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over emphasised,” says Mackie, “creating a smooth working relationship and clear definition of each role is important for the client to understand.” And how are those roles defined? Is it as simple
as architects creating a shell, and interior designers filling it? “The industry tends to separate commercial projects into ‘shell works’ and ‘fit-out’, but I feel this often leads to unsatisfactory relationships in buildings,” says Max de Rosee of the architectural and interior design practice De Rosee Sa. “For residential projects, it’s even more important that the interiors and architecture work in harmony. Our interiors team is better at addressing the kind of atmosphere we’re looking to create, especially when the architecture team is bogged down with project delivery and technical details. It’s very important that we schedule look and feel design reviews early in the projects so that both teams are working in unison.” Regular users of the Design Centre, De Rosee Sa cites Tissus d’Hélène, Tim Page Carpets, Romo, Lewis & Wood, Abbott + Boyd and Pierre Frey as among their favourite showrooms.
“CREATING A SMOOTH WORKING RELATIONSHIP AND CLEAR DEFINITION OF EACH ROLE IS IMPORTANT FOR THE CLIENT TO UNDERSTAND”
While for some, the answer lies in the collaboration
between different practices, others such as the architect and designer Natalia Miyar enthuse about the benefits of the multidisciplinary practice. “There are many benefits that come from streamlining this process. It saves time and money for the client, there’s better coordination between the team which creates less room for error and delays. There are also fewer meetings which is better for everyone.” Whatever the form of
the relationship between
the two disciplines, successful collaboration is transformative. However much the world’s greatest interiors might be presented as a single vision, they rarely were; throughout history great interiors have been the result of collaborations between architects, designers, craftsmen and clients. They still are today.
RIGHT: A West London penthouse by De Rosee Sa, for which the practice designed the architecture, interiors and
furniture – resulting in seamless relationship between all three. OPPOSITE, TOP TO BOTTOM: A Natalia Miyar-designed apartment at The Broadway, a new development on the site of the former Scotland Yard, features dining chairs and banquettes upholstered in fabric by Mark Alexander at Romo, and curtains in a fabric by Casamance at Colony. The sitting room at The Broadway, with an Andrew Martin sideboard, a Kelly Wearstler lamp base from Circa Lighting and fabrics from, among others, Dedar, Larsen at Colefax and Fowler and Zimmer + Rohde. Natalia Miyar sourced fabrics from Dedar and Rubelli as well as a lamp from Arteriors for one of the colourful bedrooms at The Broadway
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