In this conversation for Architecture & Design, Clémence Carayol chats with Emily Crocker and Jack Monte, the creative minds behind Studio Heck.

With a focus on human-centred design and a passion for hospitality projects, Crocker and Monte share how they’ve built their practice, what inspires them, and why freedom and playfulness are key to their approach.

Architecture & Design: What inspired you to establish Studio Heck, and how did you decide on the name?

Studio Heck: For us it was about having artistic control. Not that we suffer megalomania - we love collaborating, but being at the helm brings with it an entire new level of risk and reward. It's a chance to enact your own intellectual and aesthetic principles and see them manifest themselves in the physical world - it's a wonderful and at times terrifying feeling.

We would also freely admit that we don't do well with routine. The flexibility that running your own practice affords is very enticing. To be able to go for a long walk, take the day off for an exhibition on a whim - these things are important for us creatively and psychologically. We work very hard, but sometimes at odd hours as well. Understandably, these indulgences aren't tolerated well by most employers, so perhaps personal freedom was another factor.

Regarding the name, during early conversations about the studio and its direction, we spoke about stylistically finding ourselves somewhere between Hecker Guthrie and Flack Studio. Studio Heck seemed a natural half-way. The word Heck suited us too. It reminds one of throwing caution to the wind - heck with it all' etc. . It's a little playful, somewhat cheeky, deadly serious. And it also looks great in type.

How would you describe Studio Heck’s ethos and design philosophy?

Perhaps our most fundamental pillar is the recognition that human experience is at the centre of everything, and so our primary responsibility is to the human body and its various physical and psychological needs. We think human needs go far beyond the basic pragmatics of shelter, warmth, coolth, etc.

Things like culture, joy, surprise, delight, belonging, are where we find licence to be most expressive and most creative. Perhaps we see our job as taking all these needs, pragmatic and otherwise, and weaving a design response together that meets as many as possible, including our own. We try to remain empathetic with the end user through the process, imagine what they might want from a space, and then bring this into being with them in mind, whoever they may be.

Can you walk us through your typical creative process, from client brief to final design?

We like to start with all the facts, look at the physical nature of the site and the site history. We also get to know the brief front and back, to more or less internalise it - this way it can guide the design without having to always consciously conjure it. We document our investigations of the site & brief, before presenting this information back to the client so that we have a shared understanding of the starting point. This usually includes a very detailed 3d model, including even some of the more mundane aspects and artifacts from the site - it's hard to know what will be important until you are well into the design process.

Next we would likely start sketching on trace; layouts, details, sections, trying not to think too hard at this stage, just seeing what flies out and making as many iterations as possible. Like a process of natural selection - test as many ideas as possible and see what survives. We take these sketches, unvarnished, and present our findings to the client, even though they are quite often the visual equivalent of chaotic ramblings.

This process, we feel, reveals a deep engagement with the site and brief. It also reveals what paths are open to tread and ultimately our recommendation for a direction. Following, we begin concept design proper with materials investigations, 3D models, lighting, fixtures, etc. The evolution metaphor could continue through this stage as well - lots of testing ideas, throwing things away, refinement, refinement, refinement. Then we present the sole surviving and fittest design to the clients and wait for their response.

How do you ensure your designs reflect the personality and needs of your clients while staying true to Studio Heck’s signature style?

For better or worse, we have a strong sense of what we like and don't like. It's something uncontrollable, like a reflex. As a consequence of this reflex, our style will necessarily manifest itself throughout our work. But we also believe there invariably exists some overlap between the clients needs and our style. Perhaps a cliche, but a Venn diagram comes to mind, and while the overlap in the middle can vary in size, if you look hard enough it is always there.

What role do materials, textures, and colour play in your design approach?

We are certainly not bombastic maximalists when it comes to material use . Nor are we overly austere. We would say that our approach to material, texture and colour is well considered, the roles understood and applied in a way that is respectful to all else in the scheme. In music, if all the instruments are soloing at the same time you have a cacophony.

When the band works together, moves in time, understands the individual roles and when to let loose, you have music. That is how we approach these things.

Are there particular architectural or design movements that influence your work?

Perhaps all of them at different times, but we find the relationship between design movements and their influence can be complicated. We love Modernism, Brutalism, Deco, Victorian etc. as pure surface appreciations, but how does one justify their use when the ideas behind each are rarely contemporaneous.

A roman arch these days is mostly superfluous structurally speaking, but they still pop up in design everywhere? Trying to understand why is something we mull over constantly. Is it the shape of the arch itself or its cultural symbolism? In using these symbols when the original motive is obsolete, do we forgo authenticity? Can we not just enjoy the shape of an arch? It gets confusing. We think rather than following a particular movement we try to intuit a design response knowing that all we have read and seen will flow out in unexpected ways, at unexpected times.

How does the context of a space—its history, location, or architecture—shape your designs?

We might consider all these factors as potential progenitors for a design but without ever holding on to one or the other too tightly. Our approach is to research the existing conditions thoroughly and then let this knowledge seep out through the design process in a natural and uncontrived way. We don't force context into a design response for indulgent or intellectual reasons. Context is an idea that itself needs to be interpreted for the present, because we also have the future to contend with.

What has been the most challenging project you’ve taken on, and how did you overcome those challenges?

Our recently completed Inverloch Esplanade Hotel had some unique challenges and was on the larger size for a studio in its infancy... some 550 sqm. The nature of the hotel operations meant that the build program would be condensed to a mere 6 months divided, between two separate stages, one following right after the next.

Communication and adaptation were our means of survival. A missed call never left hanging, email never unattended, meetings, site meetings, whenever and whatever was necessary. The contractor, subcontractors and client were all on speed dial and all were honourable in answering their calls. Adaptation was also key.

Many hours of problem-solving details to streamline production, many materials and fixtures substituted when the build program wouldn't allow their lead time. If something unexpected didn't go our way, there was no time to dig in our heels... we often had to design our way around obstacles. It was a very hands-on experience, and ultimately the project was delivered very near the deadline.

How do you approach sustainability in your designs, and what steps do you take to create environmentally conscious spaces?

Besides the more obvious material and energy related considerations, we aim for our designs to outlive what you might call a natural lifespan. This requires thoughtfulness in the detailing and specification.

We try to recognize then ignore design fads, and imbue our work with an authenticity that hopes to carry the project through changes in culture and taste. Afterall, products with 100% green credentials alone don't amount to sustainability if your work is demolished and rebuilt every so often.

As a relatively new practice, what has been your most significant milestone to date?

At the soft launch / opening party for the aforementioned Inverloch Esplanade Hotel our client made a wonderful speech to all those who worked on the project. He was so genuinely grateful for the sacrifice and talent of the team and this gave us an immense sense of pride in our work. Also, seeing the first customers trickle in and appreciate the transformation was a great feeling and a treasured milestone. More than accolades, this is what we are chasing.

Where do you see Studio Heck in the next five years? Are there any dream
projects or collaborations you hope to undertake?

We love hospitality design. We both have worked in hospitality at different times and so enjoy it from all angles; the design, the workflow, the experience. Design only comes to life through its interactions with the end user, and not many other programmes allow you to sit amongst the patrons, glass of wine in hand and share in the experience of something you have created. It's a unique feeling. Our personal pastimes invariably involve food, wine and design, so we would be grateful if we were simply able to continue on our current trajectory.

We have an obsession with lighting design, so a dream collaboration might be with one of the many local lighting designers that we love and respect. Volker Haug, Snelling (local-ish), Coco Flip, Anna Charlesworth, South drawn, Marz, Christopher Boots, Alex Earle to name a few.

How do you see the role of technology and innovation shaping the future of interior design?

Ideally we see technology doing the jobs that no one wants to do and staying the heck away from the jobs that we enjoy doing. If we could click a button and document a whole project, well no one would argue with that. More time to experiment with materials and sketching ideas would be great. We don't think our robot overlords are going to take away our jobs just yet....perhaps augment them, shoulder some of the stress....that would be nice.

What do you enjoy most about running your own practice?

Freedom in creativity is perhaps the greatest source of our enjoyment, so being able to use time as we see fit means we can dedicate ourselves more entirely to this end. We also enjoy getting to know our clients and their motivations through our interactions together. Design ideas can often come from small exchanges, offhand conversations, and things of importance aren't always communicated directly either. Running the practice means you get all this information firsthand and use it as you see fit.

What trends in interior design excite you the most right now?

Trends are very difficult to pin down at the minute. They blow through like a gust of wind. The pace of change combined with a general acceptance that no one particular design dogma will necessarily prevail, gives space for everyone to experiment and find their own identity within the design landscape. This all makes for a rich and varied visual world, so perhaps an acceptance of eclecticism is what excites us most.

What advice would you give to someone looking to start their own interior design studio?

The first couple of years may be a slog so be prepared. Celebrate the small victories to smooth out more trying moments. Look after your body. Ready yourself with a mentor or two. Get a dog or two - you aren't always going to be everyone's best friend in the design business. Unconditional love definitely helps. Lastly, go for it!

Image: Emily Crocker and Jack Monte / Jade Cantwell

Clémence Carayol

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