The practice celebrates its tenth anniversary this month. To mark the occasion, Director and Founder of Studio Tate, Alex Hopkins, sits down with Architecture & Design Digital Editor Clémence Carayol to discuss the genesis of the brand and what its future will be made of.

Architecture & Design: What were your initial goals when you founded Studio Tate, and how have they evolved over the past ten years?

Alex Hopkins: When I founded Studio Tate in 2014, my vision was to create a multidisciplinary interior architecture studio that emphasised inclusivity, empowerment, and strategic design. I wanted Studio Tate to be a place where every team member feels valued and where corporate culture promotes genuine growth and creativity.

Over the years, these core goals have remained constant, but our impact has deepened – we’ve grown our team, taken on more complex and socially impactful projects, and developed a reputation for delivering meaningful design solutions that truly resonate with people.

Can you share a defining moment in your journey that significantly impacted the direction of your practice?

Our journey has had several key project wins that defined each sector we work in today: Melburnian I for Live, PDG for Work, and Holiday Inn for Play. These projects were the catalyst for establishing Studio Tate’s reputation in each sector, allowing us to build expertise and gain confidence in delivering impactful designs across diverse environments.

Another pivotal moment was receiving a call from Roger at The Green Boat, inviting us to work on Youth Projects’ The Living Room. Knowing they trusted us with such an important, socially impactful project was phenomenal and marked a milestone for Studio Tate.

What have been some of the biggest challenges you’ve encountered as a female leader in the design industry, and how have you overcome them?

As a female leader, I have encountered the challenges of balancing expectations and building a practice from the ground up while maintaining a culture of inclusivity and collaboration.

Establishing Studio Tate has meant continuously advocating for a supportive, ego-free workplace, especially within an industry that can often feel hierarchical. Overcoming these challenges has involved a commitment to our values and surrounding myself with a leadership team that shares this vision.

Over the past decade, how have you seen design trends shift, and what influences your creative process today?

I have seen a shift towards more human-centred design that respects the individuality of each space and its users. While trends come and go, the emphasis on flexibility, wellness, and the integration of nature has remained influential.

Our creative process today is guided by a commitment to meaningful, contextually sensitive design that speaks to both our clients’ values and the broader community.

Looking ahead, what are your ambitions for Studio Tate in the next ten years?

In the coming decade, I envision Studio Tate growing into a practice that takes on increasingly complex projects, one that continues to shape Australian design culture. We’re focused on creating opportunities for our team to step into leadership roles and further our work in impactful, community-focused design.

Ultimately, I hope Studio Tate will be known as a practice where talent flourishes and design excellence is our hallmark.

What advice would you give to young female designers looking to establish their own practices?

My advice would be to embrace resilience and remain true to your vision. Building a practice requires grit, perseverance, and a willingness to adapt, but it’s equally important to create a workplace culture where every voice is valued.

Seek out mentors and never underestimate the value of the relationships you build along the way.

How has technology changed the way you work and engage with clients over the years?

Technology has expanded our reach and flexibility in remarkable ways. With tools such as Teams and Zoom, we’re able to seamlessly work with clients in interstate, maintaining engagement and even adding a bit of fun to our online interactions.

Technology also lets us offer flexible work arrangements, like bringing back a former team member who now splits her time between working remotely on the farm and joining us in Melbourne.

How important is sustainability in your designs, and how have you incorporated it into your projects?

Sustainability is fundamental to our design philosophy, but we approach it uniquely for each project, tailoring solutions to the specific needs of the client and site. For example, at the Burnet Institute, we used sustainable materials, natural light, and a design that reflects their work, all within a tight budget.

For MECCA’s Support Centre, flexible furnishings, indoor plants, and rooftop solar support environmental goals while creating a dynamic, lasting workplace. Each project reflects our commitment to thoughtful, adaptable design that enhances both purpose and sustainability.

Social sustainability is equally important to us, especially with pro bono projects like The Living Room, where thoughtful design provides dignity and support for vulnerable communities. Our work reflects our commitment to creating spaces that are as socially conscious as they are environmentally responsible.

Image: Alex Hopkins by Lillie Thompson/Supplied

Clémence Carayol

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