Richard Parr is the founder of Richard Parr Associates (RPA), a RIBA chartered architecture and design practice established in 1994 with studios in London and the Cotswolds.Richard Parr Associates works across a rich portfolio of both contemporary and historically significant residential and hospitality properties. The practice is led by Richard Parr and supported by a skilled 35-strong team of architects, designers, researchers, and visualisers. Today Richard Parr Associates is synonymous with crafting timeless spaces that balance luxury and comfort, harnessing craft traditions and technology with contemporary design intelligence. Projects include a series of ambitious contemporary new builds, extensive restoration projects, and The Farmyard at The Newt, which has garnered the practice multiple awards. The practice draws on a holistic archive of inspiration, from the surrounding landscape to the contemporary art world and new wave Spanish architecture where Richard Parr began his career.

At the core of Richard Parr Associates lies an empathetic understanding of the way people want to live their lives. Purposely unpretentious, RPA spaces encompass a modern traditionalist approach to quiet, considered architecture, placing longevity and locality at their core. Reimagining the traditional workspace, the practice’s London home, People’s Space, is housed in a monumental Victorian building steeped in history, playing host to a dynamic calendar of annual events, nurturing the local community, its team and collaborators. The Cotswold studio occupies a former abandoned barn and grain store, reimagined for RPA’s close-knit team as a solace during the working day with views over the farm out to the surrounding valley.

1. Could you tell us how your journey into interior design started?

It’s difficult to say. I think I was drawn to ‘design’ from a very early age, but I wouldn’t have called it that. We’re all born with this impulse to make marks. I’m referring to those first precious moments of putting pen to paper, scribbling, and seeing what happens. I suppose I never stopped! As for the serious business of ‘design’, and an awareness of design quality, this came when I discovered Italian design in the 1980s. England was pretty hidebound and nostalgic by comparison, but I couldn’t get enough of what was coming out of Italy…

I would pre-order magazines from Milan and devour them in one sitting.

2. Do you think there has been a defining moment in your career?

There have been a number of defining moments. Opting to study at the AA was the first, it was a wonderful environment in which to think and explore freely. The next was landing my first job in Spain, working in a contemporary idiom, set against the backdrop of historic Seville and Madrid. The third was in finding the self-belief necessary to establish my own studio.

3. What do you think is the key to a successful interior design? And in your business in general?

Finding the right mix of talent and energy, and pairing that with an alignment of values. We like to find people with potential in the industry, but we employ largely on character and evidence of commitment. The rest can grow.

…and in your business in general?

Instilling a cooperative attitude and a supportive studio culture – from top down to the bottom up. Guiding and nurturing young talent is a privilege for me personally, and I find it tremendously satisfying seeing growth in others. As the head of a studio, I depend on everyone else – without the support of our team we couldn’t deliver the projects that we do. Collaboration, therefore, is key, always.

21st Century Country by Richard Parr Associates ©Rich Stapleton

Clarity of thought is essential – I start by finding one key idea. There are so many layers and complexities that later unfold and weave their way into (or occasionally corrupt) a project, that holding onto the essence of the original idea is crucial. That one clear thought, the kernal, might manifest itself in the first sketch and it will in many cases define everything that follows.

It always starts with a sketch – a simple scribble. It’s the very first thing we present to the client.

The second step is finding the appropriate reference, often a piece of art. Contemporary art is a huge part of my life and I often find that an artist’s message can more powerfully embody and illustrate our thinking. I like to keep presentations very visual. My own style of sketching is full of implication or suggestions rather than precise detail, I find that way I can lead a client in gently. As we do this, colours, materials, words and phrases are added. The concept is further defined by a brief and organigrams, circulation flows and such, and only then do we start to digitalise the project. We use renders and 3D modelling of course, but we like to hold back on this until the idea is agreed upon with the client.

5. How would you define your signature style? Do you have “a mantra” that encapsulates your taste in design?

We summarise this as Modern Traditionalism. We always look forward, and so our thinking and style is modern in that sense but we see our projects as legacies which must stand the test of time. I believe that we have to know where we have come from in order to go forward. In our work the past is not rejected but reframed to allow opportunities for addition, reinvention, and future-oriented design. What better way to celebrate our shared heritage?

Do you have “a mantra” that encapsulates your taste in design?

‘Design with Beauty, Build in Truth.’ It’s the AA school motto. I don’t usually go in for school mottos, but this rings true for me. Honesty is paramount.

6.  Could you tell us about one of the favorite projects that you worked on?

I cannot pick a favourite because I honestly do not have one. As a large proportion of our work comes from residential commissions, the combination of the project and the client relationship is a deeply personal one. It’s a unique journey so I couldn’t and wouldn’t want to choose.

Since it’s not a private house, I will say The Newt in Somerset has been a very special project. We are now into nearly a decade designing for them. What I love most is the relationship that has evolved with the client and the energy of their vision and style is palpable. When we began what is now known as “The Farmyard at The Newt” there was no defined brief, we evolved that together with the client and in doing so reinvented the English Country Hotel.

7. What are your 3 favorite pieces from the Philia Collection?

Now, three is a challenge. I would have to choose: the Stal Chair by Lukas Tyra Morten, the Black Tripod Coffee Table from Tar, and the exquisite Blessed Tub Circle by Kreoo.   

8. What was the best advice you have received in your path?

To think of all the things that someone else can do better than me and then find the right people to do them. This small piece of advice not only inspired my choice of business partner but is the governing principle upon which the wider team is built.

9. What would be your advice to beginner interior designers?

Work work work. Be curious and learn from looking. Find every opportunity to fill your mind. Oh, and travel! I have been fortunate enough to visit many places across the globe over the years. Each trip comes with unforeseen challenges and new discoveries. It teaches one to have an open mind. Not all situations, jobs, or projects go the way we want them to, so it’s key to learn from the bad experiences as well as the good. There is always something useful to take from life, to inform what you do next.

10. What was one of the hardest learned lessons in your journey?

How to run a business.  

11. Are there any books/podcasts you would like to recommend to our readers?

I would recommend something not strictly design-related. My travels in India are integral to my work and inform not only my aesthetic awareness but also my conduct – the way I hope to go about it. It’s an astounding place, and I count myself very lucky to have friends in that part of the world.
With this in mind, I would recommend A Suitable Boy by Vikram Seth. It is not a short book, but again, reading – like design, architecture, and art – entails commitment.

12. If you could pick one interior design tip that is important to you, what would it be?

There are many often contradictory schools of thought when it comes to interior design. As both architects and designers we believe first and foremost that the spatial design is architecturally defined and this structure supports subsequent design decisions. Ultimately, I believe that an interior should tell a story – that it be brought to life. Life is an ongoing journey with a corresponding narrative. When designing homes for our clients, we want their lives to make some mark on the living spaces.

If I was afforded another tip then it would be the provision of contrast. It helps to have a little friction! A recipe is always better with a little spice thrown in, so don’t be afraid to juxtapose.

13. Finally, what are your upcoming projects? Anything you’d like to share or add to the interview?

We have a series of new country houses in the works, each one unique, exciting, and self-consciously exploratory, but always integrated into its context. Respect for Genius Loci is paramount, especially when working in the countryside. We are working on a number of existing buildings, and while we maintain a degree of respect for heritage and tradition, we are increasingly approaching these projects with an eye to reimagine and elevate. 

When thinking about Interior Design also, we ought always to bear in mind where materials come from, and how they got here – the processes they have undergone to become design objects, to become desirable. Design isn’t about keeping things as they are, it’s about material and spiritual improvement. Up-cycling is a great philosophy. It’s a form of ‘sustainable’ practice that results in a product of higher quality or value than the original. Whatever we design, let’s aim always to make it better than what was there before. 

On a final note, considering ‘luxury’ – in our work, we seek to give it fresh meaning. This new luxury is not exotic or imported, it is often the responsible repurposing of what we already have around us – those fine things which have lost their sheen, their original purpose. This ‘bricolage’ mentality is something I find very exciting.

Oxfordshire Family Haven by Richard Parr Associatesphotos © Brotherton Lock

Thank you so much Richard, this was wonderful!