The portfolio of Toronto firm Studio Paolo Ferrari spans the globe—with no signs of slowing down. Established in 2016, the multidisciplinary practice, led by founder and Yabu Pushelberg veteran Paolo Ferrari, counts major brands like Four Seasons, Viceroy, and LVMH among its clients. Here, Ferrari discusses everything from design collaborations and memorable vacations to projects, both past and present.
Did you always want to be a designer?
I always knew I wanted to pursue something creative and loved architecture very early on. Before enrolling in design school, I spent a year studying fine and applied arts, drawing, painting, ceramics, and sculpture. That was a formative year and helped set a foundation of artistry.
What makes for a successful design collaboration?
A shared vision. The most successful projects are the ones where the client and ownership team are highly involved from the start. We have been extremely fortunate to have collaborated with some of the top brands and practitioners in the industry. There is something kinetic about working on a project where there is a natural alignment from the start, and everyone is working from a place of collaboration.
Cannabis retail flagship Alchemy in Toronto won an HD Award last year. Why do you think that project resonated for so many people?
We were not expecting the level of attention Alchemy garnered. The project represents a new vision of wellness and leans into an experimental design language. We’ve been accustomed to seeing projects in the wellness space as neutral or clinical and Alchemy’s unabashed use of saturated color and form is one of the aspects that sets this project apart. It’s one of those projects that is inexplicable—living somewhere between the familiar and new.
What are you currently working on?
We’re working across North America, Europe, and the Middle East. We have a broad range of projects on the boards, including some F&B projects across the U.S. and overseas, as well as several resorts and urban hotels. We’ve been working with incredible legacy brands, like Raffles and St. Regis, and we’ll be starting a new understated resort in Europe this summer with a not-yet-disclosed luxury brand. We’re also working with Frank Gehry on the interiors for two luxury residential towers in Toronto.
What can you share about the 60-room luxury resort Desert Rock in Saudi Arabia, part of the Red Sea Project?
Guests enter the site through a hidden valley nestled between the mountains, with public access and guestrooms fully integrated into the landscape, preserving uninterrupted views. As the sole interior designer for the project, we were tasked with creating a highly sensitive and sustainable design for the resort including all guestrooms, public spaces, F&B, spa, and fitness. The design direction was guided by our concept of quiet monumentality, and throughout the project, we prioritized vistas and celebrated the guest’s connection to the site’s sublime and majestic beauty. It’s quite an ask to create a design language for a part of the world where this type of resort has never existed. We were also awarded the project in the summer of 2020 during the height of the pandemic and completed the entire project remotely. Kicking off a project of this ambition and scale, virtually, came with its challenges, but we leaned into the constraints of collaborating remotely and I’m extremely proud of what our team accomplished.
Describe your perfect vacation?
My perfect vacation would start in an inspiring and energetic city followed by time spent by the ocean recharging.
What is your favorite travel memory?
Our trip to Marfa, Texas is up there as one of the weirdest and most inspiring places to visit. In part because of the singularity of Donald Judd’s vision, but also because the landscape is surreal. This tiny blip of a town feels isolated from the rest of the world. It’s a place where a real-life cowboy (complete with a 10-gallon hat and eye patch) sits alongside drag queens and art world cognoscenti drinking cheap bourbon and beer. It’s perfect.
Favorite hotel and why?
Amangiri. The location is pure magic.
Is there a designer, hotelier, or project that should be on our radar?
I recently saw hotelier Damon Lawrence of Homage Hospitality speak on a panel at HD Expo + Conference about holistic wellbeing and community by design. I was inspired by his strong vision to create a boutique hospitality brand that celebrates Black culture and has an authentic relationship with the communities it serves. I’m excited to watch how Homage will continue to grow.
Must-have travel accessories?
My Moleskine. Long flights are perfect for sketching and working through ideas.
What do you consider your big break?
We’ve had a lot of mini-breaks along the way. I would say our first break was the Secret Room in Dubai. We didn’t realize it at the time, but that project firmly positioned us as a creative forward practice. It loosened us up as a studio and for a small project, it was highly complex. I’m always amazed at how many clients discover us because of that project and then realize we have a broad body of work.
What is something most people don’t know about you?
We have a silver mini-poodle named Luca, and there is definitely a family resemblance.
How would you describe your personal style?
Soft tailored. My go-to is a soft unstructured blazer, buttoned shirt, and a great sneaker, oxford, or boot. I love fashion, but my personal style is all about ease and consistency.
What’s on your desk?
We have an open studio, and my desk is in the mix with my team. Today, it’s covered with lots of sketches, my notepad, Moleskine, and a book called Carl Andre: Sculpture as Place. I don’t believe in things being too precious or rigid. Creativity should be messy.
Best part of the job?
Working with my team is always a huge source of excitement and inspiration. I would never want to be holed up somewhere working solo. That would be far too boring.
Greatest piece of advice you’ve received?
My first day of design school the assistant dean of design quoted Frank Lloyd Wright who said about the profession: ‘If there is anything else you can do, do that.’ The idea that pursuing a career in design should come from an authentic place of passion has been guiding me ever since.
A version of this article originally appeared in HD’s May/June 2022 issue.