Artep Studio’s Signature Touch: Crafting Atmospheres, Not Just Interiors

At Artep Studio, design transcends surface—it speaks to the soul. Each project begins not with blueprints, but with attentive listening. The team attunes itself to the space, the story, and the subtle cues that reveal its unique character. Whether shaping sculptural installations or crafting interiors that whisper rather than shout, their work encourages a slower, more intentional engagement with design—one where contrast, texture, and emotion take centre stage.

In this exclusive interview, Artep Studio’s creative director, Petra Maierhofer, shares her insights into the studio’s philosophy, creative process, and the quiet power of design with depth.

Artep Studio is known for its intuitive and culturally sensitive approach to design. How do you begin the process of understanding the ‘intrinsic character’ of a space before designing for it?

It always starts with listening. To the space, the people, the story behind the project. I don’t come in with a fixed idea. I come with curiosity. Whether it’s a private residence or a public installation, I try to absorb the rhythm of the environment: the light, the materials, the silence in between. That’s when the ‘intrinsic character’ starts to speak. And I don’t mean that in a mystical way, sometimes it’s as simple as noticing a raw concrete column that wants to stay exposed.

Your work explores contrasts—classic and modern, sculptural and simple. What draws you to this balance, and how does it shape your creative decisions?

I like tension. Not drama, but the dialogue between opposites. A soft texture next to a sharp edge. A sculptural form in a minimalist space. That contrast creates energy. It’s a bit like salt in chocolate – unexpected, but once you’ve tried it, you get it.

You often speak of a ‘slow aesthetic.’ How do you define this concept, and why is it especially important in today’s fast-paced design world?

Slow aesthetic is about design that reveals itself over time. It doesn’t scream for attention. It invites you in. It’s beautiful on day 1, but by day 100, it has become part of your life. In a world obsessed with instant gratification and trends that expire quicker than yoghurt, I’m drawn to pieces that age with grace. The kind you can live with, not just look at.

Materiality is central to your practice. How do you select materials for your projects, and what role does sustainability play in those choices?

Materials are never just decorative – they hold weight, quite literally. I work with materials that have presence: real metal, stone-like textures, organic surfaces. I also believe in using less but choosing well. Sustainability isn’t a side note. It’s at the core of how we work. Every material we use has to earn its place, not just aesthetically but ethically. We avoid excess, favour engineered solutions where possible, and actively look for ways to reduce our environmental impact without compromising on quality or beauty.

Liquid Metal is a perfect example. By applying real metal as a skin, we achieve a luxurious, durable finish using a fraction of the raw material compared to solid metal. That’s 90% less waste, with 100% of the presence. It’s not just about making something beautiful. It’s about making something that lasts, and doing it responsibly.

How do you see surface design as more than just a finishing layer—but as a storytelling medium in itself?

Surface design is like the skin of a space. It holds memory, atmosphere, emotion. It can tell you where you are, what kind of light falls in that room, what kind of hand shaped that texture. It’s never just a ‘finish’ to me. It’s often the beginning of the story. Especially when we work with Liquid Metal. It’s not paint, it’s real metal applied by hand. Each surface becomes its own character.

Your attention to detail is deeply evident across all scales. How do you ensure that this commitment is carried through from concept to final execution?

I care deeply about execution, because ideas are only as strong as their delivery. We’re living in a moment flooded with AI-generated images and perfect renders, but for me, the real challenge – and reward – is turning those dreamlike visions into tangible, physical work. That means staying close to every step of the process, making sure the materials speak the same language as the concept. I’m not here to create fantasies. I’m here to make them real – through texture, form, and a level of detail that holds up under scrutiny.

Can you tell us about your concept for the Decorex Cape Town installation? What was the inspiration behind the textures and forms on display?

The concept was driven by atmosphere. We wanted people to feel something. A shift in pace. A moment of stillness. Sculptural artworks anchored the space, setting the tone for a slower, more intentional experience. Every texture had a role: from the hand- applied metals that caught and held the light, to the stone-like surfaces that offered contrast and grounding. A large modern distressed mirror introduced memory and distortion, inviting visitors to see themselves differently, even if just for a second. It was about building a space that felt layered and intentional where every surface contributed to the mood. Not just a stand, but a moment that lingered. One that made people pause, not stroll past.

What was it like collaborating with Midas METALL for this project? How did that partnership shape or expand the creative outcome?

Liquid Metal kind of found me. About 2 years ago, I was deep in one of those never-ending searches for new materials for my artworks, and suddenly, there it was. A product that wasn’t just a coating, but a real, tactile metal surface with sculptural potential. I saw the possibilities immediately and ran with it. Having the inventor, Wolfgang Napp, and Midas Metall CEO Silvana Conradi at Decorex was incredibly meaningful. It gave the material weight, literally and figuratively, and allowed us to show the South African market that this isn’t a trend. It’s a serious, innovative product with backing, legacy, and versatility. For me, it’s not just about introducing something new. It’s about making people feel comfortable with it. Trusted. Inspired. That’s where collaboration really matters.

The lighting design from Willowlamp added a sculptural and atmospheric dimension to the installation. How did that collaboration come about, and how did it contribute to the overall experience?

This wasn’t my first time collaborating with Willowlamp. The large sculptural artwork on the exterior of the stand – titled Protea – uses the exact same pattern as the top view of Willowlamp’s iconic Protea Chandelier. It’s a subtle nod, but a very intentional one. The artwork was originally created in collaboration with Elisha Annandale from Decor Identity for a private project featuring a dramatic double-volume staircase and a massive custom Protea chandelier. We wanted to mirror that sense of presence and elegance in a sculptural form that could live on its own, yet still feel like part of the same emotional landscape. Every artwork I design has a personal story, and this one was about extending a moment. Continuing the dialogue between light, space, and form to create something immersive, not just visual.

The RTD Mirrors played a significant role in reflecting and enhancing the concept of time within the stand’s design. Could you share your vision behind incorporating these mirrors and how they interact with the overall installation?

Working with RTD Mirrors was a joy. They’re a young company, but their talent, dedication and creative instinct are well beyond their years. These weren’t just mirrors; they brought atmosphere. We used them to introduce movement, reflection, and a sense of time. The modern distressed finish softened the space and added emotional texture, just enough distortion to make people stop and look twice. They played a quiet but powerful role in shaping the mood of the stand and I have no doubt we’ll see a lot more from them in the future.

Visitors described the installation as immersive. How did you approach creating an experience rather than just a display?

We didn’t want a stand that said “look at me.” We wanted one that whispered, “come in.” It was about mood, not marketing. We removed the ceiling to let the space breathe, used dark walls to hold focus, and placed each element like a quiet conversation starter. It was less ‘booth’ and more ‘moment.’

What message or feeling were you hoping to leave visitors with after experiencing your Decorex stand?

Curiosity. Calm. That sense of “I didn’t expect this here.” I wanted people to walk away feeling like they’d seen something thoughtful – something tactile and a little bit soulful. And ideally, with a question in their head about how surface design and sculptural art can do more than decorate. It can anchor a space.

Looking ahead, what new materials, influences, or design directions are you currently exploring at Artep Studio?

We’re experimenting with more organic surfaces – materials that feel almost geological in texture. We’re also expanding our sculptural work, blending lighting and metal in more unexpected ways. And we’re going global, with upcoming work in Dubai and USA that pushes our scale and ambition even further. It’s a busy season – but a good one.

How do you envision the future of surface design evolving—especially in relation to architecture and spatial storytelling?

Surface design will become more embedded – literally and metaphorically. It won’t be about slapping on a pretty finish; it’ll be about integrating texture, tone, and emotion into the architecture itself. Especially as AI and automation push design into slick perfection, I think there’ll be a counter-movement toward the tactile, the imperfect, the handmade. That’s where I want Artep to live – in the place where design meets feeling.