Yuri: Hey Jamie, how are you?

Jamie: Good, good, nice to see you.

Yuri: It's been some time, what, two years now?

Jamie: Yeah, in Paris. It has been two years. I know it's coming up again, which is crazy.

Yuri: It’s crazy how time flies. It was a wonderful evening, we were so thrilled to have you.

Jamie: Thank you.

Yuri: How have you been?

Jamie: Things are good. Knock on wood, we've been super busy. It feels strange with so much turbulence in the world to still be grounded in design and fortunate to have great projects. The phone keeps ringing, which is amazing because you never know.

Yuri: That's great. It’s funny because we can’t ignore how chaotic the world is, yet still find focus. You're glad to be working on beautiful projects, but there’s always that contrast — the world needing so much more than what we can give.

Jamie: Exactly. We're not deaf to what’s happening. It’s difficult sometimes to focus, but we try to remain local — to affect what we can in a positive way. It’s a crazy time, and as service providers in a client-based world, it can be temperamental. Projects get paused or canceled. We just try to stay nimble, and thankfully we’ve had enough to keep us busy.

Yuri: And all beautiful projects. You and your firm have built such a strong reputation. You’re based in LA, though you work globally. I’d love to hear what LA feels like right now — the spirit, the energy, especially after everything these last few years.

Jamie: I’ve been in LA for 30 years now. I came in 1994 from New York. Up until recently, LA was just getting better and better. I don’t know where the tipping point was, but it’s been compounded — COVID, the fires, the economy, housing. It’s not black or white, but the energy isn’t what it used to be. Still, I love the city and its diversity. It’s just in a difficult transition.

Yuri: That’s what I keep hearing. Hopefully it’ll bounce back. You mentioned traveling — any cities right now that recharge you?

Jamie: Yes, two different kinds. We’re doing work in Finland and London. I haven’t spent much time in London before, but I love it. It’s sophisticated and beautiful. From the outside it’s inspiring, even though they’re having their own challenges. And on the other end, I crave nature. We just finished remote cabins in Canada and are doing a project in Santa Fe on open land overlooking mountains. That duality, between the urban and the rural, is amazing.

Yuri: If someone walked into one of your projects not knowing it’s yours, what would give it away?

Jamie: Proportion. It might sound abstract, but we play with proportion and scale jumps. We create layered compositions and vignettes, mix materials, colors, matte against reflective surfaces. I like when people don’t know it’s ours. We study history deeply, dive into precedents, and love different styles. Hopefully there’s a sense of proportion, composition, and playfulness that connects it all.

Yuri: When they hear it’s yours though, they probably say, “Ah, that makes sense.” You’ve worked across so many aesthetics. Is that something you pursue intentionally?

Jamie: A mix of both. For example, we’re designing a hotel in New Orleans. It’s ground-up, and we’re going for a 1930s deco, jazz-age-inspired aesthetic — not a replica, but a nod to the era. We didn’t have a huge budget, so we used strong graphic moves with paint and carpet. We also have repeat clients who like very different environments, so half our projects are with returning clients who don’t repeat themselves.

Yuri: Would you say your style is inherited or self-made?

Jamie: Inherited. My family is full of creatives — painters, potters, fashion people, photographers. Everyone made things. Even those without much money always had interesting homes. I grew up in that world.

Yuri: Was it clear early on that you’d take this path?

Jamie: I always thought I’d be an artist. Architecture came by chance. My mother suggested it. I hated the idea at first but ended up at Tulane in New Orleans. Hanging out with architecture students, it just clicked. I transferred from fine arts to architecture and my world opened up. It was design-driven, not just technical. Studying in a city like New Orleans, full of architectural history, was life-changing.

Yuri: Do you believe in destiny or purpose?

Jamie: I think I do. I believe some things are meant to align. People are drawn to certain callings. I’m better at this than I’d ever be as, say, a nurse. Somehow it fits naturally. We’re still in business, so something’s working.

Yuri: You mentioned having long relationships with clients. When you design for someone, are you revealing who they are or protecting them from the world?

Jamie: Maybe both. Projects take years — sometimes six or seven. We talk about who they want to be, not just who they are now. We also discuss what happens when they’re no longer around. Are we building something that will last beyond them? That’s the goal. The best homes are multi-generational.

Yuri: So it’s not just about retirement or resale — it’s legacy.

Jamie: Exactly. We had a project, the John Lautner house “Silvertop.” The clients saw themselves as temporary stewards. They wanted it to last beyond them. That mindset is beautiful.

Yuri: Many homes today are treated as investments, not artistic expressions. Does that limit creativity?

Jamie: Sometimes. We see both extremes. Some clients are very financially focused and won’t go beyond a budget. Others treat it as their life’s project and push for the extraordinary. But true craftsmanship is expensive. Something that costs $800 per square foot at a high-end level could cost $2,400 to do exceptionally well. It’s shocking, but quality multiplies cost.

Yuri: And projects can take years. By the end, do you feel closer to the client or yourself?

Jamie: Definitely both. Long projects build trust. Our teams connect deeply with clients — even interns. Everyone feels ownership, which makes it meaningful. The only funny part is realizing how old I’ll be when some of these are done.

Yuri: How often do you discover new things about yourself through your work?

Jamie: Constantly. As the firm grows, I can’t touch everything anymore, which is hard. I’m a control freak, but I’ve learned to let go. Growth has a cost. Sometimes I wonder if a smaller, more artistic studio would be more fulfilling. But we balance: bread-and-butter projects that pay for passion projects where we take risks and sometimes lose money. Those keep us creative.

Yuri: That curiosity is what keeps you fresh. Let’s talk success. Does success make you bolder or more careful?

Jamie: Bolder. As I’ve gotten older, I care less about fear and more about risk. I’m comfortable challenging clients, pushing ideas. We take responsibility when something doesn’t work — we fix it. But I’d rather experiment than play safe. Playing safe rarely makes something enduring.

Yuri: You mentioned your father earlier. Has he seen what you’ve built and expressed how proud he is?

Jamie: My dad’s 92, my mom’s 90, and they’re both still working. He wanted to be a farmer. He’s creative, has this farm museum of antique machinery. He’s proud but practical. When we fell off the AD100 list once, he said, “What happened?” That stuck with me. But they love visiting projects. It’s rewarding to show them what we’ve built.

Yuri: What’s the best compliment you’ve ever received?

Jamie: Honestly, when people copy my work. A few have shown me rooms they recreated exactly from magazines. It’s strange but flattering. It means something resonated deeply.

Yuri: Before I let you go, three quick recommendations: a book, something to watch, and a future guest.

Jamie: Book: Invisible Cities by Italo Calvino — poetic and full of imagination.
Show: The Diplomat — brilliant writing, believable systems.

Future guest: Max Lamb — he’s one of the most original voices in design, always experimenting and thinking deeply.

Yuri: Perfect. Thank you, Jamie. This was such a thoughtful conversation.

Jamie: Thank you, Yuri. Great seeing you.

Standout Quotes

"Proportion is the fingerprint. It’s not a style. It’s a sense of balance, how big things are next to one another and how they make you feel in space."

"We build for the person after your client, the next steward."

"Extraordinary craft can easily cost three times more than a high end baseline, but it shows."

"Put the money where you touch, where the light hits, and let color do the rest."

"Playing safe rarely makes something enduring."

"Every project is an ecosystem. When it lasts, it’s because everyone involved cared enough to make it honest."

Key Topics Covered

• Proportion as Design Logic – How balance, rhythm, and scale create a designer’s true signature
• Design for Longevity – Building for future stewards, not just current owners
• The Cost of Craft – Why extraordinary detailing can triple a project budget
• Budget Honesty and Intention – Where to invest and where to simplify without losing quality
• Risk and Responsibility – Taking creative risks and owning the fix when experiments miss
• Context Over Pastiche – Designing historically aware yet contemporary spaces
• Material and Color Play – Using vignettes, texture, and hue to create emotion
• Studio Philosophy – Balancing bread-and-butter work with creative passion projects
• Global Perspective – Projects across LA, London, Finland, Santa Fe, and Canada
• Cultural Narrative – Homes and spaces as living legacies that gather meaning over time
• Inspiration Sources – Invisible Cities and The Diplomat as reflections on systems and imagination