We are hired for the whole room, and we stay until it is finished.

Most of what we do is choosing, and choosing takes longer than drawing. A scheme usually begins with one object the client already owns — a painting, a rug, a chair from a grandmother — and the rest of the room is assembled to make that thing look inevitable.

We draw the joinery ourselves because it is where a house is either generous or mean. Door heights, the depth of a window seat, whether a shelf can take a stack of books lying down: these decide how a room feels long before the fabric does.

We like rooms that are slightly wrong. A pattern that fights the rug, a modern light over an old table, one color that nobody asked for. Rooms that agree with themselves completely are the ones people stop seeing.