Designer and gallerist Rose Uniacke recently reflected on the evolving nature of interior spaces and the relationship between architecture, objects, and inhabitants. Drawing on childhood experiences of rearranging her bedroom and experimenting with spatial configurations in her first flat, Uniacke emphasized the concept that a room is never truly finished but rather reaches a state of readiness for living.

Uniacke described her approach to design as one that balances a precise architectural framework with a fluidity that allows for adaptation. She considers floor plans as starting points rather than fixed blueprints, citing a recent project involving a former coach house in London where the introduction of a distinctive dining table altered the overall balance and breathed new life into traditional forms. Her work draws inspiration from diverse traditions and cultures, focusing particularly on inventive uses of space and light.

She highlighted the influence of neoclassical architect and collector Sir John Soane, known for his practice of placing lights behind arches to draw attention to architectural features. Uniacke adopted similar techniques in her own home to enhance spatial awareness. She also admires how Soane’s residence, initially designed with functionality in mind, gradually transformed into a layered, almost fantastical environment as his collection expanded during his Grand Tour of Europe. Facing spatial limitations, Soane found inventive solutions to accommodate his growing collection, an approach Uniacke echoes in her own work by repurposing small or overlooked areas, such as converting minor recesses into tea cupboards equipped with bespoke fixtures.

Uniacke often designs homes for serious collectors and stresses the importance of maintaining a balance between a living space that feels breathable and a setting that showcases beautiful objects. She draws inspiration from Kettle’s Yard in Cambridge, where Jim and Helen Ede curated a dynamic collection of 20th-century art within their home between 1957 and 1973. The continuously changing arrangement of objects at Kettle’s Yard, described by Jim Ede as “a space, an ambience, a home,” embodies the idea of fostering ongoing conversations between objects rather than assembling fixed displays.

For Uniacke, one guiding principle is to avoid answering all design questions upfront, allowing rooms to remain adaptable environments that encourage activity, thought, and evolving narratives. She believes that overly treasured or static spaces can feel uncomfortable, whereas rooms that offer both identity and flexibility invite inhabitants to feel at once held and free. While the precise quality she seeks in a space is difficult to define, Uniacke likens it to a “question mark” that invites curiosity and possibility, continually prompting the question, “What next?”