Andreas Christodoulou is the Founder of House of Dré, an award winning multidisciplinary design studio established in 2020. The studio’s work spans interior design, sculpture, furniture and industrial design; and they are currently receiving much-deserved attention for a duo of hospitality projects.
House of Dré recently completed the interiors for Tom’s Pasta, a beautiful Italian restaurant in the heart of Hackney, and Crafted at Powder Mills West Sussex – the first of a new series of hideaway boutique hotels and clubs where guests are invited to step out of autopilot and into a more inspired, intentional way of living. These hospitality projects have garnered the studio, and its’ Founder Andreas Christodoulou, much praise for their attention to craft and capturing the spirit of place.
Based in East London’s Hackney Downs Studios, House of Dré works from a converted warehouse surrounded by a vibrant community of talented makers from the worlds of art, design, fashion and craft. Many of these individuals have collaborated with House of Dré and continue to do so, reinforcing the studio’s identity as part of a wider creative network.
Here, London-born Andreas – who is of Greek Cypriot heritage – discusses his journey to founding the studio, from finding inspiration in Argos catalogues to collaborating with his local design community.
What is your earliest memory of design having an impact on you?
In the nineties, my parents were avid renovators. I remember the pride they took in refurbishing our two-up, two-down Victorian terraced house. They did everything themselves, and watching that transformation at seven or eight years old left a lasting impression on me. It’s probably why I still enjoy getting hands-on with projects today.
Not long after, I started sketching the dream homes I wanted to live in and collecting Argos catalogues season after season – circling furniture and imagining interiors of my own.
Where did you study design and what did you specialise in?
I studied a BA in Architecture at the University of Kent, followed by a masters at the University of Westminster. There, I specialised in Design Studio 16, which explored the intersection of traditional craft and contemporary fabrication techniques.
Much of this work took place at Guan Lee’s renowned Grymsdyke Farm workshop – a kind of bohemian playground and meeting point for students across London’s leading design schools. We would spend months developing projects collaboratively, blurring the boundaries between art, design and fabrication. That spirit of hands-on experimentation continues to shape both my professional practice and the ethos of the studio today.
After my masters, I completed a postgraduate degree in Professional Studies (Architecture), before spending several years working at studios that combined architecture and interiors. It was during this time that I chose to focus on interiors. While many of the skills were transferable, it required learning a great deal from within the industry. Stylistically, I’ve rebelled somewhat against the rigidity of my architectural training – but it gave me an invaluable foundation for my interior design practice.
What kind of designer did you aspire to be and who are your inspirations?
Growing up, I was fascinated by Philippe Starck. I was 19 when he appeared on a reality television show called Design for Life, where contestants were set creative challenges and eliminated each week. The winner earned a place in his Paris studio. I was drawn to his charisma and the insight the show gave into the design process – it made me want to be part of that world.
My high school art tutor, knowing I initially wanted to be an architect, introduced me to Friedensreich Hundertwasser. His work – much like Gaudí’s – is deeply inspired by nature: undulating, colourful, and unapologetically human. It lifts the spirit and feels instinctively alive.
What was your first professional design commission?
My first proper professional commission was a private home in Chelsea – a beautiful townhouse for a dream client.
What has been your biggest design commission to date?
Crafted at Powdermills – a hotel and private members’ club we completed last year – has been the largest project during my five-year tenure at House of Dré. It was a full refurbishment of an existing hotel (grade II listed), making it a complex and layered project.
Although it has 66 guest rooms, which sounds modest, almost every room was different. Alongside this, there were 15 distinct public spaces. The warren of different spaces lent itself well to taking our guests on a journey – each space with its own palette and identity. It was challenging, but ultimately rewarding and this approach allowed us to create moments of discovery for guests. Working within a listed building required a sensitive and deeply considered approach – leaning into its quirks and designing in response to them rather than against them.
How would you describe House of Dré as a studio and a community of designers?
Our studio is based within a wider creative community in East London. We share space with fashion designers, graphic designers, illustrators, painters and sculptors. Being immersed in that environment keeps us inspired and connected to the cultural undercurrents that eventually shape mainstream design.
As a studio, we’re collaborative and dynamic in the truest sense. We keep our core team intentionally small, and bring in freelancers and collaborators depending on the needs of each project – whether that’s another interior designer, an artist, architect or craftsperson. It’s a bit like casting – assembling the right mix of people to bring a concept to life. This is particularly valuable in the early stages, when defining the narrative of a project. It keeps our work fresh, pushes us creatively, and ultimately leads to richer outcomes for our clients.
What are the key characteristics you look for when bringing new talent into your studio?
For creative direction, we look for dreamers and storytellers – people who bring romance, flair and new perspectives. They complement the designers who are immersed in the full delivery process. For more technical roles, such as joinery and furniture specialists, we value precision, technical understanding and a strong interest in fabrication. Stylists, naturally, bring a highly refined aesthetic sensibility.
We work with people who share our philosophy and who are already engaging similar audiences in their own way. Most importantly, they have to pass the “vibe check” – collaborative, open-minded individuals who understand that the foundation of great ideas come from building on each other’s ideas, not competing.
Where is the majority of your work based? And how has travel helped to shape and influence your ideas on design?
Most of our work has been based in the South East of the UK, although we’re actively looking to expand beyond that. Travel is a huge influence. When you work in hospitality design, you never really switch off – you’re always observing, documenting and analysing spaces.
At the same time, stepping completely outside the design world is just as vital. Visiting places that haven’t been professionally designed – or that belong to a different era or cultural context – can be incredibly grounding. Those environments often offer a rawness and authenticity that becomes a powerful source of inspiration.
What do you think should be a key focus for designers moving forward in 2026 and beyond?
We’re entering a time where almost anything we can imagine can be made. That’s incredibly exciting, but it also raises the stakes in terms of meaning and intention. As people spend more time in shared environments – hotels, restaurants, co-working spaces, private members’ clubs – there’s a growing need for spaces with depth. Narratives that unfold slowly and reward curiosity. At the same time, people are increasingly disconnected from tactile, hands-on experiences. In that context, artisans and makers – particularly those working sustainably – are becoming more valued than ever.
I believe designers should be embedding projects with real human stories: collaborations with artists, craftspeople and local communities. These relationships create authenticity and help anchor spaces and businesses within their local communities in a way that’s both inspiring and practical. As designers, we have the ability to initiate these connections, shape them, and tell those stories.
If you hadn’t become an interior designer what would you be doing?
Definitely a chef. The creative process feels very similar – you start with an idea, work with what you have, and improvise along the way. It’s about balancing intuition and technique to create something that people can experience and enjoy.
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