of a full building service or as a fit-out on its own. Either way the interior is drawn to the same detail and held to the same standard as everything else we put our name to.
How a room is used before how it looks — the plan set so daylight, movement and privacy work before a single finish is chosen, drawn against the same coordinated set as the services behind the walls.
Light designed as a material with a quantity and a direction — layered between daylight, task and accent — and the ceiling that carries it resolved with the ducts and services it shares the void with.
The built-in elements that make a space feel made rather than furnished — designed to the millimetre for the room they sit in and the way it will be used, then detailed for the workshop that builds them.
Surfaces, fittings and sanitary ware specified for how they behave in a tropical climate as much as for how they read, and procured and installed under the same eye that drew them.
Positions rather than preferences. Each one is something a room can be held to at a review, which is the only reason to write a principle down.
Interiors are part of the building, not applied to it afterwards. Ceilings, lighting, joinery and finishes are drawn against the same coordinated set as the services behind them, so nothing has to be chased into a wall that was never expecting it.
Daylight is treated as a designed element, layered with task and accent light rather than flattened under a grid of downlights. Shadow is designed as deliberately as the light that casts it.
The elements that give a room its character are usually built in — a stair, a bench, a run of joinery — designed to the millimetre for the space rather than bought to approximately fit it.
Surfaces are chosen for how they behave in humidity, monsoon and daily use, and detailed so they can be cleaned, maintained and replaced. A finish that looks perfect on day one and tired by year two was the wrong finish.
A resolved room needs less than an unresolved one. We work to proportion, alignment and a controlled palette, and add nothing whose only job is to fill a wall that proportion had already settled.
The interior is designed for the twentieth year, not the opening photograph. Storage is sized to what it will really hold, surfaces to what will really land on them, and every specification to what it will cost to keep.
A whole building or a single shell to fit out. The first conversation costs nothing and usually tells you more about what the room wants to be than another mood board will.
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