Founded in 2011 by architects Oliver Franz Schmidt, Natali Canas del Pozo, and Lucas Echeveste Lacy, El Equipo Creativo has worked with some of the world’s most prestigious chefs, consolidating their expertise in the sector. Their work has earned international acclaim and has been featured in hundreds of publications worldwide. They have received over 70 international design awards, including the Restaurant & Bar Design Awards, the Frame Awards, and the BOY Awards—each known for celebrating innovation and conceptual rigor in design.
Their list of prominent clients includes Balfeco, Casacubierta, Catalonia, Ceviche, Disfrutar, El Barri, Grup Iglesias, HI Partners, IHG Hotels, Ikibana, Kimpton, Marina Port Bell, NH Hotel Group, Salamanca Group, San Martin Merkatua, Shinsegae, Starfield, Stoneweg, Taubman, Tishman Speyer, and many others.
In addition to project-specific awards, El Equipo Creativo has also been recognized for their overall practice and methodology. They have been named Best Interior Design Firm (Architizer A+Awards), Interior Practice of the Year (WIN Awards), and Studio of the Year (The American Architecture Prize). The influential magazine FRAME listed them among the 20 most influential design studios in the world. Recent recognitions include the Architizer A+ Awards 2023, FX International Interior Design Awards 2022, Restaurant & Bar Design Awards 2021, and a place on Architectural Digest’s AD100 list. A complete list of awards can be found here. A full list of awards can be found here.
You are possibly the most awarded Spanish interior design studio currently. Isn’t that overwhelming? How do you handle it?
It is indeed a bit overwhelming… But on the other hand, receiving an award means that the jury has recognized the quality of a project, and that is very important to us. During the design process, we strive to achieve a special, unique, and high-quality result, which is part of El Equipo Creativo’s DNA. I suppose the awards demonstrate that we have achieved our goal.
Your first project as a team, the Tickets restaurant by the Adrià brothers, had an innovative and research-oriented character. Does this character repeat in other projects you have undertaken?
Absolutely. Each project begins with extensive research on any topic related to the project to seek inspiration and fit the project within its geographical or urban context, and/or hospitality or gastronomic concept.
We look into the world of art, craftsmanship, local culture, architecture, landscape, etc. We cast a wide net in our initial research to later focus on specific aspects that interest us.
The dialogue with the client is the first important phase of each project. You even speak of an exhaustive research process. What is your methodology in that initial phase of a project? How necessary is it to deeply understand the company or brand you are working for, the type of business, the values of its owners or executives?
We are clear that our client must feel the design project as their own. If we were to translate it to the fashion world, it would be like a tailor-made suit. And for that, it is absolutely necessary to take the client’s measurements well. Returning to the world of architecture and design, this means knowing the client well and understanding the soul of the project to then translate it spatially.
Is it difficult to work with clients from other countries with very different cultures, such as Korea? How deep does your understanding of those companies and their distant target audiences go?
Not at all—quite the opposite, actually. We find it incredibly interesting and enriching. Architecture and spatial design are universal languages that everyone can understand, feel, and appreciate in a similar way, which certainly helps.
I imagine you’re referring to Korea because we recently completed a major project in a city south of Seoul. Our clients were Shinsegae and Taubman Asia, two major players in the Asian shopping mall sector. The project was a 4,000 m² food hall with over 20 different culinary offerings—a complex and demanding brief at first glance.
We believe we understood what our clients needed and responded with a very fresh, energetic, and colorful proposal. We even introduced a Mediterranean touch to the space, which was exactly what they were looking for. We also learned a lot about their culture and way of life throughout the process. It was mutually enriching.
You often mention that conceptual design is the foundation of your work process—which is one of the reasons I admire you so much. Would you say that a project lacking a strong conceptual foundation risks becoming merely decorative or artistic, rather than true spatial design? In such cases, is it easy for the designer’s personal style to override the brand’s needs and target audience?
I’m not sure I fully understood the question… but building on the idea of a designer’s personal style, I’d say some studios work with a very clear and recognizable style across their projects. That’s not quite our approach. We try to create unique results for each project, avoiding a signature style and instead seeking a specific language that fits each individual case.
Of course, there’s probably a layer of El Equipo Creativo’s DNA in all our projects—shared methodologies and strategies, such as the use of color, the connection to place, immersive environments, or material experimentation. Perhaps because the three of us are architects, our interiors tend to have a fairly architectural character.
Your team has grown over the years and will likely continue to do so to meet the demand of your many projects. How do you structure your teamwork? How do you lead a now sizable team?
We’d still describe ourselves as a small to medium-sized studio. The three partners remain very involved in all projects, especially in the initial stages of concept development and design. At the same time, we’re fortunate to work with a wonderful team of architects and designers who are essential to seeing projects through to completion.
Who are your design references and the designers you admire? What are your sources of inspiration?
For example, we greatly admire Japanese architect Kengo Kuma for the way he uses and experiments with materials to create incredibly welcoming interiors. We’re big fans.
From our university days, we’ve always looked up to architects like Rem Koolhaas and MVRDV for the boldness and risk-taking inherent in their work.
Among designers, we’d mention Marcel Wanders and Philippe Starck for the playful, surprising, and sometimes irreverent edge they bring to their projects
Let’s talk about some of your projects. One of my favorites is Tunateca Balfegó. The underwater-inspired atmosphere you created is spectacular. I imagine the client was thrilled with such a captivating environment. How did the design process unfold?
The design process followed a path similar to that of our other projects. We began with extensive research into themes related to the project. In this case, Balfegó is a brand known for fishing Mediterranean bluefin tuna and exporting it worldwide. The Tunateca Balfegó’s culinary offering revolves around bluefin tuna, and the design aimed to reference various aspects of this product—its habitat, morphology, texture, color, etc.
Ikibana might be your boldest project to date, blending Japanese and Brazilian cuisines—two very different cultures. What was the briefing like? Did the client embrace your daring proposals? Are you satisfied with the result?
Actually, it was the client who asked for a space far removed from Japanese minimalism and closer to Brazilian exuberance. Ikibana has a certain club atmosphere, often with DJs and a lively nighttime vibe. The bold design, as you mention, was a perfect fit for their concept.
In projects like Hotel Vividora, Tunateca Balfegó, or the Pakta restaurant, you’ve collaborated with artisans to create pieces tailored to your design concepts. What is your relationship with craftspeople like? What role do they play in your projects?
We often design custom pieces for our projects because we like to give each space a unique and exclusive character.
Most often these are furniture pieces made by the fabricators involved in the project. For instance, we always design the restaurant tables ourselves, as we believe they deserve special attention and care.
We’ve also designed ceramic tiles or rugs in collaboration with local manufacturers, like Cumella for ceramics or Nanimarquina for rugs.
Occasionally, the pieces are more complex and require highly specialized artisans or craftspeople, whom we seek out specifically for the project. In every case, the collaboration is very horizontal—we bring an initial idea, but it evolves thanks to the know-how of the artisan.
At Exágono we’ve launched a new section dedicated to craftsmanship, as we see great potential in the collaboration between artisans, architects, and interior designers in today’s standardized world. What’s your take on this?
It’s a fantastic idea. Finding the right person for each project is often the hardest part. We’ll definitely be keeping an eye on that section.
In the Palau Fugit Hotel in Girona, each room is a true gem filled with carefully considered details. This must require close collaboration with specialists, artisans, artists, and suppliers. How do you coordinate those teams?
In the Palauet rooms at Palau Fugit, we designed several special pieces, such as the stone vanity, the wicker headboard, and the curved divan, all lovingly crafted by Martínez Otero.
In the Pavelló rooms, we used custom ceramic pieces designed by us and made by Cerámicas Cumella. From the colored stucco on the walls to the fabrics used for the curtains, every element was chosen and developed in close collaboration with each artisan or supplier.
Interior design continues to gain momentum—not only among companies but also institutions and private clients, as we showcase in this magazine. Do you have upcoming projects outside the hotel and restaurant sector?
Just this summer, we completed the redesign of the San Martín Market in San Sebastián, one of the city’s most important traditional markets. It wasn’t just an opening—it was a full renovation that introduced new gastronomic activity into the historic space
We’re also working on the complete renovation of a historic building in San Sebastián’s Ensanche Romántico, converting it into long-term rental apartments (not vacation units).
And here in Barcelona, we’re wrapping up the interior design for a private luxury residence—famously once dubbed the most expensive apartment in Spain—located in the Mandarin Oriental’s residential complex on Passeig de Gràcia.
And of course, in the hospitality world, we have several projects underway, including the upcoming opening this autumn of the Hotel Kimpton Los Monteros in Marbella, among others.
You both teach at the Istituto Europeo di Design, which I know well from my time as Head of the Graphic Design Department in Madrid. What’s it like to share your passion for design with students? Does their drive to reinvent the world inspire you? How are they different from you when you were studying architecture?
We love it—it gives us so much energy. Coincidentally, today marks the beginning of the 2024/25 edition of the master’s program we lead: the Master in Interior Design for Hotels, Gastronomic Spaces, and Retail. And personally, I feel just as excited as the new students must be right now.
And finally, Natali and Lucas—do you think you’ll ever convince Oliver to return to your beloved San Sebastián?
Ah, it seems you know us well… Our Donostian roots run deep. Oliver, a German who’s been living in Barcelona for many years, is currently head over heels for the south. So, who knows—maybe one day we’ll open a studio not only in San Sebastián but also in Cádiz or Seville. We’d love that!
Photo by Lucas Natali and Oliver, courtesy of El Equipo Creativo.
Project by El Equipo Creativo
