Practical answers about how we work with developers, what is included, when to involve the studio, and how a project moves from concept to delivery.
How to get started, who we work with and where we operate.
We join at whichever stage the project is at.
The ideal configuration. We shape the concept and its signature ideas with the developer’s team, then test feasibility with the architect and client – planning rules, technology, budget. By the time the architectural concept is approved, the first marketing materials already exist.
The working configuration. The project already has architectural documentation – we enter at the current stage and design within the approved decisions, without reopening what is settled.
Yes. An approved plan narrows what is possible. Even at that stage we put options on the table: optimising the space, furniture layout schemes, finishing materials, lighting, and the pieces themselves.
What we bring to that discussion is a private-client practice. We have furnished homes in new developments for the people who bought them. We know what those buyers ask for, what they change, and what they will not live with. That is feedback arriving while the project is still on paper.
The decision stays with the developer and the architect.
Yes. We work alongside the developer, the architect and the contractors, and we fit into the processes already running.
We arrive with two or three options every time. Where we find a problem, the fix comes with it. We take on the routine an interior cannot be made without, and what reaches the other teams is the interesting part: the concept, the decisions that shape it, and the result.
What is included, what is not, and what to expect from us.
We do not put the whole set in front of every client.
Most of it travels together: the design concept, the common areas and amenities, the working documentation, the custom pieces and the photoreal visualisation.
Five are taken or left as a project needs them: the 360° virtual tour, the launch film, procurement of finishes and furniture, site supervision, and furnishing packages for buyers. A small unit does not warrant the tour.
Scope is fixed per development and per typology, and agreed before work begins. All ten are set out on the Services page.
Structure, envelope and permissions belong to the appointed architectural practice. The build itself is the main contractor’s. We draw the electrical and climate schemes for the interior. Sizing and calculation stay with the project engineer.
Site supervision in our scope means checking the work against the approved design. Programme, subcontractors and day-to-day management sit with the builder.
On request. The set is dimensioned throughout: wall elevations, suspended-ceiling plans, tile and parquet layouts, furniture installation plans.
Custom pieces and interior elements are detailed to the same standard, far enough for a workshop to quote and build them.
Usually it is the developer who asks. A scheme already exists, the buyers have not taken to it, and we are brought in to draw it again.
The other reason we get the call is a date that cannot move.
From the first meeting to final approval, the process is set out in advance.
Two things set the pace. One is the complexity of the development. The other is how fast the client comes back to us: a brief filled in before anything is drawn, our questions dealt with, a choice made at each fork we put up.
Two to six months. To reach the market for the Christmas season, we need to be starting by 1 October. For Easter in April, that date is 5 January. Time spent waiting on a decision moves them.
The manufacturers’ calendar sets part of the date. Italian factories shut from the end of July to the first days of September. In March and April the industry is at iSaloni in Milan and lead times stretch. Many houses close their order books for the year in late October or November.
Two or three directions per typology.
Once the visualisation is presented, three rounds of changes are included. A round can carry several elements at once, provided it comes as one instruction.
After the visual is signed off, or once the third round is spent, further work is charged. It happens often: a budget is trimmed on the way to site, or the fittings, taps and switches are swapped and the marketing material has to follow. We do it. From the fourth round it is a paid service.
The work stops for a decision at six points.
Real products, named makers and a delivery date that holds.
Any of them. Makers are glad to deal with a design studio. The 3.500+ we reach through our Ambassador status with Archiproducts are simply quicker to specify, and the data on them already sits with us. The ones we use most often are on the Brands page.
Where the procurement is ours, none of that lands on the client. One apartment of 120 square metres can carry sixty to eighty items of furniture, lighting, decor, art and textiles. Each one is checked against the manufacturer’s current range, which turns over every year along with the finishes on offer. Then the one chosen, the production and delivery time, the price, the logistics and the assembly.
The correspondence and the negotiation run brand by brand, often in several languages, and all of it sits on our side.
Yes. Italian factories, workshops on Mallorca, and makers in the United States, the United Kingdom, France, Portugal and elsewhere. Which one depends on the object itself, on the technical support and installation it will need, on the production date and on the budget.
The items are chosen and named at the concept stage. An order runs against a specific piece, and it has to go out early enough to arrive before the building is finished.
The supply contract is ours. Prices come in under the makers’ catalogue, the client funds an advance, and every shipment is insured. Installation, warranty replacement and after-sales service can sit with us as well.
We still specify and locate every item, and the orders are placed by the developer’s own team.
Lead times depend on the maker. Goods held in stock arrive in one to three weeks. Made to order starts at two months. A complicated element runs longer, at whatever pace the factory floor allows. A one-off has taken a year.
Shipping to the island adds one to two weeks to any of those.
Between arriving and going in, everything stands in our warehouse or in the client’s.
How early an order has to go out is set item by item. The specification we produce carries the production and delivery time against each one, and the programme comes off that.
From site supervision to handover, we stay on the project.
Yes. The designer goes to site and checks the work against the drawings. Visits fall on the key stages, or on a fixed rhythm where a development wants one, weekly or monthly.
Each one produces a report with a photographic record. Deviations are caught while they are still cheap to correct.
Off the island we fly out ourselves, where the service has been commissioned.
Every frame is drawn from the buildable specification. Each item in a render is a real, procurable piece at its real size.
Where a piece is no longer available, the replacement is agreed with the client before it is ordered, and the drawings and renders are redrawn to match what will be installed.
The composition, the dimensions and the materials are the constants. Light shifts with the hour, and natural stone and fabric runs vary from batch to batch.
Interior lines for residential developments, drawn to sell.
Residential developments and individual residences.
The recent ones are for XO Jay in Palma: XO Jonquet ↗, XO Parq ↗ and XO Residence Palma ↗. The interiors we drew for each are in the portfolio.
A design line is one complete interior scheme for a development: the materials, the finishes, the furniture and the renders that sell it.
One scheme reaches one kind of buyer. Three schemes put the same apartment in front of three, and the reach of the development widens without a change to the architecture, the budget or the construction.
For instance, at XO Parq the 65 residences are offered in three schemes. Raw works in chrome, graphite and dark leather, the hardest-edged of the three. Adagio in bouclé, marble and lacquer with blush and brass, the softest. Artà in ash, tan leather and terracotta, the warmest. XO Jonquet carries two, El Monte and La Brisa.
Buyers choose their scheme in the sales office. Long before handover the developer knows which style is being taken and how often. That tells him what to order, and which style to give the residences still unsold.
For us it is two or three times the work.
Yes. Photorealistic renders for the sales office and the marketing, and a 360° virtual tour delivered as a software product ready to embed in the development’s website or app.
How many renders depends on the size of the project. Not every room needs one.
We hand over the files. The client’s team puts them on the site.
Living room, terrace, master bedroom, dressing room, bathrooms, children’s and guest rooms, study, gym, home cinema, kitchen and garage, at two to six frames each.
We recommend picking two or three typologies, usually the penthouse, the duplex and the ground floor with its terrace, at four to ten frames each: living room, terrace, kitchen, bedroom, dressing room, bathrooms.
The shared spaces carry as much weight. One or two frames each on the entrance hall, the concierge desk, the lobby, the lift lobby, the pool, the sauna, the gym, the cinema, the wine cellar, the cigar room, the meeting room, the children’s room, the mini-golf and the parking.
Yes. A launch film, sometimes made before construction starts. It shows the future building, the place it stands in and the story around it, cut for social media and for the website.
We can also fit out the show apartment, and put together furnishing packages a buyer takes with the residence.
Yes. We can organise the photography and film of the finished building with photographers whose work the magazines run, and submit the project for publication or to the industry juries.
The studio’s own record is on the press page: DNA Paris Design Award 2024, SBID Awards 2025 finalist, and work that has run in Nuevo Estilo, Elle Decor Spain and ABC Mallorca.
How an engagement is set up, and who is on it.
We agree the scope before starting: which of the ten services the development takes, and for how many typologies. The fee is set against that.
Anything outside it is priced when it arises. Most often that is a fourth round of changes to a visualisation, or handing over the 3D models.
The rights pass to the developer. We retain the right to present the work as our own: on this site, in marketing, in the material we put before other clients, in advertising, and in what we send to the press and to award juries.
The 3D models behind the renders, the tours and the film stay with us. They can be handed over for a fee.
English is our working language. Where a development team or its buyers need another, we assign a client manager who speaks German, Spanish or Russian.
The documentation goes to the contractor in English, or in the client’s language on request.