Yuri: Alright, you guys wanna go?

Will: Let's do it. Hi, I'm Will Meyer from Meyer Davis.

Gray: I'm Gray Davis from Meyer Davis.

Will: We have a... Yes, yes.

Yuri: And that's the fantastic duo!

Gray: Well, thanks, Yuri. Thanks for having us here. We're really excited to be a part of this podcast and looking forward to having a nice discussion about our work.

Yuri: Yes, I'm thrilled because we had a chance to actually meet in person about two years ago in Paris. You guys had a fantastic evening where you were the recipients of the CDA Awards. And since then, Gray, you presented last year as well and we've been staying in touch. And we had a chance a little bit to talk about the summer and other things you guys have been up to. So why don't you give a little bit about things that's happening right now in the firm and what you guys are working on?

Gray: Yes.

Will: Yeah, so, we are very busy right now working on some pretty interesting projects in different regions. I think in Europe, we're designing a new Four Seasons in Dubrovnik, which is very interesting. We just opened a new Del Vue hotel in Sardinia. In Mexico, we're working on a new, really interesting Mandarin Oriental Resort along the Caribbean coast and then several projects throughout the U.S. actually.

Gray: Yeah, yeah, just in Hawaii for a new project that's going to be kicking off shortly there and down in Puerto Rico. Huge new development there. So lots happening at Meyer Davis currently.

Will: Yes.

Yuri: That's lovely. Now, this is an interesting thing I want to ask both of you because you very much work with a lot of hospitality, some of the bigger names in the game. And all those brands already comes with some sort of a DNA attached to it, right? There's some sort of accessibility or design aesthetic that you kind of have to navigate. How does that work for you in terms of being able to follow some of those directions that already existed that part of the brand DNA, but also infuse some of your own taste, but also some of the local space, as you mentioned. Mexico, Hawaii, Puerto Rico, and Europe. Those cities have its own culture. How does the whole process go to be? Is it case by case or we already have a formula? Will, you might kind of chime in and give us a little bit of that.

Will: Yeah, I think, look, the sense of place is the driver and it's less about a certain style that we impose on a place, and it's more about research and into a space. I guess our methodology of design is to, through the research and through being open to different ways they do things in different spaces. It dictates and informs the ideas that we come up with. That's kind of the root of what we do. It should feel, the result should feel from the place.

Gray: We really work hard on kind of creating that narrative that feels very grounded, you couldn't put this particular project anywhere else, you know, and it wants to have a real authenticity to it, between, like Will said, kind of the history, culture, all of that. And I think that's what's been our success, is really focusing on that and still staying kind of true to the brand, but doing it in a way that feels very grounded. We're like movie directors. We're telling a story and it's a set that we're developing.

Yuri: Tell me more about the process of the research because I'm interested in that idea of digging in, trying to find out more about the place and the culture. What is the first step? Of course, visiting the location, understanding the neighborhood in the area, but what else that entails?

Will: Well, you know, I think every one of these sort of larger scale projects starts with a meeting with all the sort of actors to play on Gray's director comment earlier. Everybody gathers there and we tend to stay there for several days with the team and everyone and really get to know the place or at least start to get to know the place. And I think when you look at it through that lens of what we're providing, kind of a luxury interior or unique interior kind of experience, I'll say, it's bringing that local kind of craftsmanship or customs or things that make a place unique through that lens of the luxury world that we're trying to create. We find that middle ground. I think a lot of that is up to interpretation, but we're sort of, I guess we would call it like humble interpreters of an area that we're working.

Yuri: What about you, Gray. Do you have anything that you'd like to add?

Gray: No, I think when we're there, we've got an amazing team here and really talented at doing great, meaningful research and finding unique people, artisans, craftsmen in the area that we develop relationships with so that the place becomes a part of the community where people are proud and excited about what we're doing and that it becomes part of it. And so I think that's one of the things that really is unique and becomes memorable for a guest when they're staying at one of our properties.

Yuri: Well, you mentioned about finding local craftsmans and kind of integrated with the community. Do you find it often enough when you're working with different regions, different parts of the world, there are enough craftsmanship that equals to the level of quality that is expected in this level of a project? And how often do you have to bring, of course, some of the more established brands with terms of quality or no? Those people really have a level of quality that really just blends super well with the project.

Will: You know, it's really a case by case kind of situation. But, you know, most places, I like to say the level of quality should match the where you're doing it in a way. Like if there's a certain thing that they do in a certain area, I think it's nice to honor that and appreciate that. In certain areas you work in, they do plaster a certain way, for instance, or they'll do their stonework a certain way. I think it's much better to embrace the way they do it there and accept and embrace that result rather than to impose some other expectation on what you want it to look like. I think it's just going with the flow.

Yuri: Okay. Now, because you work in so many different spaces in parts of the world, do you, when you walk into those projects, do they feel like home to you? Or sometimes just feel like, you know, you're a stranger in one of your work.

Gray: We really want to create spaces that people feel comfortable in, that they're very inviting, comfort, just the way you kind of, what's that journey or that experience like? And I think that it's super important to, you know, if we're working on something that we want it to feel like home. We, again, it goes back to kind of that research and creating spaces that are welcoming, inviting, you know, that are timeless and using materials that are appropriate for the area, but also looking at using them in a new way so that they're reinterpreted in a different kind of form. But again, it's about that we're not into doing anything that's really trendy. We want something that endures and will age really beautifully over time.

Yuri: This idea that you have about Meyer Davis in terms of aesthetically, it was something that was always with the both of you in terms of what you want your design to look like, or it has been an evolution throughout the years to get where you are right now.

Will: Yeah, I mean, look, to go back and kind of look at where we started and where we are, I think, look, we started off as friends that started a business together to do, and we're both dedicated to beautiful design and architecture. So I think when friends start off doing business together and they have these sort of ideals of what they want to do. The path of Meyer Davis is really a chronicle of a lot of really great work and people having fun doing what they love to do. And that, it's just been an actual kind of fun progression over the years. The projects have become larger and more involved and take longer to produce. But the origins are the same. From day one, we started doing the same things we still do today. The fundamentals are the same.

Yuri: You know, do me a favor, paint the picture of the day that you first had that conversation about creating a business together.

Will: Thank you.

Will: Gray, do you want to go? Yeah, sorry. There's a, there's, okay. Yeah, there was a phone ringing in the background here. So I was trying to go on mute. Can you mention the question again?

Gray: Will, you want to?

Gray: Do you want to take this one?

Yuri: Yes, I'll ask again. So I'm very curious about this. Will, can you do me a favor? Can you paint the picture of the day? What was like? What was happening in your lives the day that both of you kind of decided, okay, we're going to team up. We're going to do this together.

Will: Well, we, you know, Gray and I both went to the same architecture school and we were good friends with several of our professors and one professor would come to New York frequently and Gray and I were both working in different jobs at that point. I was working at Gwathmey Siegel, Gray was working with, I think Thomas O'Brien.

Gray: Thomas O'Brien and Bill Sofield at Aero.

Will: And one night we were together having dinner and David, our professor, mentioned, he said, you know, I think you two should start a practice together and you should be partners. And to, I think it just came out of left field and we both sort of said, yes, let's do it. Let's, let's, we should do this. And it was, it was.

Gray: We looked at each other and yeah, like that's it. That's a great idea.

Will: Yeah, it was very organic and kind of a surprise to hear the suggestion, but it was coming from a professor that knew us each very well and knew lots of students very well. And I think he knew us well enough, probably knew us better than ourselves and had that vision. And we just sort of took the ball and ran with it.

Gray: Yeah, it took us about a year to kind of make the transition and get the studio up and running, but it was exciting. You know, you look back when we did it and we're, we kind of looked at each other and like, why didn't we do this sooner? But it was a great experience and kind of right out of the gate had some really awesome projects to, to, you know, work on, you know, some residential, some some really interesting hospitality. There's a big project in Las Vegas that kind of was exciting to work on as a huge success. And we're like, this is exciting.

Yuri: Is that professor still with us?

Gray: Yes, we're still very close and very friendly with David. He does. He does.

Yuri: So he's still been able to see the success of the firm and take credit for it.

Will: Look, we let him know that, like, you know, constantly ask him if he's proud of what he created.

Yuri: That brings to an interesting topic because clearly he was a fundamental person in developing the company and also get you guys together. Now you find yourself often in that position that may perhaps you are the designers, a lot of young people are looking up to it. Do you embrace that idea of mentorship? How do you incorporate that in the business? But also when you're talking to a young professional.

Will: Yes. I mean, I think that's because of, we have a lot of gratitude for the people that mentored us, you know, Charles Gwathmey was an amazing boss and sort of role model for me and Gray had incredible people that he worked with. I think that we looked at that duty to sort of pay it forward and take it very seriously. We have lots of young people coming into our firm for internships. We do love to give advice and it's just important to us. I wish we had more time for that, but we do quite a bit. I think it's important to both of us.

Gray: It's important, I think it's important to and show them, involve them on the projects, involved with the presentations, meeting with the clients, going to the job sites and really getting a kind of a well-rounded kind of experience. And a lot of kids that we've mentored had stayed on and some of them have been with us for over 15 years. And so it's really important to take that time. And we've got an incredible team that really helps us with that. And it's always been very important. It was important as we were kind of coming up working for other firms. And we've always put a strong emphasis on really, really sharing that knowledge and such.

Yuri: When you have the opportunity to meet some of those young designers and talk to them, do you feel overall optimistic about the future of the industry?

Will: Yeah, I mean, I think that you wouldn't be in this industry if you didn't have some sort of optimism. You know, I think there's something about what we do in particular where we're creating these worlds that people can experience and be inspired by that. It's sort of, I mean, it's sort of escapism in a way. And also it's sort of, you get to create three-dimensional real versions of a world you're imagining. I think that's for creatives, that's sort of magic to make a world you can occupy.

Gray: Right. And it's nice to, when you finish something to go there and see how people experience it, you know, is it, are they using it the way you kind of thought it would be intended or is it, are they, you know, using it in a way that you've never sort of thought about. And I think that's the thing that's kind of inspiring and just see their, their reactions and you, you learn. I feel like we're always learning, you know, learning from, from from this and past experiences.

Yuri: You know, from someone from outside looking in and seeing those amazing works you have been doing and how glamorous it looks like, but often people don't realize how much work and you can overlook how many years and dedication and team behind the scenes. Do you feel that sometimes that's underappreciated the value of the behind the scenes aspect of the business instead of just the glamour that a lot of times how it's portrayed?

Will: Definitely, you know, like we're on the beachhead before it becomes, you know, able to be occupied. So a lot of time and construction trailers and visiting remote locations to look at samples and things and a lot of toil along the way. But really, you know, it really is about that journey. I think getting there is certainly wonderful and it's what the world sees. I think I wouldn't, I don't think we would want to be involved in this if it wasn't the journey. I think that's what's interesting to us. It's getting there. It's all those loose hand sketches on trace paper. It's all those kind of scribbles on a zoom call with my little mouse sketches that are very famous. It's about the journey.

Gray: Yeah, and it's, you know, we have to thank our clients for trusting us with, you know, what they're wanting to do. And you know, it's about a collaboration with a great team. It's the client, it's the architect, it's interior designer, it's the landscape, it's the construction crew, and, you know, the artisans and stuff. And so it's this, you know, this team that is working together and you're constantly learning. But I think that what's inspiring is you're always working with different people and how you can kind of come together to create something that is really unique and beautiful that people enjoy spending time in.

Yuri: Well, let's talk a little bit about the collaboration aspect of the business. So when a client push for something that you don't believe in, how do you deal with that? Do you protect your vision or the relationship?

Will: You know, I think we're lucky. I mean, most clients approach us because they want what we have. They want the whole mission is to sort of collaborate. Look, I think there's always, there can be lively discussions and debate about different parts of a project. But sometimes the biggest pushback on our ideas actually ends up yielding another creative solution that makes something that we would have never thought of. And I think some of that tension is the root of creativity and the ability to take something that you've envisioned and let it evolve into a way that creates something that no one envisioned.

Yuri: And that's something I think I want to talk to you because I think it's fascinating aspect of finding creativity within the boundaries of restrictions and restraints. Often enough, we hear people saying, just give me free will and I will be able to deliver the most fantastic thing. But it seems like you truly believe that the problem solving aspect really comes to understanding the boundaries and the feedback and where the true meaning of creativity really shines.

Gray: Yeah, you know, and that's, I think there's always something that you're kind of weighing like, you know, there's a budget, there's a code, there's a schedule, there's this and that. And those things can kind of drive maybe in a different direction. But I think the idea is that you don't lose sight of like what's important. And to me, those challenges or the kind of obstacles along the way, can lead you to new ideas that you would have never explored before because you didn't think about those. So to me, I think it's important to embrace those and see them as opportunities, you know, versus, oh, this is, you know, and I'm doing my kicking and screaming. I just want to design. It's like, it's really, I think it's important to see those as opportunities because it forces you to think differently.

Will: Yeah, I mean, I think design is, I guess the way we look at it is like we're problem solvers. We're actually problem solvers. And yes, we have a passion for beautiful design and we want to create inspiring spaces. But really what we're doing is solving really complicated problems. And I think when you look at it through that lens, you need those issues in a way to solve them and to find the answers. And that's, I mean, it's such an intangible, really thinking about, you know, how we do what we do. It does involve, you know, sort of, you know, taking the best practices or the most innovative ways to solve something.

Yuri: Do you see any shifts in the interior design and hospitality world? Do you see a common denominator in terms of aesthetically, everything is going in or it's very individualized depending on the client and the space?

Gray: You know, I think that, and Will said this earlier, sense of place is like a real driver. And so I think there's different style and aesthetic that kind of goes with that. But I think you also have to look at what's happening, you know, in the material world, in the technology world, and you know, what's available. And like, you know, things change, but I think that... What doesn't change is kind of that sense of place. And to me, you know, you're really focused on kind of what's happening. I think you, you know, I don't want to kind of do something that's trendy to, you know, trendy doesn't last, you know, I'd rather do something that's more timeless, but I think you're working with different people and they've got their own unique kind of aspect. So I don't think, I don't think there's really a silver bullet that we're, you know, we're all kind of moving in one direction, you know, I think if you look at who we're working with on this project is very different than the next one. So I think that as long as you're, you're keeping your finger on the pulse of what's happening and listening and observing what's going on. I think you're, you're, you're always keeping current and thinking in a way that's fresh and unique.

Yuri: Now that you mentioned technology and innovation, do you see yourself integrating some of the recent development of technology, especially when it comes to AI into the business?

Will: Yeah, I mean, I think, you know, look, I think, we're the type of firm that, I wouldn't say we're early adopters. But we look at technology as like, yes, we adopt it and use it and we look at it with a grain of salt. We still design with mouse and sketches and post-it notes. It's very loose and freeform what we do. There's sort of the rigor and discipline that we put on it from the technology side when we have to communicate to clients or, you know, produce things, but we don't start there. We're pretty old school in a way, I guess old school, we've been doing it a long time. And technology, I think has advanced what we do. It has given us the ability to, I guess, present things in a clearer way than what we could do years ago. I think it is an asset, but the way we think about what we're doing, which is this sort of loose, you know, discovery of ideas, it's not changed by the technology. And I think it sort of, when the technology becomes the creative, that's when things can feel soulless.

Gray: I think the technology, just to comment on that, I think when it's used in the right way, to me, it's a time saver. You know, it could be, you could, you could, you could avoid doing some tasks that are maybe mundane and that frees you up to focus more on like the creative side or doing other things. But I think it's important to always kind of, you don't want it to be the only tool. I think you always need to kind of step back. To me, there's a lot of value in kind of going back to that you know, sketchbook and pen and paper and just looking, you know, kind of having that time. I don't think AI can replace that yet. I don't know if it ever will. I don't know.

Yuri: Is sustainability something that you very deeply embedded into your process or it's something that more when the project calls for it, it's something that you incorporate?

Will: We're believers in it. I mean, we're... You know, certainly incorporate it whenever we can. It's, you know, it's in multiple different, I guess, lanes. One is through, you know, like certifications and using like specified, you know, certified woods for millwork and forests and things, FSC certified. And then also like the idea that the type of design that we do, it's about enduring. It lasts a long time. It is not built for, you know, a short period of time. And the products we select and the way things are built is built for this sort of enduring quality. So it's built to last for long periods of time, you know, which is sort of inherently sustainable.

Gray: And I think, I think too, like the materials that we like to use are materials that age nicely over time versus, you know, something that you've got to maintain and keep, you know, super fresh. You know, we like to use materials that if they scratch or you know, if they're a natural stone or, you know, natural wood or, you know, or leather, those things. They get better over time. And they, they build patina and they have kind of a history and that's when you know, the story is starting to kind of develop and to me that's what makes it more personal. So those things become like a part of its history and you know, that's, that's what makes it beautiful.

Yuri: I love when you're talking about those kind of antiques of the space itself, where you allow the material to age and the stories and the energy of the people that come. And I think sometimes, you know, being in hospitality and luxury, there's this idea of perfection that everything kind of squeaky clean and new and all perfect looking. But sometimes those scratches, those marks is the story. That's the energy. That's the personality of space itself, right?

Gray: Yeah, absolutely. I think, you know, when we, when things are too perfect and linear, it becomes soulless. And I think that's like the problem with kind of, you know, that like kind of maybe minimal, you know, what's that famous airport quote? You know, when you walk in an airport and every, they all look the same. You don't know where you are. To me, I don't want to do that. I don't want to create something, you know, you walk in a hotel and it could be anywhere. I want it to feel very much from where it is. And I think those imperfections or those things that kind of change over time or evolve over time, to me are part of its soul.

Yuri: Can you walk us through a project from the inception to the completion?

Will: Yeah, I mean, the... It starts with, you know, the initial kind of phone call and, and you sort of understand, you know, through a series of meetings in the beginning, what the project is, what the goals are, what we can do, what the site is, you know, before you even get into it, you kind of understand what the, what the ask is, you know, who are the players? And you get an understanding, then we visit the site and we spend time there. And that's sort of when we start to gather ideas and kind of, you know, through that kind of osmosis of being there, you start to gather the initial kind of ingredients that are going to inform the idea. And then there's a, you know, it's a, it's a long process of presenting ideas and and developing them and refining them and refining them and refining them. And it becomes very specific, not just the big idea, but everything from, you know, how you open a door, how you, you know, how you touch a fixture. It's very detailed what we do. And it does take a long time to kind of go through every single aspect of the interior. And I think we love that kind of aspect of it. But then there's a whole process that comes with construction and installation. And Gray is particularly good at seeing things kind of evolve through that. And it's important to sort of be there in those critical moments to ensure the success of something actually being installed well and correctly. So you can design something, but then the execution is the most critical part.

Gray: It's super important. And you know, we talk about kind of traveling and being on the road a lot. We spend a lot of time on job sites, but it's, I think the most critical time is when you're installing it because there's a lot of decisions that need to be made that you need to kind of make sure that the vision or the kind of narrative that you're, creating is being kind of implemented properly. And so to me that's a super important part of the job. You know, kind of, and the joke is we work on trust. You know, we got rid of our time sheets years ago because to me it's like, you know, can't, can't really, it's, it's hard to kind of bill for time. And so if we're on a construction site for eight, 10 hours, you know, we're really there, you know, kind of overseeing and making sure that the vision that we're, wanting to implement is going to be, you know, is going to be kind of produced in the right way.

Yuri: I love the fact you said you got rid of time sheets. Can you expand on that a little bit more?

Gray: Yeah, you know, we just, I mean, we, you can't really put a price on, you can't really, you know, you can't really say, like, I spent 15 minutes doing this or 20 minutes doing that. You know, it doesn't work that way. You know, to me, we work on a retainer and and we don't, you know, we're just there and we're present and we work on what we need to work on. And so I don't think you can put a price on time. And so it's like, we work on trust. And so that's why I think that's an important part of the client relationships is that they trust that we're working in their best interest and that we're going to be there when we need to be there and we're going to show up. And And I think, I think it's important not to think about, okay, I've got 10 minutes to do this and you know, and then I got to go do that. It's like, you know, when you kind of focus on business too much, you're going to be, you're, going to be screwed. You need to focus on your craft and let the business side will take care of itself if you're great at what you do.

Yuri: That's powerful. And the question I'm curious about is when did you learn that lesson? When did you kind of realize that time sheets wasn't the way to go and it's more relationship and trust based?

Will: I think we learned it pretty early on, you know, I'm... Like most, I think young designers, when you're figuring out what to do, you're like, you know, how do other firms do it and what's, what's the sort of, the common methodology of billing and, you know, managing projects. And, and, you know, I just, I don't think it worked. It never felt right. It just, it's like we're creating something and we want to create something great. And if, If we charge by the hour, the end result is going to be compromised because we're either going to not put enough time in or we're going to be anxious the whole time about whether we're going to get paid for the time we're spending. And I think it really gets in the way of the creative thinking. So I think we both just kind of said, we just can't do this. So yeah, early on we decided on that philosophy of billing.

Yuri: Do you remember a project where you felt stuck creatively? You didn't know where to go and something kind of unlocked the process.

Will: Yeah, I mean, I think... You know, we've been stuck, as most creative people would be, you know, many times. And I think, you look at it through the lens of that creative process that I mentioned earlier in Graham Wallace's book. I think we go through that process of like gathering ideas and then, you know, you go for a walk and you kind of let them percolate in your head and then suddenly it comes. And you have to let it come sometimes. And I think, you know, I think it's important, I think too, you know, we get inspired by a lot of things. I think we're... You know, open to inspiration. And I think sometimes finding that inspiration means you need to walk around and find it. You need to go into a bookstore or visit a museum or we do a lot, we do a lot of work kind of looking around the world that we're designing in and finding those things that we think will work into the design. And I think it's very important to have those sort of quiet moments.

Yuri: If we were to be sitting in any of your homes and you can describe an object that holds the greatest meaning to you emotionally, not necessarily the value, something that means something special or the story behind it, what would that be?

Gray: It's a tough one. It's a tough one to, you know, you know, I don't know if I could put my finger on one particular thing. There's, you know, there's certain things for different reasoning.

Yuri: Yeah, no, yeah, it's been an interesting topic during a couple of shows ago, people saying about how objects can create their soul. There's a connectivity in terms of emotional worth, whatever that means, you know, it becomes its own, an extension of the owner or if it's been passed down as an antique, an accumulation of souls and energy and emotion connection to that. So I'm always curious to kind of see if anybody has something specific that remind them of someone or someone that kind of really kind of this is would be a representation of me in an object form. But again, it's not an easy one to answer for sure.

Will: No, it's not easy. I mean, I think if you look in past publications and, you know, for one of my early kind of design projects that I did for, this was pre-Meyer Davis. I helped a friend design this loft in New York City. And instead of paying me, he gave me an Austin Healey car. He said, you know, I just want to use this. And at the time I would preferred money to a car.

Gray: But it's actually turned out to be probably better than.

Will: Yeah, it turned out to be something I've kept over the years and I love it and I take care of it and always kind of, and it's, you know, I do love, you know, vintage cars and it's sort of started something that has become a passion. So if it's an inanimate object that inspires me, I think that's a good thing to sort of identify.

Yuri: What do you want the last space you designed to say about you?

Gray: I want it to be a place that I think is probably comfortable. It feels authentic. I think it wants to be... I think it would probably be deeply personal layer, alive with memory. And kind of, you know, just a reflection of who we are.

Will: I agree. Yeah, I think Gray said it well. I mean, I could think of my own.

Yuri: Well, before I let both of you go, I have three questions that I ask everybody on the show and we do this. One can answer it and then, Gray, you can answer and then the second one, you guys can kind of take turns. So that way everybody had a little moment to think about this. So we ask everybody to recommend us three things. A book could be one of your favorites, something you read recently, a movie, something to watch or TV show, documentary, something like that. And our next guest, who do you think we should have here next? Who wants to start?

Gray: Well, I'll, I'll, I'll take a stab at it. I'm going to talk about maybe next guest. We're working on a, we're working on a new project currently and working with a gentleman, Ben Pundell, that started the Sites Hotel Life. But really inspiring, super creative person and

Will: Go for it. Go for it.

Gray: I think he would be an incredible guest to have on your podcast. And that would be my, but you know, he's, he's involved in hospitality. He's a real visionary on lifestyle and culture. And, you know, we've, and I have known him for many years and it's just nice to see how he's evolved.

Yuri: Lovely. What about you, Will?

Will: So, you know, look, it's whatever comes across my feed the latest, but I think a book that I just purchased that I want to get into that I saw an article in The Guardian about is called The Art of Thought. And it's a book written, you know, many years ago by Graham Wallas and it's about the creative process. And I just, I think the sort of short version that inspired me to read it is just that sort of breaking down that process from, you know, the preparation of getting the design thoughts in your head or preparing to solve a problem creatively. And then the incubation period of letting those kind of foster in your head while you take a walk or whatever you're doing. And then illumination, which is the aha moment. And then the verification, which is let's make this thing, let's create something. And I think it's those sort of four steps really, they do define that design process. So, I'm starting to read that book right now and I'll be happy to report back when we're finished.

Gray: Yeah.

Yuri: Nice. What about something to watch?

Will: Gray, it's your turn.

Gray: I would say I watched recently the Ripley movie that's shot in black and white. And just so from a photographer's standpoint, it's just really beautifully done and rich. And to me, it was just a time just to kind of escape and kind of remove yourself from the world and of what's going on and really just enjoy a really beautifully shot movie.

Yuri: Yeah, thank you. I wanted to thank both of you for joining today. As I mentioned earlier during the conversation, we connected briefly. We didn't have much time to really chat in Paris. It was a little bit chaotic, but it was a wonderful evening for both of you for taking away the award. And there we go. I like the spirit.

Will: Hey, we'll be back next year. We will connect then for sure.

Gray: Yeah. It's always such a beautiful event too. I mean, that's the thing that it's really special. And I think, you know, everyone that we've always met when we've been there, it's some of the relationships and the conversation and we still stay in touch with people. And, but it's always such an inspiring evening and really appreciate what, what you and Meredith do for our community. So thank you.

Yuri: No, thank you. I mean, it wouldn't be anything if you guys weren't involved. At the end of the day, we joke a lot. We like to be a vessel, right? Where we try to be sure that we can create a platform where people can showcase and highlight and celebrate and be themselves and hopefully connect. And I think like we have a little special thing going on, so we want to keep it that way. But what really makes it special is people like you, both of you and people from around the world that actually make the trip to be there, to be celebrated. So thanks again, I really appreciate it.

Will: Looking forward to it. And thank you for taking the time to talk with us, too. Really, it's always like a therapy session. So thanks for that.

Gray: Thank you.

Gray: Yes. Yeah, absolutely. Really a real honor. We need more of these.

Yuri: All right. We're done. We're good here. Thank you so much, guys.

Will: I'll go.

Standout Quotes  

"The sense of place is the driver... it's less about a certain style that we impose on a place, and it's more about research."  

"We're like movie directors. We're telling a story and it's a set that we're developing."  

"You couldn't put this particular project anywhere else."  "We're not into doing anything that's really trendy. We want something that endures and will age really beautifully over time."  

"I think it's much better to embrace the way they do it there and accept and embrace that result rather than to impose some other expectation."  

"The path of Meyer Davis is really a chronicle of a lot of really great work and people having fun doing what they love to do."  

"We really work hard on creating that narrative that feels very grounded."  

"The level of quality should match where you're doing it in a way."  

"We want to create spaces that people feel comfortable in, that they're very inviting."  

"The fundamentals are the same. From day one, we started doing the same things we still do today."

Key Topics Covered 

 

• Sense of Place Design Philosophy - Creating spaces authentically rooted in location, not imposing style 

• Balancing Brand DNA with Local Culture - Finding middle ground between luxury expectations and authenticity 

• Research-Driven Methodology - Multi-day on-site meetings and deep cultural investigation 

• Timeless Over Trendy - Designing for endurance with materials that age beautifully 

• Local Artisan Collaboration - Building relationships with craftspeople and makers 

• Comfortable Luxury - Making people feel more human, not just comfortable 

• Meyer Davis Origin Story - Friends starting a business with shared design ideals 

• Curiosity-Driven Practice - Never repeating yourself across 45 years 

• Embracing Regional Techniques - Accepting local methods over imposed expectations 

• Design as Storytelling - Creating narratives where projects couldn't exist elsewhere 

• The Creative Process - From preparation to illumination in design thinking 

• Current Global Projects - Four Seasons, Mandarin Oriental, Del Vue across continents 

• Fashion vs Furniture Cycles - Why design needs its own timeline 

• The Business Trap - Advice to young designers: focus on craft first