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Introduction: What does an interior designer contribute to an architectural project? How can 3D modeling help clients understand their homes before construction? And how should design professionals approach fees, contracts, and client relationships? In this edited conversation from A Well-Designed Business, host LuAnn Nigara talks with John and Theresa Dorlini of CIRCLE Design Studio about the business and practice of integrated architecture and interior design.
Editor's note: This is an edited, condensed transcript based on the original podcast conversation. Repetitions, incomplete speech, overlapping remarks, and unrelated promotional material have been removed. Responses have been lightly reorganized for clarity without intending to change the speakers’ substantive points. Software prices and business circumstances discussed in the original recording are historical, not current guidance.
WHY INTERIOR DESIGNERS BELONG IN THE ARCHITECTURAL PROCESS
LuAnn Nigara: Why should someone building a home hire an interior designer if they already have an architect and a builder?
John Dorlini: An interior designer asks questions that the architect or builder may not have considered. Architects and builders have legitimate concerns about structure, building codes, and construction costs. Interior designers bring another layer of thinking about how a space functions every day, as well as on special occasions.
Theresa Dorlini: John’s undergraduate degree is also in interior design, which informs the way we approach architecture. We have worked on projects where we were hired as the interior designers after an architect and builder were already involved. Sometimes, by the time we arrive, we discover that the completed design does not reflect what the client thought they were getting.
John Dorlini: Clients often cannot interpret floor plans and elevations the way design professionals can. If we identify problems late in the process, correcting them can involve additional costs and change orders. That puts us in the uncomfortable position of delivering bad news, even though the underlying issue is that the design did not meet the client’s expectations.
Theresa Dorlini: One client had already poured the foundation before we modeled her home in 3D. Only then did she realize that the design did not include the foyer she expected.
LuAnn Nigara: That is a significant communication gap. It does not necessarily mean the architect or builder did a poor job. Their attention is divided among many responsibilities, while the interior designer can focus more deeply on the living environment.
John Dorlini: That is one reason we invest so much in 3D visualization. We can walk clients through the home and ask practical questions: Did you realize there is no foyer? Will the afternoon sun require extensive window treatments? Can you see the lake from the kitchen, or does the layout direct your view toward a wall? Seeing those conditions makes the conversation much more concrete.
DESIGNING IN 3D: SKETCHUP, REVIT, AND CLIENT VISUALIZATION
LuAnn Nigara: What software do you use to develop those models?
John Dorlini: We begin in SketchUp. Once the design is approved, we move into Revit to develop the construction documents. SketchUp is already a 3D modeling program, and it allows us to explore ideas quickly. We can compare alternatives, turn model elements on and off, save views, and produce still images or walkthrough videos.
Theresa Dorlini: We do not start with a set of two-dimensional plans and wait until the end to make a 3D model. We design in 3D from the beginning. SketchUp is fast and intuitive for conceptual work, while Revit supports the more detailed documentation that follows.
John Dorlini: Another advantage is the extensive library of components available for SketchUp. We can populate a room with furnishings, materials, and other elements rather than drawing everything from scratch. That helps us show a client what a room will look like when it is actually occupied. We want to understand furniture placement before discovering, during construction, that the television is on the wrong wall or that a window is poorly positioned.
Theresa Dorlini: We have seen houses where the owners move in and realize their furniture does not fit comfortably. That is a painful discovery after investing so much in a new home.
LuAnn Nigara: For an emerging designer, does learning 3D modeling require a major investment?
John Dorlini: At the time of this conversation, there were accessible ways to try SketchUp, and online tutorials made it possible to learn the fundamentals without a large training budget. Designers can also work with someone who already knows the software.
Theresa Dorlini: Many design students learn SketchUp, so an intern or junior designer may be able to help. I am not the most technologically inclined person in our office, but I can use it. You do not have to become a software expert to benefit from it.
LuAnn Nigara: It can also make a younger design firm look more professional. Outsourcing modeling may be a sensible investment if it allows a designer to present ideas more effectively.
John Dorlini: We have even proposed what we call a design audit for clients who already have plans. We model the existing proposal, identify missed opportunities, and show an alternative. The ability to compare those versions visually is powerful.
Theresa Dorlini: It is often a disconnect between what the client imagines and what the drawings communicate. A client may have spent a year collecting inspiration images, but those qualities are not necessarily reflected in the plan. We also use mood boards alongside our 3D models because words such as ‘modern’ can mean very different things to different people. Images help establish a shared understanding.
COLLABORATION BETWEEN ARCHITECTS, DESIGNERS, AND BUILDERS
LuAnn Nigara: What happens when an interior designer enters a project after the architect and builder have already started? How do you manage the relationship without creating conflict?
John Dorlini: When the designer is hired by the client, the designer has an obligation to share professional concerns with that client. The client can then discuss the implications with the architect and builder, sometimes with the designer present. Because we also have architectural experience, we can help evaluate whether a proposed change is feasible and whether the associated costs are reasonable.
Theresa Dorlini: We have learned to clarify our role before getting started. Are we selecting finishes within the existing design, or are we expected to design elements such as a custom fireplace or changes to the architecture? Where are the boundaries? Ideally, we meet with the client and architect together early on. That gives everyone an opportunity to ask questions and understand the scope.
LuAnn Nigara: So the goal is to establish expectations and let each professional understand how the other contributes.
Theresa Dorlini: Exactly. Defining responsibilities early makes the working relationship much better.
John Dorlini: Our proposals describe the range of services we can provide, even when a client chooses only a portion of them. Those services can include 3D modeling, finish selections, fixture and furniture procurement, custom furniture, construction drawings, construction involvement, and final installation or staging. Clients should understand the options before deciding what they need.
Theresa Dorlini: Our completed projects help explain that process. We can show a client what happened when we joined after construction began, or when we handled architecture, interiors, construction, and furnishings together. A finished photograph may look effortless, but getting there requires careful discovery, coordination, and decisions throughout the project.
SHOWING CLIENTS THE VALUE OF THE DESIGN PROCESS
LuAnn Nigara: Designers often assume clients understand everything involved in a project, but they usually do not. How do you communicate the process?
John Dorlini: A process page may not be the most visually exciting part of a website, but it is important. When we meet with clients, we may bring a laptop with 3D models, a portfolio, drawings, and finished photographs. We have also discussed creating a book that brings those pieces together so clients can understand how a project moves from concept to completion.
Theresa Dorlini: Some clients have already studied our work, including the walkthroughs, mood boards, and finished photography. Others need help connecting those stages. Putting the material together in one place would make it easier to understand.
LuAnn Nigara: A process book could show the project at each stage, from the first drawings through construction and final photography. That would make the work behind the finished result visible.
Theresa Dorlini: After years in business, we have developed a process that follows recognizable design stages: programming, schematic design, design development, and construction documentation. Those stages exist for a reason. We have learned that skipping them usually does not serve the client.
UNDERSTANDING DESIGN FEES AND PROFESSIONAL VALUE
John Dorlini: I often compare the design process to cooking. Anyone can buy ingredients, but that does not mean they can create the same experience as a trained chef. A client is paying for professional knowledge, judgment, coordination, and execution, not simply for a collection of products.
LuAnn Nigara: That is especially important when designers struggle with charging for their services or earning a margin on products. Clients are paying for the expertise involved in choosing the right scale, material, quality, and combination of furnishings, as well as the convenience of having a professional manage the work.
Theresa Dorlini: Design comes intuitively to me, and that can make it easy to undervalue. But that intuition reflects years of practice. Watching design television or having a good eye is not the same as professional training and experience. We also have employees, families, and business expenses. Creative work still has to support a sustainable business.
LuAnn Nigara: Enjoying your work does not diminish its value. Being good at something is a reason to charge appropriately, not a reason to give it away.
Theresa Dorlini: Early in your career, you may feel pressure to accept every project. Eventually, if you develop the necessary competence and confidence, you can become more selective. That is important because design is a service business. Our job is to serve clients, not simply pursue our own artistic interests.
CORE VALUES, CLIENT FIT, AND SAYING NO
LuAnn Nigara: How did you learn to recognize when a prospective client was not a good fit?
John Dorlini: One helpful exercise was developing our core values and mission statement with the team. We identified the kinds of work and relationships that mattered to us. Interestingly, it was often easier to describe the projects we did not want. That helped clarify the work we did want to pursue.
Theresa Dorlini: When we meet clients, we want to know whether they appreciate our approach and the value of the process. We are not the right firm for every project. It is rewarding to reach a point where we can recognize that before making a commitment.
John Dorlini: We once had a prospective client repeatedly push for a lower fee. I suggested that they hire the firm offering the lower price. They eventually returned and agreed to our fee. That experience reinforced the importance of understanding and standing behind our value.
LuAnn Nigara: If the client has a smaller budget, there is a difference between adjusting the scope and discounting the professional rate.
Theresa Dorlini: Exactly. If the fee is beyond the client's budget, we can discuss reducing the scope. Perhaps we design the kitchen now and the bathroom later. But reducing the amount of work is different from saying our time or expertise is worth less.
LuAnn Nigara: And how do you decline a project when the problem is not the fee but the relationship?
Theresa Dorlini: Be respectful and honest. We have learned to pay attention to warning signs during early meetings. If clients are already in serious conflict with each other or our process, that strain may continue for months. We need to be thoughtful about the emotional energy we commit to a project and the responsibilities we have outside work.
CONTRACTS, SCOPE, AND CLIENT COMMUNICATION
LuAnn Nigara: What happens if a project becomes difficult after the agreement is signed?
John Dorlini: Our contracts include general conditions that describe responsibilities, notice requirements, and circumstances under which the agreement can end. When a project stalls or the relationship becomes unproductive, having the terms in writing gives everyone a clear reference point.
Theresa Dorlini: Documentation is essential. We cannot rely on memory when we are managing many projects. Finish schedules, written approvals, and project records let us return to a decision and see exactly what was agreed upon.
LuAnn Nigara: Do you account for extra work when clients delay decisions or introduce new information?
John Dorlini: We have revised our agreements to address additional services when new information or significant scope changes arise. If a client expands a project substantially after the original fee is established, that changes the work required. The important thing is to communicate those conditions clearly before they become a dispute.
LuAnn Nigara: Communication boundaries matter too, particularly when clients text late at night and expect immediate responses.
John Dorlini: We have asked clients to communicate by email so that questions, changes, and approvals are documented. We also try to understand what is driving the concern. Often, clients want reassurance that someone is listening and taking responsibility.
Theresa Dorlini: Email can prevent misunderstandings because it provides a record. For difficult conversations, though, a phone call or face-to-face meeting may be better than exchanging messages where tone can be misread.
LuAnn Nigara: A welcome packet and clear explanation of how your firm works can prevent many of those problems before they happen.
Theresa Dorlini: People generally want clarity. They want to know what is expected of them, what they can expect from us, and how decisions will be made. Structure is reassuring.
FURNITURE PROCUREMENT AND FLEXIBLE SERVICE MODELS
LuAnn Nigara: How do you handle clients who want your furniture recommendations but prefer to purchase the items themselves?
John Dorlini: We learned that preparing a detailed furniture proposal requires substantial work. We now distinguish between the design service and procurement. If a client wants to shop independently, the design work still has value and needs to be compensated.
Theresa Dorlini: We ask clients about their preferences early. Some people love shopping and want to visit showrooms themselves. Others want us to handle the entire process. We can work either way, provided the responsibilities and fees are clear.
John Dorlini: When clients purchase through us, we manage more than the initial selection. There is ordering, coordination, delivery, and resolving problems if something arrives damaged. Those services are part of the value.
Theresa Dorlini: A client once decided to purchase from our proposal on her own and later told us she wished she had let us handle it. We remained on good terms. The experience simply demonstrated that procurement is work, and clients do not always see that until they try it.
LuAnn Nigara: The important thing is that the client understands the options and the designer is paid appropriately for the work performed.
Theresa Dorlini: Exactly. We can be flexible about how clients use our services without giving away the design expertise that makes those services valuable.