As an interior designer, you seek to please every client you take on.  And in an ideal world, clients would have nothing but good things to say about you after a project. But unfortunately, that isn't always the case.

Criticism and negative reviews are an inevitable part of running your own interior design business. It's normal for interior designers to receive bad reviews every now and then. You just can't please everyone. However, it's critical to know how to make amends with your client and turn this into a positive learning experience.

Remember: The only bad feedback is the feedback you don't get. So instead of beating yourself up over it, learn how to handle negative client feedback and channel it to improve your interior design business.

Why client feedback matters to interior designers

Positive reviews reinforce your marketing. The feedback of previous clients informs prospective clients about all the good things you bring to the table. Incorporating positive reviews into the marketing of your interior design business will attract new clients, build trust, and consolidate your reputation. Here are a few benefits of collecting client feedback as an interior designer...

• Improve your marketing. You can use good reviews to create a better marketing strategy. Some of the most common ways to use reviews for interior design marketing are by pinning them on your social media page, and creating a client testimonial page on your interior design website.
• Establish a positive reputation. Good reviews translate to stronger credibility. It tells potential customers that it's worth investing in your interior design services and that you're skilled enough to get the job done excellently.
• Develop your skills. There is always more to learn as an interior designer. Reviews will break down your service from the client's perspective, so you can see what aspects of your interior design service you can improve.

What to do when you receive a bad interior design review

Whether a beginner or an established interior designer, a bad review feels like a straight punch to the gut. Negative client feedback could make you angry, or even make you doubt your skills as an interior designer—this shouldn't be the case.

Regardless of what you're feeling in this moment, stay above your emotions. This isn't about you, it's about the work done on this particular project. This means that when the issue gets addressed, it can put your business in a better spot moving forward.

Here are the do's and don'ts of how to handle negative client feedback as an interior designer...

Don't make excuses

The first step is to not get defensive. Sometimes designers either deny the experience, pass the blame back to the client, or ignore it altogether.

The last thing you want to happen is to unknowingly dismiss your client's feelings just to protect your own. This leaves an impression to potential clients that you don't value their opinions if it does not align with yours.

Do take responsibility for your actions

When you receive a negative review from an interior design client and get that urge to respond and defend yourself—pause. Put yourself in the shoes of your client and try to understand their side.

After, you can write an appropriate response. Apologise and thank them for their honesty, validate their experience, briefly state your side of the story, and conclude with a plan of action.

Don't respond rudely or curse them out

Sometimes, you'll encounter toxic clients who like to strike below the belt. They intentionally provoke you to gauge an unprofessional reaction.

Because your feelings may get in the way, you may fall right into their trap without knowing it. So how should you reply to rude comments?

Do respond professionally when you receive a rude review

Do not try to 'match' their energy or respond just as sarcastically. Any rude behaviour, even as a defence, will hurt you more than them. It makes you look childish to potential clients.

Don't ignore or edit the review

Some websites and social media platforms give you the authority to edit or delete reviews. This is particularly helpful if you want to censor private information or if the review is too long.

For this reason, it can be tempting to just delete or rewrite a bad review to keep that 100% satisfaction rating—but will it let you sleep soundly at night? Maybe not so much.

Do respond honestly and immediately

Even with the power to manipulate what's seen on your page, you can't change the fact that it did happen. Doing so will only stir confusion among clients and will decrease the trust they have in you.

The only thing you can do is censor any foul words or derogatory remarks. Then, make sure to respond as quickly as possible to prevent looking like you're avoiding the issue.

Don't take it to heart

A negative review is an opportunity to learn, not to beat yourself up. Don't let one or two negative client reviews take away your crown. Otherwise, you might miss the sea of opportunities life has to offer.

Do learn from your mistakes

Think about how to channel negative reviews positively into your career. What areas do you need to improve on? How do you resolve these issues? How do you make up for it?

If you're at a dead end, you can always reach out to fellow interior designers or seek the help of an interior design mentor.

The takeaway

At the end of the day, constructive criticism from clients is an integral part of the journey to becoming a more successful interior designer. By channeling negative client reviews the right way, they can be used as valuable lessons that help you to grow and improve as an interior designer and as a business owner.

Resist the urge to make excuses, respond rudely, or edit or ignore the review. Instead, take responsibility for your actions, respond professionally, and focus on self-improvement. Only you know your own worth and potential, use these reviews as a catalyst to improve the quality of your interior design business.

Looking for a way to enhance your influence as a British interior designer? Let this be your sign to apply for UK's top design awards!

Every year, the UK design industry celebrates excellence in interior design through a series of prestigious awards. They showcase excellence in all areas of design and help new and existing interior designers thrive.

With a design award under your belt, your interior design career is set for success. Apart from prestige, you also extend your influence with extensive publicity. Find out which British interior design awards you should apply for and how they can help your career.

Benefits of design awards to interior designers

The interior design industry presents design awards to recognise unparalleled talent in the industry. Applying for design awards is an exciting journey to grow your interior design career.

Three ways applying for an interior design award will benefit your career as an interior designer:

Increases brand visibility

Winning, or even participating in an interior design award will attract media attention. It is common for participants to receive press attention and have their work published across top interior design trade publications. With this much exposure, you don't need to look for projects; projects find you.

Enhances your reputation

Design awards are your 'bragging rights' for brilliant interior design innovations. They validate your industry expertise and bring value to your name. When greeted by an award-winning designer, clients know they're in good hands!

Drives the industry forward

Design awards feature the best breakthroughs in interior design. Think cutting-edge technologies, unique concepts, and groundbreaking innovations from rising and established interior designers. If your a designer innovating in your field, people need to know about it.

Top 5 design awards for British interior designers

International Design Awards (IDA)

Entry fee: Starts at $80

Featured categories:

• Interior Designer of the Year
• Residential Interior Design
• Workplace Interior Design

The International Design Awards (IDA) is a community of designers, thinkers, and entrepreneurs who sought to fill in the lack of recognition in the design industry way back in 2007. Now, they're on their 17th year of celebrating excellence!

IDA welcomes works within the last five years from interior designers, clients, and students! Winners receive a specially-made trophy and a feature on the main page of the IDA website.

London Design Awards

Entry fee: Starts at $119 + $30 annual fee

Featured categories:

• Mix-Use Building: Residential and Commercial
• Intelligent Homes

The London Design Awards is an international competition hosted by the International Awards Associate (IAA). IAA is committed to moving the industry forward by recognising existing and new talents.

The event is open to designers from all categories and professional backgrounds—even hobbyists are welcome! Apart from a certificate of recognition, winners will be promoted on the London Design Awards' website for 5 years.

BIID Interior Design Awards

Hosted by: British Institute of Interior Design (BIID)

Entry Fee: Starts at $138

Featured categories:

• Interior of the Year Prize
• Anna Whitehead Prize

The British Institute of Interior Design (BIID) aims to advance interior design excellence in Britain whilst adhering to an environmentally-responsible system.

If you're shortlisted, your project will be visited by expert jury members for a thorough inspection. Winners will receive a trophy, a digital badge, and exclusive brand coverage and PR opportunities.

SBID International Design Awards

Entry Fee: Starts at $277 + $55 admin fee

Featured categories:

• CGI and Visualisation
• Kitchen, bedroom, and/or bathroom (KBB) Design

The SBID International Design Award is one of the most sought-after design awards by British interior designers. It's the first interior design award that obtained a GOLD Standards Award Trust Mark from the Independent Awards Standards Council.

The SBID International Design Awards welcomes entries from all across the world.  Apart from the coveted trophy of excellence, winners also receive extensive media coverage, free access to After Party networking, and an invitation to SBID's exclusive networking event Meet the Buyer.

Design Week Awards

Entry Fee: Starts at $326 + VAT

Featured categories:

• Exhibition design
• Hospitality interiors
• Wayfinding and Environmental Graphics

Design Week is well-known as the UK's top weekly design magazine, but it is also host to one of the most desired design awards in the UK.

Work submitted to the Design Week Awards will be critiqued by a jury of over 50 esteemed design experts. As a winner, you will be featured on the Winner's Showcase, receive a Design Week Awards lightbulb trophy, and enjoy once-in-a-lifetime PR opportunities!

The best marketing strategy for interior designers is simple: let your clients speak for you!

Beautiful photographs of your interior design work and a well-designed website will catch a prospective client's attention. However, client testimonials will convince them to seal the deal. Feedback from real clients is reliable, personal, and offers great insight into what a client can expect from working with you.

We've created a guide to help you ensure you receive detailed and productive feedback from your interior design clients. This guide will show you how to use that client feedback to effectively improve your services and advertise your interior design business. Read on to learn how to ask for client reviews as an interior designer and how to use client testimonials in your marketing.

This article will explore...

• The importance of client testimonials in establishing credibility and attracting prospective clients by providing reliable and personal feedback on your interior design services.
• Practical steps for collecting client testimonials, including choosing the right time, selecting the best mode of communication, crafting clear and concise questions, and expressing gratitude and respect for the feedback received.
• Effective ways to use client testimonials in marketing your interior design business, such as displaying reviews on your website, sharing feedback on social media, and incorporating testimonials into printed promotional materials to enhance your reputation and reach.

Importance of client reviews to interior designers

Client testimonials are quotes from past clients that describe their experience with your interior design business. Positive reviews boost confidence and serve as excellent marketing content. Constructive criticism from clients highlights areas for you to improve as an interior designer, helping you grow and refine your services.

A collection of positive client testimonials is a powerful marketing tool for your interior design business. Here are three key benefits of client testimonials for interior designers...

Build a positive reputation

You don't grow a good reputation overnight. It is a long and continuous process of showing the world your potential.

Client feedback establishes your credibility. It assures potential clients that you're a skilled interior designer and can deliver their dream vision. The more positive reviews you have, the stronger your reputation becomes. This makes it easier to bag ideal clients and projects!

Increase your client conversion rate

Client reviews directly impact your client conversion rate. Prospective clients trust testimonials from your previous clients, making them more likely to choose your services.

Improve your service

Client feedback is crucial for service development. Constructive criticism is invaluable for growth. There's nothing more appealing than an interior designer who listens to their clients!

Testimonials help you identify improvement areas as an interior designer, from client communication to project management.

How to ask for client feedback as an interior designer

Great client reviews are a game-changer for your interior design business. So, how do you get them?

The most important rule when it comes to collecting client testimonials is that your attitude matters more than the method. Remember, you're asking a favor. Be polite, grateful, and accept feedback with an open mind.

Here are four steps to help you collect excellent client reviews as an interior designer...

Step 1. Choose the right time

When should you ask for client reviews? Don’t wait until the project is finished for feedback. Maintain open communication with your client throughout the process. This allows you to address any issues immediately, rather than waiting until it's too late.

However, collect more in-depth feedback at the project's end. Give your client time to settle into their new space before following up with a testimonial request.

Step 2. Pick a mode of communication

If your client agrees to write a testimonial, decide how you'll collect their feedback. You could arrange a face-to-face meeting, a phone call, or provide them with questions digitally.

As their interior designer, you should know your client's preferred mode of communication. Do they like emails? Are they less tech-savvy and prefer paper forms? Or do they find forms a hassle and prefer talking in person? If you're unsure, just ask!

Step 3. Craft your questions

When drafting questions for your client feedback forms, ensure they are clear and concise. The clearer your questions, the better the client feedback. Ideally, a feedback form should take no more than ten to fifteen minutes to complete.

Personalize your questions, especially if you’re asking for a testimonial from another professional. Here are some effective questions:

1. What did you like most about working with me? This question will highlight your strengths as an interior designer, both creatively and in project management.
   ‍‍
2. Would you recommend me to others? Why or why not? This assesses your client's satisfaction and can reveal areas for improvement.
   ‍
3. What could I have done better? This helps identify service gaps that need addressing.

Step 4. Be grateful and respectful

After receiving a client testimonial, whether positive or negative, always express your gratitude. Saying thank you goes a long way in strengthening your relationship with clients and leaves a lasting, positive impression.

Lastly, seek your clients' consent to use their testimonials in your marketing content. Most will agree, but some may prefer to remain anonymous. Either way, respect their decision as an interior designer.

How to use client reviews in your interior design business marketing

Now that you know how to collect great client testimonials as an interior designer, it's essential to use them effectively in your marketing. It's time to put your client reviews to good use! Here are three ways to leverage client testimonials to promote your interior design business.

Display client reviews on your website

The first place to showcase your glowing client reviews is on your website. Create a dedicated client testimonials page or integrate feedback across your site. For example, include quotes from clients next to images of your projects in your portfolio.

Share client testimonials on social media

A significant percentage of people seeking interior design services search social media to find the right interior designer. Your social media presence must reflect your brand effectively. Feature client testimonials prominently on Instagram, Facebook, TikTok, and other platforms where you promote your interior design studio.

Highlight the best reviews by pinning them to the top of your feed. This way, it’s the first thing viewers see when they visit your page. Update frequently to keep the content fresh!

Add testimonials to your printed marketing materials

Enhance your promotional materials by adding impactful quotes from clients. Extract 1-2 of the most compelling sentences from client feedback and feature them on your flyers, brochures, and other printed marketing materials. Remember, don’t rely on a single client testimonial; showcase a variety to appear more reputable.

The takeaway

As an interior designer, client feedback is crucial to the growth of your business. Testimonials can shape your services and highlight areas that need improvement.

When requesting feedback, ask specific questions and make it easy for your clients to respond. Positive testimonials are invaluable marketing tools for your interior design business—share them widely.

As a wedding planner, one of your most effective marketing strategies is the positive feedback from your previous wedding clients. Prospective clients want to hear about the great experiences of other couples who have worked with you and feel confident that you can deliver the same magical experience for them.

Even though your clients leave their weddings with the utmost gratitude, they don't always leave you a review. Your happy couples quickly return to busy, newly married life and leaving a review can often slip their mind.

This is why you need an easy process to follow up with your clients and encourage them to leave you a glowing, informative review that you can use in your marketing. Client testimonials should decorate your wedding business website, your social media, and, possibly, printed for marketing material.

This is a guide to gathering high-quality client testimonials for your wedding business and using client feedback in your marketing. Ready to begin?

Why client testimonials are important for your wedding planning business.

Wedding planner testimonials are a free and effective marketing tool. Your visual portfolio catches the eye of prospective clients, your outstanding client reviews will help to seal the deal. Client testimonials offer insight into your ability and professionalism as a wedding planner, allowing potential clients to use your wedding planning service.

As well as being a great marketing strategy, client feedback is also an opportunity for you to grow and improve as a wedding planner. Even negative reviews offer a chance to learn. Consider all points made in your client feedback and use it to inform your process in the future.

How to collect feedback from your wedding clients

After the wedding day, it is a good idea to drop your clients a message. In this message, you can wish them well and thank them for trusting you to create their beautiful big day. This is also the perfect opportunity to ask for their feedback on their wedding planning experience.

It can be daunting to ask for feedback, but having a positive and encouraging mindset can make it a lot easier. And the rewards are definitely worth it!

Timing is everything

Warning: do not follow up with your clients 2 days after the wedding! The newlyweds will be busy enjoying married life, jetting off on their honeymoon, or easing back into daily their lives.

The perfect time to send a message to your clients requesting their feedback is 3-4 weeks after the wedding. Now, clients will have more time to offer thoughtful feedback on your services and won't feel pressured by your request. If you don't hear back from your client,  it is okay to send them a follow-up message after a few weeks.

If you're new to the idea of client testimonials, don't be afraid to reach out to old clients long after the 3-4 week period has passed. As a nice touch, perhaps you could send your message on their anniversary as part of your celebratory message.

Make it easy

Your couples are doing you a favour by offering you their feedback, so you should make the process as easy as possible for them.

1. Be clear and concise in your request for feedback but ensure your client knows they are under no obligation to do so.
2. How do you want to receive the feedback? Via Whatsapp, email, or the communication method you used throughout the process is likely easiest for your client. Alternatively, you could think about investing in a client testimonial template to make the process super smooth and professional.
3. If you'd like your clients to leave feedback on an external site such as Facebook or Google, provide them with a direct link to do so.
4. Provide prompts to help your clients write their testimonials.

Offer guidance

Writing is not everyone's cup of tea. Some of your clients might not know where to start with their testimonials. Some might leave a lovely message but fail to offer useful feedback.

To get the best client testimonials, prepare specific questions and prompts for your couples to answer. Here are some.

Some questions to start with:

• What made you choose our wedding planning business?
• Did we meet your expectations in planning your dream wedding?
• Will you recommend us to your friends and family?

You can also prepare a form or templates they can just fill up. This way, you'll sort out all the feedback in an organised manner to highlight and share.

Where to Post Customer Testimonials and Feedback

Once you get your reviews, maximise them. Don't let it rot in your storage space, make sure to post it . However, it is crucial to ask for your client's consent before posting anything (as mentioned before).

Wedding planning business website

Your website is your portfolio. It contains all the evidence of your beautiful work as a wedding planner, so make sure to back it up with amazing testimonials.

Client feedback serves as a testimony to your competence as a wedding planner. Place it where people can see it, especially on your home page. You'll be surprised at how impactful client feedback is for other prospective clients choosing their wedding planner.

Social media

Most newly engaged couples find their wedding planner on social media page. When visiting your page, you want people to have instant access to glowing feedback from your previous clients.

On Instagram, you can use your highlight stories for easier clicks. You can also make them pinned posts on your Facebook Page. You could even use client reviews to produce new content for TikTok.

The takeaway

Client feedback for your wedding business will provide you with a whole range of benefits. Positive testimonials from your couples serve as a powerful and cost-effective marketing tool that can catch the attention of prospective clients, ultimately helping to seal the deal.

Beyond their role in attracting new clients, these testimonials offer crucial insights into your professionalism and capability as a wedding planner, aiding potential clients in making an informed choice.

Starting a career in the creative industries is a daunting experience, a little like skydiving out of a plane. If launching your career as a creative is skydiving, then consider a creative mentor your parachute. A mentor is an experienced professional in your creative field who will guide you through your early creative career with invaluable insights, honest feedback, and introductions to industry connections.

Luckily for you, there are a vast amount of amazing mentors covering all aspects of creativity, so finding one is just a digital networking platform away.

Having a mentor as an emerging creative is invaluable. They provide guidance, wisdom, and industry insights only experts know. Mentors also offer support, share experiences, and help develop crucial skills, all of which help you navigate difficulties and locate opportunities.

Follow this guide to connect with the right creative mentor for you.

‍

What is a creative mentor?

A creative mentor is someone who is "a few steps ahead of you" in the industry. They are well established in their chosen creative field and have first hand experience of all the industry has to offer—the good and the not so good.

Just like the cheat code in your favourite game, a creative mentor helps you level up faster in your career. Creative mentors help you to use your existing talents to your advantage, whilst expanding your overall skillset. They can offer guidance and emotional support when you face challenges and can help break down barriers into the creative industry by introducing you to a network of connections.

In a way, the relationship between you and your mentor will be a collaborative one—they share their expertise and you share your passion and fresh ideas.

‍

How do I choose the right creative mentor for me?

There are many factors to consider when looking for a creative mentor. A suitable advisor should be a good match on a personal level, as well as professional. Here are some questions to ask yourself before searching for a creative mentor:

• What are my goals for this mentorship? Be clear on what you want your mentor to help you achieve.
• What are my specific areas of interest? It is wise to pick a mentor who has experience in this niche.
• What makes me work best? Do you respond well to critique or are you looking for a more nurturing mentor?

With the right pairing, you and your mentor can work collaboratively towards your long-term vision and bring your creative career to life. Above all, remember to listen to your intuition when selecting a mentor.

‍

Discover the best creative mentorship programmes

Find your dream creative mentor in one of these digital networking platforms:

Creative Mentor Network

Creative Mentor Network supports socio-economic diversity by connecting young emerging creatives to dedicated mentors.

The Creative Mentor Network exists to provide support for under-represented creatives in the industry. Their mentorship comprises three programmes:

• Bespoke: for larger enterprises
• Break the Wall: for small businesses and freelancers
• Accelerate: 1-1 sessions for entry-level talents.

The mentorship programme promises to equip mentees with a network of professional contracts, a growing portfolio, an enhanced skillset, and an understanding of the creative industry landscape.

Shadow to Shine

Shadow to Shine is a London-based charity networking platform that offers training and mentoring programmes for young creatives. Shadow to Shine empowers emerging creatives aged 16 to 24 as future leaders of the industry.

The mentorship programme is conducted virtually and  can be flexible to allow for a range of schedules.

Re:create

Re:create is a straightforward networking platform, allowing young talent to connect with "super talented mentors" from all around the world.

Re:create hosts a huge bank of industry experts from a diverse range of creative fields, comprising everything from food stylists, to copywriters, to game artists. Whatever your aspirations, you'll find a role model eager to support you on Re:create.

Merit

If you're a creative working in the tech space, Merit is the platform for you. Merit mentorship programmes includes career advice, interview training, industry insights, helpful feedback, and potential employment referral.

ADP List

Find a creative mentor with ADP List.

Finding the right mentor is easy with ADP List. Smart filtering capabilities allow you to browse mentors by their field of work and other important factors such as experience level, specialities, and language. Get to know each of the suitable mentors using their in-depth profiles and reviews from previous mentees.

‍

The takeaway

Engaging with a creative mentor is a great way to take your career in the creative industries to the next level. Whether you're a budding event stylist, or an aspiring interior designer you'll find a wealth of industry talent willing to show you the ropes.

When deciding on a mentorship, be sure to consider your personal goals and the learning style that works best for you.

Social media is an ever evolving landscape; what is true today might not be true tomorrow when it comes to optimising content for algorithms and maximising reach. However, there are some consistent truths to social media marketing that remain largely misunderstood.

Understanding the social media marketing landscape is essential to the growth of your small business; it is the key to turning a "like" into a loyal client. But with the abundance of social media marketing advice available, how can you determine the genuine formula for social media success?

We've compiled a bank of common misconceptions when it comes to social media marketing and compared the expectation to the reality. This will help ensure that your social media marketing strategy is as effective as possible. Ready to learn the truth about social media marketing?

‍

Social media marketing strategies that work

Before hitting that 'post' button, ensure that your social media marketing expectations align with reality. By avoiding these common social media mistakes, your social media marketing strategy will thrive.

‍

Social media presence

What you think works: having a presence across lots of platforms

Instagram, TikTok, Facebook, Pinterest, and X (previously known as Twitter)—five major social media platforms you cannot afford to miss. Having a presence across all of these platforms will increase your chance of brand visibility.

What actually works: choosing one channel and mastering it

You've heard it countless times before: a jack of all trades is a master of none. There is no need to sign-up for every social media channel out there. Why not focus all your energy in creating an effective marketing strategy on one platform? This can result in higher client conversion than posting repetitive, un-inspiring content on every platform.

It can be scary to put all your eggs in one basket but managing multiple accounts can be time-consuming and demanding to maintain. Focusing on one platform allows you to become a master at engaging with your audience and promoting your services.

‍

Posting on social media

What you think works: posting frequently on social media

You've likely heard that posting daily on your social media platforms is the key to social media success. By posting more frequently, you will begin to notice that more accounts are being reached, right?

What actually works: posting thoughtfully and purposefully on social media

Quality over quantity. Whilst consistency is important, it is better to post high-quality content less regularly than to bombard your social platforms with sub-par content. That being said, yu should still aim to post a minimum of 3 times per week.

‍

Networking on social media

What you think works: "networking" via likes

Engaging with posts from other content creators, like leaving likes or comments, brings you into their sphere. Consistently engaging with their content demonstrates your unwavering support and genuine interest in their brand.

What actually works: actually speaking to people

Although liking someone's posts helps you get noticed, it doesn't automatically mean you are connecting. If they have a huge following, your like and comments might get buried immediately.

Instead, incorporate messaging brands directly into your social media strategy. If you want to collaborate on an upcoming Instagram marketing promo, you can propose your idea to them. Networking on social media is also an opportunity for you to connect with people in your industry. Who knows, you might even land a paid promotion!

‍

Social media reach

What you think works: aiming for huge reach

Nothing beats the feeling when your Pinterest, TikTok, or Instagram marketing reaches over 10,000 accounts. This signifies that your social media marketing strategies are starting to yield results. This achievement can also lead to an increase in engagement rates and follower counts, which, in turn, can influence the algorithm to feature your content on the Explore page.

What actually works: using hyperlocal marketing

The ultimate aim of your social media marketing strategy is to increase client conversion rates. Even if your content reaches millions of accounts, that is only effective if they are millions of people who could realistically use your services.

If you're a small business, adopting a hyperlocal social media marketing plan enables you to target specific local demand. There is no point to marketing to customers from the United States, if you only service clients in the UK. Use local hashtags, geotags, and collaborate with local influencers to make your content more accessible.

Nostalgia, a yearning for the past, is a familiar feeling to all. Hazy memories have the ability to evoke joy, or sometimes despair, but regardless, nostalgia for the past is a consistent catalyst for present day imagination.

For independent designer, art director, writer, and educator Elizabeth Goodspeed, a connection to the past has played a pivotal role in her life and career. With over 10 years of experience in the design industry, Elizabeth has crafted a reputation for expressive work that draws on an extensive knowledge of design history and archival designs. Her work as a designer encompasses branding, packaging, book and editorial design.

Her latest project The New Antiquarians plays with the blend of archival influence through a 21st century lense. Elizabeth worked with the team to craft the full visual world for the book, evidence that her impact spans far beyond the realms of design itself.

Elizabeth spends her time between New York City, and Providence, Rhode Island. In the past two years, she also found herself teaching design to students both at the Rhode Island School of Design (RISD) and Parsons School of Design.

In Elizabeth's own words.

From the archives

You're a self-described casual archivist. What's the value in (re)discovering the old?

I think some of the initial impulse for getting into archival work definitely came from a bit of insecurity early in my design education–I was in a dual degree program in college (studying cognitive science and graphic design simultaneously at two different schools) which often left me feeling like I wasn’t smart enough for science or creative enough for art. Looking at design history felt like a way to check the work I was unsure about against proven design solutions; if this layout worked for Massimo Vignelli or Paula Scher, it would work for me, too!

I also think there’s a significant emotional bent to it as well: I think I experience nostalgia more than other people, and tend to feel pretty emotional about the past. As a result, I find that I’ve always really valued having tangible artefacts (pictures, letters, books) that connect me to the past very literally—archiving is another part of that. Even more simply, one of the things I love most about archival work is how much the past surprises me! I am always finding new approaches that seem ahead of their time, or that look differently than anything I have seen in our contemporary landscape.

To me, being an archivist is equal parts pulling ideas together and picking them apart: it’s about creating new and unexpected adjacencies from existing materials, and also taking the time to critique and analyse all the components within these materials to figure out what makes them work, why they were made, and who made them.

How does being an archivist make you a better art director?

I think being an archivist—which is to say, spending a lot of time with different things from different time periods—has caused me to be very aware of the many art direction tropes that have emerged in the advertising world over time, and therefore, has made me very aware of how much I want to play towards or against those tropes when I am creating new imagery. Similar to how all music is made up of the same 12 notes, I think that to some extent, all visual culture plays off the same set of general high level ideas, executed with different technologies (which become tropes in themselves) and in new contexts over time. These ideas, some conceptual, some aesthetic, tend to cycle in and out of fashion. Those ideas can be anything from the way props are used in a shot (like playing with prop scale, either big or small) to different compositional tricks (like fisheye or macro) to quirky lighting treatments (like silhouetting or dramatic gradient lighting)—all of which also have secondary associations with the periods when they were used, or the categories they were used for.

In a good and bad way, this kind of thinking has almost broken my brain a bit such that I often view the process of creating imagery as a process of determining what combination of existing ideas or gimmicks from the past will be most apt for the project—what this means for how I make work is that I’ve sort of assembled a big toolbox of different ideas that I can deploy when appropriate for any new brief I encounter.

Lessons taught and lessons learned

You teach at Parsons and RISD. What's the single most important thing for you to remember when "teaching" design? What do you often forget?

I’ve only been teaching for a little over two years it all still feels pretty new to me! That said, one thing I do try to remember is that I only am seeing a small part of every student’s life when we’re in the classroom; This class is just one part of their overall education, and their education (or graphic design in general) is just part of what makes them who they are. As such, I try not to take anything too seriously. In the working world, if someone is sick or dealing with personal issues, we (should) give them a day off or an extension—why isn’t that true in education? This extends to effort as well: I’d love for students to care about the work, but my yelling at them or chastising them won’t make them care more. Instead, I just try to share and model why I’m excited about the subject and hope it rubs off on them.

What I find easy to forget sometimes is what it’s like to be a beginner, and how absolutely frustrating it is to have ideas that you aren’t yet able to execute to the level of your imagination. One way I’ve found to remind myself is by critiquing student work as it is, but always giving students the chance to explain their vision, or bring in supporting materials like sketches or found references to show the idea they had in mind—even if they don’t yet have the technical skills to execute it.

What should design schools be teaching more of?  What can't ever be taught?

I am amazed by how little design school teaches about the practical, business-minded side of design. I think it’s really easy to forget that at its core, design is a client-based, service industry. We are professionals working with others to solve problems—a very different structure than the fine arts. I have so many students, especially now in our sort of crazy economy, who want to start freelancing, but have not been given any information about how to make a scope of work, how to invoice, how to save for taxes, etc. I do, of course, deeply understand the value and importance of design school being a place safe from all the trappings of capitalism, and I don’t mean to suggest we should focus on a pedagogical approach that is purely pre-professional, but I do think we could serve students better by being slightly more supportive when it comes to some of the practical needs of being a designer in the world.

One thing I think can’t really be taught is having a unique point of view. We can definitely teach in a way that encourages students to trust and listen to their point of view, but we can’t invent it for them. At the risk of putting down pure aesthetic skill, I do sort of feel as though all of us have equal potential to become technically competent at the craft of graphic design with enough effort and time to learn—but no amount of experience can make up for the perspective and different personal insights that each and every person can bring to a project.

Finish this sentence. To be a graphic designer, you need to remember ___ and forget ___. To be an art director, you need to remember ___ and forget ___.

To be a graphic designer you need to remember what excites you and forget your inner critic.

To be an art director you need to remember your audience and forget what you’ve seen before.

‍

Sourcing inspiration

What comes first to you: words or visuals? When do you think in words vs visuals?

Words first. I often joke that I’m a designer who thinks like a writer (or, a writer who accidentally became a designer). To be even more specific, I’d say spoken words first; I’ve always been very verbal and do most of my thinking through talking and conversations, rather than an internal text-based monologue. I actually learned recently that there’s a condition called “aphantasia,” which is the inability to form mental images or pictures in your “mind's eye”—and while I’m not quite there, I’m certainly close to it in terms of my poor ability to visualise or imagine things in my head (my mental depiction of an apple is somewhere between a symbolic dingbat or a photo seen in a very dark room.)

So, words absolutely come first for me. Then, I spend a lot of time working to determine what visuals will best convey those words or concepts. That isn’t to say that I don’t have any visual inclination, only that because I can’t really picture things well inside my mind, I often have to generate themes or concepts first to guide my visual ideation. For example, I may decide I want to make something that feels like a blend of Y2K and 1980s aesthetics, and then I’ll work to source references until I’m able to make something that feels like the idea I wasn’t quite able to actually see in my own brain. I think this has given me a unique perspective on design as it means that a lot of my visual exploration happens outside my head, on paper, with a lot of pre-existing references, rather than in my own mind first.

When it comes to banking inspiration/ideas, is more always better?

Definitely not! I’m a strong believer that less is more (kind of). I also think it’s not about how much you look at stuff but when you look at it and how you do so. As designers and artists I believe we should constantly be absorbing as much as possible from the world around us—art, pop culture, literature, design, nature, music—and letting it marinate in our minds to create a general tapestry of all the different ways that ideas can manifest. On the other hand, I think when actually starting a brief, looking at too much of other work can be quite restrictive, and in fact limit us to a certain preconceived solution before we even have the chance to ask questions.

When are you looking vs searching for inspiration?

Similar to how I think you should look at a lot of stuff casually, and only a few things strategically, I think I am always looking for inspiration, or rather, inspiration is always finding me. No matter where I go, there is always at least one interesting sign, architectural motif, beautiful leaf, or unexpectedly well-dressed person! The trick for me is figuring out how to remember or “store” these little moments of excitement that I find so that they’re ready for use when I’m actively searching for inspiration. This can be logistical, like actually taking a picture of the thing on my phone to reference in the future, or more fluffy, like trying to tap into the mood of being inspired when I am really not feeling a project.

Spotting trends: is it an active or passive activity to you?

It’s funny, I don’t know if I really ever sought out to keep track of trends—I think fortunately (or unfortunately) I have the kind of brain that is deeply and inexorably pattern-seeking, which means trends kind of find their way to me! Usually the process of “spotting” starts passively, just because I happen to notice that I have seen the same motif in a few places. But once I see, say, at least six or seven of a certain concept, it becomes a bit more active and I’ll make a folder of examples on my computer or Are.na that I’ll add to as I come across more cases. I usually give the trend a (dumb) name around this time, too.

Even though I have a natural inclination towards it, I do think anyone can be a trend-spotter. It just requires being, or becoming, someone who pays close attention to the world around them and is confident enough to make predictions based on what they see. Whether this is done just through instinct, as in someone who spots similar things easily, or more through practice, I think it’s mostly a matter of being interested in the space and working to make it happen.

‍

Off the Cuff

What scares you more? A blank on-screen canvas (Photoshop), a blank page in your sketchbook, or a blank Google doc?

A blank google doc! I’ve developed a lot of helpful ways to bootstrap visual brainstorming for design projects over the years but I have yet to come up with the same supportive strategies for writing—writing professionally is something I fell into a bit accidentally, and as a result, my process is still a bit touch and go. I usually start with a bunch of piecemeal bullet points that I eventually group into sections that eventually become paragraphs, but outside of that, starting a new piece always feels a bit terrifying to me.

Mental blocks: what does your mind look like?

My brain works like a hummingbird, or maybe more like a crow; it’s constantly jumping between different tangents and finding little jewels to pick up—but it’s not very good at staying focused on one thing for a very long time.

You're hosting a dinner party and can invite anyone: who would be your top 3 guests? What would the topics of conversation be, if you can't talk about design?

Ah! This is a hard one. I definitely have a lot of interests outside graphic design, but I’m not sure how well some of my different idols would enjoy each other’s company...

I suppose I would want to invite some of my favourite writers. I think Anne Rice, queen of goth, would probably be the most fun at a party. My absolute favourite designer of all time is John Alcorn, so I couldn’t resist asking him to join as well—I don’t think it would be a problem for him to get along with a crowd without any other designers, given that he was such a multi-talented thinker and had a wicked sense of humour. Lastly, (if allowed) I would want to invite my own grandma, who is my namesake, but back when she was my age. She died before I was old enough to really get to know her well, but I’ve seen a lot of photos of her and letters that she wrote when she was in her twenties and thirties and I get the sense that she was an incredibly smart and funny person.

‍

Find Elizabeth Goodspeed on Instagram, or visit her website. Elizabeth also curates a newsletter of found imagery and ephemera titled The Casual Archivist.

Creative director, founder, educator, artist—Arianna Orland holds many titles to her name. Across all of her work, Arianna cultivates her joy for the craft of design.

Arianna is currently Director of Product Creative for Cross Meta Design Systems. In addition to her work at Meta, Arianna is the co-founder of In/Visible Ventures—a design-led venture, investing in visionaries shaping the world. Also under the In/Visible umbrella, Arianna co-founded In/Visible Talks, a conference for creative professionals that celebrates the art of design.

Arianna's commitment to driving the design industry forward is further evident in her role as Board President at Creativity Explored, a San Francisco nonprofit nurturing the creative potential of people with developmental disabilities.

Visualist speaks with Arianna about continuous learning, the need to retreat offline, and the definition of good design.

In Arianna's own words.

No shortcuts

Complete the sentence: Design is not magic, unless ...

Design is never magic. It is a blend of hard work, expertise, craft, and strategy. Magic implies a certain effortlessness that I feel undermines the energy great practitioners invest in outcomes. Good design can feel like magic when it helps people experience the world in new and transcendent ways.

Is your "creative process" a habit or a ritual?

Neither, I don't have a one size fits all process. I think all processes should be right-sized to the team and the assignment. I view my own creative process as more of a set of conditions that I need to be successful perhaps closer to habit than ritual.

‍

Learning and re-learning

Which scares you more: a: a blank digital screen or a blank physical notepad?

Neither, I'm no longer afraid of beginnings. In fact, I love them. I wrote a little about my love here.

What's one thing that you were better at during the start of your career versus now?

Gosh, I can't think of anything. I had so much to learn then and still do now.

Having a sense of humility has certainly served me well over the years. I’ve always felt extremely fortunate to have a career centred on creativity.

What's one thing that you have to re-learn regularly?

That I am enough.

My imposter syndrome doesn't ever seem to go away. I've just gotten better at recognising it and understanding how to deal with it.

I also have to relearn that I need to feel inspired to better inspire others.

To grow into a better designer, do you have to develop into a better critique of design or a better acceptance of design critique?

Both. It's extremely important to develop a studied eye and the ability to think critically about not only the work of others but your own as well.

As a young designer, you will likely be in the receiving position. An important skill here is the ability to discern the difference between feedback and direction. You will need to develop muscle to be able to synthesise diverse input, defend the work when needed, and interpret the best of what you hear to fold back into the work itself.

If you find yourself in the giving position, it's really important to deliver your input in a constructive way. Ask folks what kind of feedback would be most helpful so you can meet them where they are. Focus on the goals of the work and any gaps you see in what's being presented.

How have you learnt to trust your own creative process?

This came with experience. I can't quite say when it happened but I can say the more you trust yourself, your gifts, and your own experience, the more you will be able to find your path.

Offline therapy

You work across different mediums: the mouse & keyboard, the letterpress, the pen. Which feels the most like 'self-care' for your creative mind?

Analog mediums feel more like self-care to me. I spend so much time in front of a computer that I find making physical things very restorative. In fact, this weekend I made a whole bunch of fresh tomato sauce from tomatoes I grew and feel like a million bucks.

When your creative reserve runs low, is that usually because you're topping it up too slowly, or because the reserve is draining too quickly?

Topping it up too slowly.

I can over-index on the work in front of me to the exclusion of everything else. I often have to re-learn that going to a museum, scouring magazines, and reading about anything that sparks my curiosity are all forms of self-care.

What's your #1 tried-and-tested refuelling tip? What's something you've tried that didn't work?

My number one tip is to look up. Look at the sky, look at the clouds, stare at the ocean if you can. Feel the grass under your bare feet. Close your eyes and feel every inch of the breeze on your skin. Hug a tree. Get some sleep. Meditate. Stare into the middle distance. What a gift it is to be in this world.

Things that don't work for me are watching any kind of online video content. Not because it isn't great, there's a ton of fantastic stuff out there. I just need to be away from glowing rectangles and out in the world.

‍

Off the Cuff

What does your 'creative flow' look like?

It feels vibrant, connected, alive and joyful.

Does good design have to be iconic? Is iconic design always good design?

No. Good design doesn't always have to be iconic.

Good design makes people's lives better. Good design helps people navigate and understand the world in new ways. Good design creates access. Good design considers how it will be experienced and strives to make that enjoyable.

I think of iconic as memorable or it can even be a little self-centred. To me, good design comes from a more humble place, a place of service.

If you had to break it down, your creative process is _% heart and _% mind. Why?

The creative process for me is more of an alchemy, than a formula.

With every project, every team, and every challenge there's always learning and growth.

‍

Find Arianna on Instagram and LinkedIn.

‍

Soleio is often credited with inventing the Facebook "Like" button.

As one of Facebook's earliest designers (he was there from 2005 to 2011), he was also instrumental in composing the earliest incarnations of many features we are today familiar with—Messenger, Groups, Video and more—and shaping how we interact with each other online.

Following his 6-year stint at Facebook, Soleio joined Dropbox as Head of Design, and helped grow the design team from three to over 40.

But even before finding his footing in "software design," Soleio was already adept at creation: music, specifically. Soleio credits his musical background for a very useful life skill: being able to create something from nothing.

These days, Soleio has traded in Javascript for financial models, and Illustrator for Figma—the latter not in the capacity of a designer, but as an investor and advisor. Soleio is an investor in startups globally that are redefining how we live, work, learn and create: Figma, Cambly, Read.cv, Equals, Framer, Vercel and more.

Visualist speaks with Soleio about the soundtrack to his day (humming), design as a muscle, and charting the future.

In Soleio's own words.

‍

Muscle memory

It's been years since you have been in an official design role. Is design a muscle that needs to constantly be trained? What muscles are you flexing more/less of today as an investor?

All mental activities are like a muscle that needs to be trained, and design is no exception. But like riding a bike or playing poker, one retains a lot of the work previously put in, almost like muscle memory.  

I’m tickled by how easy it still is to drive around in old design tools—whether it’s writing JavaScript, editing a file in Illustrator, or fidgeting with CSS.

These days the muscles I’m flexing more are relationship management, defining then honing processes, writing, and building and managing models in tools like Equals. The work I do as an angel investor requires me to exercise judgment and efficiency, and to do a fair bit of research and synthesis—skills I feel I honed as a maturing software designer.

What's a creative habit, good, bad or otherwise, that you can't seem to kick?

I’m constantly humming music under my breath. Music I’m just making up as I go about my day.

‍

Inner gifts

What's something that you know or think you're really bad at which, contrary to popular opinion, has not hindered your design career?

I’m not great with colour management.

I find myself to be a very monochromatic designer (and sometimes thinker) which provides a very strict constraint on the work I produce—sometimes to my detriment but just as often to my benefit.

I envy people who are skilled with combining colours into visual palettes and finding the right combinations to produce a particular overall effect: whether it’s for a visual brand or when arranging flowers or when coordinating an outfit. It’s a gift!

What's one thing in daily life that your background as a creative has made you really good at?

Before I became a professional designer, I played and studied music. I even received my undergraduate degree in music composition. My journey as a violinist and saxophonist taught me improvisation: the value of creating things on the fly and riding your intuition.

This still required me to put in my tens of thousands of hours of practicing scales and learning the structure and theory of music. I don’t know how to short cut that, unfortunately.  

But I now find myself just composing music on background whenever I’m in deep thought or in an active flow state. It’s a handy mental hack for getting into a generative mindset without letting apprehension or insecurity get in the way of getting ideas out into the world. Generally speaking: If I ever have to make something from nothing, I feel pretty comfortable with just winging it.

And what's one thing that it has really hindered?

I think this personal bent has steered me away from true mastery in any particular domain. I get more excited about novelty and learning new things than about developing deep proficiency in any one thing. This may not be an active tradeoff for others, but it has been for me.

Luckily, this pattern has served me well in life: I decided to abandon math for music, then later music for design, and then design for investing. And lately I’ve been much more interested in writing and world creation.  

I don’t know if I have a clear idea of what I’ll be doing professionally in a decade or two, and I prefer things that way. Like I said, it’s served me very well.

‍

Off the cuff

Creativity is innate. Agree or disagree?

Positively agree. I am a student and disciple of the Suzuki school of thought: that humans are universally creative and that their creativity needs proactive cultivation to be expressed.

Complete this sentence. Once a designer, always a designer, unless...

Once a designer, always a designer, unless you’re out of breath.

‍

Sandcastles and songwriting

You've described designing as being like building sandcastles. What other analogies for design thinking do you reference?

The most useful analogy I’ve used when talking about design, especially with founders who do not have a design background, is that of residential architecture.  

Very roughly speaking, you can think of a complete design process as two sides of the same coin: the work that goes into creating a model of what you want to build (the blueprint) and then the work that goes into producing that model and bringing a product into the world (the house).

If you assemble a crew of builders onto a job site on day one and start putting up framing and laying foundation, you’ll quickly find that you might create a lot of excess work for lack of a blueprint that answers many questions in advance. Sure, you can build a structure without a blueprint, but it’s not a recipe for excellence!

On a similar note, you can get fooled into thinking that a beautiful blueprint is sufficient for building a lovely home. In practice, there are a lot of real-world factors that should get fed back into the plans, and there are often a lot of questions that aren’t answered by the blueprint that need to get answered once it’s time to install the doors and put up the trim.  

For instance: we might change our minds about decisions made in the blueprint phase that have cascading effects on other aspects of the house design. Or a new constraint (budget, existing conditions, access to materials) might rear its head mid-build and force us to reconsider the model we started producing. Or we might find that the acoustics of the house are different than what we anticipated, which might make us want to reconsider the flooring we selected.

Design as a complete process is one that requires different skill sets as you progress from idea to model and then from model to product. And in many cases, you’ll find that some people really excel at the concept stage are not as talented as folks who thrive at the production stage, and vice versa.  

As such, a healthy design practice strives to excel at all these areas and clearly communicates to all participants where in the process the team currently is—both for the sake of avoiding costly mistakes but also for the sake of efficiency. You don’t need a crew of framers to revise an elevation.

I’ve observed that a lot of creative fields reflect this loose framework of concept work and production work: screenwriting then storyboarding then animation, in the case of Pixar films, for example.

A second analogy I regularly use is that of product making as an act of songwriting.  

When you’re building something that is profoundly new, it is difficult to merely reason your way into something truly innovative or rely on customer feedback alone to guide your hand. At some point, you need a combination of intuition, and originality, and courage to produce a hit tune.  

Being a great musician doesn’t make you a great songwriter by default.

In all, analogies are a useful way to explain new concepts or frameworks to others. But analogies are a double-edged sword. A bad analogy firmly held is more likely to cause you harm than bad advice! So it’s healthy to treat analogies as helpful abstractions rather than fundamental truths.

‍

Children and (hypothetical) teenagers

You've got a young family. What's 1 area of design that your kids are much better at compared to you?

My firstborn is exceptional at drawing, a bonafide cartoonist. He’s terrific at capturing the essence of characters and people. By contrast, I am not very good at drawing things and haven’t put in the time and effort he has, even at my age.

I’ve come to appreciate how useful a skill it is to be able to quickly sketch something from your mind for others to consume. Being able to draw a portrait of someone or of a scene strikes me as a fundamental visual skill worth cultivating as a designer.

It's the year 2072. How would you describe what you did as a 'designer' at Facebook/Dropbox to an intelligent teenager in the year 2072?

I’ve always treated Mitch Kapor’s seminal definition—back when he first coined the term “software designer”—as the gold standard for explaining the work we do:

Software design is not the same as user interface design.

The overall design of a program is to be clearly distinguished from the design of its user interface. If a user interface is designed after the fact, that is like designing an automobile's dashboard after the engine, chassis, and all other components and functions are specified. The separation of the user interface from the overall design process fundamentally disenfranchises designers at the expense of programmers and relegates them to the status of second-class citizens.

The software designer is concerned primarily with the overall conception of the product. Dan Bricklin’s invention of the electronic spreadsheet is one of the crowning achievements of software design. It is the metaphor of the spreadsheet itself, its tableau of rows and columns with their precisely interrelated labels, numbers, and formulas—rather than the user interface of VisiCalc—for which he will be remembered. The look and feel of a product is but one part of its design.

So here’s how I would describe what I did to teenagers from the future:

“Soleio helped design the systems people used to communicate and collaborate across the globe in the first part of the 21st century. He designed software for computers, smartphones, and tablets, distributed to billions worldwide via the internet.”

‍

A star map

'Designer x Investor' is at the top of your read.cv. In your mind's eye, how is this represented graphically?

This terrific quote from the architect Daniel Burnham is what comes to mind when I think about the work I want to support as a designer and investor: “Make no little plans; they have no magic to stir men’s blood and probably themselves will not be realised. Make big plans; aim high in hope and work, remembering that a noble, logical diagram once recorded will never die, but long after we are gone be a living thing, asserting itself with ever-growing insistency.”

So, how to represent it graphically? I imagine something akin to a diagram depicting the evolutionary tree of human technology and what is still to come.

Or the detailed schematics for the great pyramids of Giza but juxtaposed by a basic ledger of principal materials and labor costs. Or maybe it’s a simple as an American flag on the side of a future spacecraft orbiting a Galilean moon.

In any case, my aim is to help entrepreneurs chart the future. Maybe a star map would suffice.

‍

Find Soleio on X and Instagram, or view his Read.cv.elizabeth g

Viviano Villarreal Bueron is an architectural designer and founder of MASS OPERATIONS. An award-winning international architecture + interior design studio.

Raised in Monterrey Mexico, Viviano graduated from the University Tec de Monterrey in 2008, where he studied architecture underneath AgustÍn Landa Vértiz. Viviano spent his early career travelling the world and working under infamous industry names before establishing his own studio in 2015, MASS OPERATIONS.

MASS OPERATIONS is based in Mexico with offices in Monterrey and Mexico city. Viviano's studio quickly completed a string of award-winning interior designs and by 2020 their portfolio included large scale architectural projects in Mexico such as: the “Stair House” in Monterrey, the “Barcode Tulum” and the “Farmacias del Ahorro headquarter office” buildings.

10 years after graduating, the founding of his own company, and an extensive career lecturing across Asia the US and Latin America, Viviano returned to school. He gained a masters in “Design, Theory and Pedagogy” from the avant-garde Southern California Institute of Architecture in Los Angeles and his thesis was awarded the Best Post-Graduate Thesis Prize of 2019.

In 2023, Viviano became a tenured professor at the University of Monterrey to challenge, collaborate, and exchange ideas with the next generation of architects.

We spoke to Viviano about his commitment to education, his philosophy as a designer, and how he built an international design studio on a foundation of LEGO building blocks.

When did you become interested in architecture?

As a child I was fascinated by LEGO blocks, sofa cushion forts, and drawings. These things filled my childhood. Early on I declared I wanted to 'build houses', not yet knowing that an individual who did so was called an architect. I threw a massive tantrum once, upon discovering one of my beloved LEGO brick designs had been destroyed in the process of being put away. The 6-year-old rage ended with a blown gum blood vessel! “I knew since then that you'd be an architect”, my mother later confessed. Since I can remember, my mother, in her endless wisdom, has taken every opportunity to show me art and walk me through museums.

I enrolled at my local university and found mentors through whom I would develop an insatiable thirst for new challenges that opened up the world, from Latin America, to Europe, Asia and back. As a young architect I traveled and worked overseas in contrasting cultural situations such as Santiago de Chile with Felipe Assadi, Amsterdam with Bjarne Mastenbroek of Search Architects, and Hong Kong with David Gianotten and Rem Koolhaas of the OMA Rotterdam office.

How did MASS OPERATIONS come to be?

I set up Mass Operations in 2015, after 5 incredible years working across Asia with OMA. I saw the opportunity and felt I had the necessary knowledge, skills, and confidence to embark on my own projects. It was a big challenge, the biggest one yet. Starting a studio in 2 continents, with 1 person and 0 clients was not an easy task.

I decided to travel through the US by motorcycle to think about it. I interviewed  anybody who gave me a chance. Was I doing the right thing? 2 months and 12,000 miles later my mind was made up. Looking back now 8 years later, its still feels as exciting and challenging  as that first year.

Can you explain your approach to design at MASS OPERATIONS?

How is an idea formed?

In my experience, there are only rare instances of inspiration where ideas come to you fully formed. Design ideas come in hazy, blurry incomplete visions, much akin to trying to recall a dream. It takes a lot of work to fully grasp one’s own idea. MASS OPERATIONS states our working method in order to develop and understand our visions and subsequently communicate them as a fully formed and clear concept to our clients.

As designers we have materials and tools at our disposal. With each project, we set out to generate a series of steps or operations, that when applied to matter and mass generate space. Mass + Operations = Space.

Where do you find inspiration?

Those rare moments of inspiration often reach me during times of distraction, nestled in between periods of intense work. I often find myself preoccupied with a design problem for weeks: how to solve a corner, how to manage a building scheme with a given set of municipal rules, etc. Suddenly, the solution will come during a run, or in the shower. Oddly, it’s those moments of distraction, the repetition of one foot in front of the other on a run, or the washing of shampoo out of one’s hair, when the fully formed ideas come. Inspiration strikes fast, but it only comes within long periods of incessantly toiling over the issues at hand.

I am also obsessed by other people’s passions. I admire the work of any architect who sets out to improve our profession and our built environment through their work. I admire the ability of people to pour themselves into their work. Nothing is half done. Jacques Francois Blondel, Buckminster Fuller, Louis I Kahn, Gordon Matta Clark, Louise Nevelson and Frank Zappa are some of my heroes.

You also head an educational platform, Catedra Mass. Why is providing education important to you?

I believe [my desire to teach] comes from emulating the example of my mentors. They all taught and had their own practices. It seems that teaching takes on different meanings in the chapters of an architect’s life.

Teaching is in no doubt a way of giving back to the community, but if done right it pays so much back in dividends. Teaching is a symbiotic relationship. Getting to see students develop and live a happy and successful life with their work is an immense privilege. The transferring of knowledge to younger generations and the debating of ideas is something that really excites me. I believe this is the core of Academia.

With the Catedra MASS I get the freedom to teach what and how I want. It transcends the traditional classroom environment to include study trips, project site visits, interviews, podcast monologues, public lectures, all of that feeds and informs the minds of young designers in a positive way.

What is next for MASS OPERATIONS?

We will soon be opening a small interior design shop, our first in Mexico City. It’s a small shop with a big idea. It follows our credo of doing more with less. We're really excited with that space.

We are also working on a series of houses. One presents a very complicated site with a 70% slope inclination. Two other houses are exploring the notion of the stone carved cave. One of which recently broke ground this summer and we are looking forward to seeing its construction progress on site.

And finally, a large apartment complex in Cancún which has recently topped out its 7th storey level and has a scheduled completion date by spring of next year (2024).

‍

Browse an archive of Viviano's work at www.massoperations.com, and keep up to date with future developments by following MASS OPERATIONS on Instagram.

Mentorship can be a rewarding experience for both the mentee and the mentor. But how do you figure out if mentorship is for you? Is it a commitment really worth doing?

Many interior designers become mentors for a variety of reasons such as giving back to the industry, reinvigorating their creativity, and pursuing a new purpose in life. Mentorship is a great way to use your experience as a navigation to guide new designers towards success.

But just like any other journey, passion alone won't make you a good mentor. Mentorship requires patience, effort and time in order to build a strong relationship with your mentee. There is mutual benefit from mentorship as you will not only develop your skillset but can help elevate someone else's design profile.

Let's explore what it means to become a mentor for interior designers...

‍

What do interior design mentors do?

Becoming an interior design mentor is all about inducing growth. Your primary goal is to get to know your mentee, recognise their skillset and improvement areas, and introduce them to the vast range of career opportunities available. Additionally, you're responsible for conducting professional training and creating a development plan for steady progress.

However, the role of an interior design mentor extends beyond guidance. You should aim to become a role model for your mentee by being respectful, taking accountability and staying transparent. By embodying the qualities you wish to cultivate, you motivate them to reach their full potential.

Moreover, mentoring interior designers involves nurturing them to become strong leaders in the industry. Beyond honing their technical expertise, it entails developing their soft skills. With good leadership, effective communication skills and undeniable talent, they're invincible.

‍

Benefits of becoming a mentor

Mentorships benefit the mentor just as much as the mentees. It fuels your passion for your craft and at the same time, gives your career a whole new purpose.

Here are three reasons why you should become an interior design mentor:

Pass on your expertise

With years of experience in the industry, you have a wealth of knowledge waiting to be shared. Not just in design, but in other areas such as emotional intelligence, networking and building a reputation.

Becoming an interior design mentor lets you pass this stored knowledge to new designers. This keeps your values and experience alive even after decades—even after you've forgotten them yourself.

Build relationships with designers in the new generation

Mentorship also expands your pool of opportunities. As someone who's been by their side during their highs and lows, you get the front seat by the time they reach their goals. A proud mentor moment.

But apart from the satisfaction of seeing mentees succeed, these relationships also birth opportunities for future collaboration. After a few years, your previous mentees could become a high-priority client or a one-call-away fellow interior design expert.

Give back to the industry

Last but not least, being a mentor lets you give back to those who guided you when you were starting out. By nurturing designers who care as much about society as they do about their careers, you contribute to creating a more peaceful and welcoming industry in the future.

‍

3 types of interior design mentoring

When starting your journey as an interior design mentor, one thing to consider is the type of mentorship you're offering. This will determine the preparations you need to make along the way.

Three types of interior design mentoring:

One-to-one mentorship

One-to-one mentoring is when you and your mentee set a regular weekly or monthly meeting schedule. This type of mentorship is best if you prefer to focus on one mentee at a time.

During every interaction, you identify your mentee's struggle points and recommend actionable ways for them to work around these issues. You'll also brainstorm tailored solutions, track their progress, and provide feedback consistently.

Group mentorship

As opposed to the previous type, group mentorship is when you meet several mentees in one class. The discussions are more generalised and mentees are free to share their works, ask questions, and receive feedback.

Group mentorship is great if you'd like to work with several mentees at once. Or, if you have an existing network of designers who are interested in joining your classes.

Online mentorship

Lastly, you can do remote or online mentorship. Online mentorship often happens through video conferences or emails and is best if you have a tighter schedule or prefer to stay at home.

The agenda is more or less the same as traditional mentoring. Except, it gives you plenty of time to prepare, lets you record your meetings (with consent!), and allows you to work around your mentee's and your schedule easier.

Where to sign up as an interior design mentor

Mentorship schemes you can sign up to now as a mentor.

Built by Us

Best for: BAME advocates

If you're passionate about helping underrepresented groups grow their interior design career, become a volunteer mentor at Built By Us. Built by Us works towards creating a future consisting of a diverse workforce. An industry where everyone is treated equally regardless of race, gender, and belief.

As a mentor, you are asked to devote a fragment of your time to any of the following mentorship programmes:

• FLUID - 12-month one-on-one mentoring
• Shape - 6-month one-on-one mentoring
• Build programme - speed mentoring

Be a volunteer mentor at Built by Us today.

Creative Mentor Network

Best for: Knowledge-hungry designers

The Creative Mentor Network is a great platform for those who are a bit anxious about mentoring. It's normal—everyone starts as a beginner.

To officially become a mentor, you first need to complete eight hours of training to equip yourself with the skills and resources for a better mentorship experience for your mentees. Every week, you will require to commit at least one hour for mentorship.

Mentor training comes with a small fee. However, the knowledge incurred and the satisfaction of seeing your mentees grow make it all worth it.

Start your mentor training with Creative Mentor Network.

Shadow to Shine

Best for: Empathy-driven designers

Shadow to Shine is a passion project that gives everyone a chance to succeed. Whether they're students, professionals, ex-convicts, and so on!

As a volunteer mentor at Shadow to Shine, you are required to complete at least ten mentoring sessions within twelve months. Alternatively, you can request one-off mentoring sessions instead. You'll most likely meet mentees from all stages of life, hence you need to foster a non-judgmental learning experience at all times.

Sign up to become a Shadow to Shine mentor.

The Society of British & International Interior Design (SBID)

Best for: Networking guru

If you're thrilled about meeting the most talented interior design students in Europe, then you should join the SBID Student Mentoring Programme!

This is a six-month-long one-on-one mentorship where you'll be responsible for nurturing one of the promising talents of SBID. Within six months, you'll discuss your mentee's goals and help them obtain the resources they need. This includes experience, network, and exposure to different career paths.

The potential for mentees to become part of your interior design firm may be the cherry on top!

Learn how to become an SBID mentor today.

International Interior Design Association (IIDA)

Best for: Raw talent magnet

IIDA has given over 500 mentorship opportunities to students since 2011. So if you're looking for talented new designers to collaborate with in the future, this is your chance.

IIDA mentors can work with one mentee at a time or request several mentees at once. The pairing is determined on a first come first serve basis and you'll be doing a series of in-person, virtual, and hybrid sessions depending on you and your mentee's availability.

Best part? You don't need to be an IIDA member to join. Enquire now.

During the sakura season in Japan, it is not uncommon to find a group of strangers congregating around a singular tree, their eyes fixed upwards on the pink blossoming branches. They may stand like this, statuesque save for the occasional snap of a camera, for 20 minutes at a time. When Winnie Tam first witnessed this scene, she was in awe. Winnie had never before witnessed such a collective appreciation for the natural world, a public acknowledgement that it is the small moments in life that bring the most joy.

Winnie is an architectural designer. Or rather, Winnie's creativity currently manifests in the design of physical spaces (she struggles to confine herself to any one title). "I studied a long time to earn the title of architect, but I don't feel that architecture encompasses all that I do." Winnie is also the founder and director of Fourteen a.m., a design studio specialised in creating sanctuaries for city dwellers—restorative spaces where one can find shelter from our relentlessly fast-paced and over-consumptive society.

As a character, Winnie is gentle but assured—a manner that is hard to describe but immediately evident in her designs: a note of amber timber, a perfectly blemished wall—subtle but intentional. Winnie's designs are understated, but the thinking behind them is deep and complex. I invited Winnie to share a pot of peppermint tea and escort me through her intricate way of thinking in the hopes of identifying the essence of her signature style.

Origins of Fourteen a.m.

Winnie's greatest tool is nature. Nature gives Winnie space. Many famous creatives have ruminated on boredom's role in creativity, the principle being that boredom allows you to empty your mind of distraction, in order to make room for new ideas. Winnie explains that nature is her escape from distraction, "Normally we're too stressed and distracted but in nature, we are able to zone out and hear our own minds." In nature, Winnie also finds ready-made inspiration. "When I take the time to look at a tiny little leaf or lichen or rock formation, I am in awe of the beauty, shape, texture, and function. I always want my designs to remind us of some form of nature."

Ironically, Winnie has always lived in some of the world's largest metropolises. Born and raised in Hong Kong, Winnie moved to London to study and has also spent time living in Tokyo. She half-jokes, "If I were to move to the country, I'm not sure I'd know how to live there." The places Winnie has called home have influenced her perspective on both the world and on her craft. "My design style is a juxtaposition of city living. Growing up in a city breeds a 'head down' mentality. You feel stressed all the time and you walk by so many beautiful moments because you don't know how to appreciate things." It was moving to Japan that allowed Winnie a fresh perspective. "Japanese culture definitely influenced the way that I am now. Too often we look at things, but we fail to really see them. In Japan, every single season is appreciated. Every single day, there is something to celebrate—even the smallest things." Tokyo's residents are swallowed by city life but still manage to slow down and cherish the world around them. Japan also fostered Winnie's appreciation for intentional, traditional craftsmanship. She explains, "In Japan, every detail has meaning and there is a very particular reason why things are done in a certain way. I credit that to care, when you care for something it becomes meaningful. Somehow, when you pay more attention, you gain a lot more enjoyment."

Winnie continued this more mindful way of walking through life upon her return to London. If anything, for all her time spent in the city she has learnt to appreciate nature more, "For me, it is the wonder of finding amazing things that are so often overlooked. When I take the time to appreciate nature, I find life a lot more beautiful. A piece of beautiful foliage growing out of a drain can create a moment of pause and appreciation.  It would be nice to constantly be in that state of wonder, but sometimes it means more when you really need it. Everyone experiences those moments: when life is stressful, and you're facing a problem, and you feel like it's the end of the world—and then you look at nature. It reminds you that everything is okay, it's just a matter of perspective."

Despite her internal connection to the natural world, Winnie's early experience as an architect was defined by high rises and corporate contracts, working on projects such as Paddington Square University campuses on Euston Road. Playing a role in such large-scale projects was a mark of success for an early-career architect but for Winnie, there was a missing piece of the puzzle. "Whilst I enjoyed my work, it didn't satisfy me. I had excellent opportunities but I didn't feel like I was making an impact or that I couldn't bring my own message." Whilst grappling with her own personal sense of fulfilment, Winnie realised that her work in construction coupled with city living was the catalyst of all the stress in her life. The two paths of realisation culminated in the founding of her own practice, Fourteen a.m. Why Fourteen a.m.? Because it is a time that does not exist. "It's an impossible moment, like living in a city and finding isolation or undergoing a construction project and not being stressed. These things feel impossible, but I want to make them possible." Fourteen a.m. is as much a journey of self-discovery as it is a business venture. In the beginning, even Winnie didn't know what direction it would take. "I didn't actually know what it, or I, was all about in the beginning but over time I have learned so much about myself. Designing is a way to influence others whilst also understanding myself."

A space to call home

In 2020, Winnie began a full renovation of her own home.  The project was originally intended as a proof of concept of sorts for Fourteen a.m. but due to Covid-related delays in construction, Fourteen a.m. came to be before its completion. "Before you launch a business, you convince yourself you have to have a certain amount in place but it's not the case. As with construction, we tend to go about building a business in a very rigid way but that is where the stress comes from." Instead, Winnie opted for a more organic approach, assessing the situation rationally but avoiding imposing set boundaries.

Regardless of the timeline, designing her own home taught Winnie invaluable lessons for her new venture. Playing the role of both the designer and the client, Winnie came to better understand the client perspective. "In that job, I was the client, the designer, and the project manager. Access to all those mentalities incentivised me to make the process less stressful. I understood the ins and outs of how the design was progressing, I had complete control over its development and yet I still felt stressed. You can only imagine how stressed an uninformed client must be. Now, I keep my client as involved as possible throughout the process."

Winnie's definition of involvement spans beyond allowing clients to share preferences for furniture and colour palettes. In fact, the renovation of the home itself is just the beginning. Winnie explains that home and lifestyle are intrinsically linked, "I want Fourteen a.m. clients to embark on a personal journey. There is no sense in building a beautiful, serene home to live in without a mindset to match." Winnie is currently working with a mindfulness expert to implement a programme for personal development alongside the development of the physical space. "An architectural project will take a minimum of one year. I'm given that one-year window to gift my clients educational material and expose them to a more mindful way of living. We're developing a really woven process. Ultimately, the zen space my clients end up with should really be a reflection of the state of mind they have cultivated throughout the process." Winnie herself is not a professional in mindfulness, hence her partnership with experts in the field, but she has experienced its impact first-hand. She recalls, "I have been a very stressed person. I find the city and work hard to cope with but mindfulness really helped me. In my experience, mindfulness takes time but it is worth the investment. I've become a different person and I enjoy my life so much more, I want other people to have a chance to experience the benefits as well."

Winnie's own home exemplifies the concept of mindset manifesting in space and vice versa. Her house is a transformed Edwardian maisonette, equal parts dainty and daring, intimate and unabashed. Everything that fills the space serves a purpose. Winnie clarifies, "Each home has a certain mindset and I believe that everything in that space should share the same belief." The decor is symbolic of moments that matter to Winnie and her partner, the indents in the walls house her art and foraged treasures, and the story of the building's past is remembered with carefully marked silhouettes. For Winnie, sustainability was also a priority. "Everything is all-natural, and that was important to me. Raw timber provides structure, clay is used to plaster the walls, and handmade terracotta tiles line the bathroom—no plastic. It is manmade, but it is all reminiscent of nature. There are lots of imperfections because in nature nothing is symmetrical or identical and that imperfection is what makes it perfect."

Winnie's understanding of beauty in imperfections is infectious. After our talk, I find myself smiling at cracks in the pavement, a tree grown crabwise, and shoes withered by age. "If you don't put pressure on things being pristine, you can still appreciate their beauty after a little wear and tear. Nothing is too precious. If you're designing a home intended to grow and change with you, then imperfection has to be a part of it."

The method

In dissecting and designing her own lifestyle, Winnie learned the value of connection with her clients. To begin a project, Winnie must first understand her client's lifestyle—from morning to night, what do they do? Winnie refers to this step of the process as the Winnowing—a meticulous method of separating chaff from grain but in this case, a one-hour-long, face-to-face meeting used to sift through a client's lifestyle to find useful materials. Winnie realised that each step of her design process could be likened to a method of working the land and felt that referring to her process in this way felt less cold and unbending. "I never say: 'This is what we decided at the beginning and that's how we have to move forward.' It's much more forward-thinking and flexible. I allow the design a life of its own rather than forcing a manmade outcome. It's about a home being grown in an organic process." After the Winnowing, a design enters the Nursery—a delicate process of tending to the initial idea and allowing it to grow. Once the idea is fully formed it undergoes Pruning—a refined approach to tweaking and tailoring. "Pruning allows me to see design in a different way, a design is something organic that you shape with love and care." After that, the build commences and once complete, Winnie provides the necessary AfterCare.

Winnie acknowledges that her method is not suitable for everyone. "If you're not into this way of thinking, you might think that I'm crazy." Those who do seek out Winnie's services have a natural appreciation for beauty and a willingness to embrace the process. In other words, "They're ready for the journey." Winnie can play the chameleon, stepping into her client's shoes in order to see the space through their lens and design accordingly but if a client's mindset is too foreign from her own, Winnie would rather refer them to a designer who can provide a more suitable service. "As designers, we design lifestyles. And so it is important that our visions for that align. You live in a home and without the action of living there, without your journey of being there, the home is redundant."

Truly mindful design, must be conscious of the experience delivered not solely the finished product. Winnie conducts herself as a designer with this in mind. Designers approach a project brimming with ideas and preferences and naturally, Winnie is not immune to this. "Of course, I am inclined to have preferences but I want my relationship with my client to be a very mindful one, where I understand who they are and put that ahead of my own tastes. Especially when it comes to residential design, the design is as much the client's as it is mine." Ultimately Winnie strives for a design that truly embodies her client, and that means being unselfish. "You can't be possessive about a design being 'yours'. Your client is the one who lives there, and they should want to live there."

Defining a sanctuary

Winnie reaches the conclusion that her signature style cannot be defined by something physical. It is her ethos that leaves a mark: the commitment to bringing appreciation and gratitude to our lives and harnessing the healing power of nature. Winnie's current vehicle for promoting her ethos is interior design, but their is always the possibility to translate that same message via a new creative medium in the future. Winnie explains, "I believe in constant evolution, and I still see so much potential for refinement within my process.  I hope that my process can constantly evolve and improve and I learn more from each project and client."

Though Fourteen a.m., at present, focuses on residential interiors, Winnie makes it clear that a city sanctuary is not limited to a space for living. There are different moments of stillness and connection scattered around a city. Winnie explains, "A coffee shop, an office, or a hotel. It's the feeling of a space rather than its typology." In fact, a sanctuary does not have to be a physical space at all. One could find sanctuary in a dress, a book, or a piece of art.

For Winnie, the challenge is never a lack of ideas but overcoming boundaries imposed by her technical understanding. "If I can, I want to design everything. I think many designers share the feeling that creativity does not have a finishing line. Creative people have a common desire to create beautiful things because, when we look at existing beautiful things, we gain a certain gratitude from them. We create because we want to gift the gratitude back.”

A city sanctuary has no design manual; it is about the way the design makes you feel. "It's an ethos, a lifestyle. I want Fourteen a.m. to be something that can be integrated into our everyday life and our mindset."

Connect with Winnie Tam

Website: https://www.fourteen-am.com/

Instagram: https://www.instagram.com/fourteen.a.m/

Email: winnietam@fourteen-am.com