A Sculptural Sanctuary in Shenzhen by Kelly Hoppen

In today’s design feature, Marcia Margolius speaks with Kelly Hoppen about her recent project in Shenzhen — a sculptural sanctuary rather than a conventional interior.

The apartment is shaped by soft, flowing curves, gallery-like lighting, bespoke stone detailing, and carefully layered materials. Together, these elements create a calm, immersive environment that reflects Hoppen’s deeply emotional and considered approach to spatial design.

We also speak to Kelly more broadly about design as both practice and business, and how she continues to craft interiors that translate internationally while remaining unmistakably her own.

1. This Shenzhen project reads like a sculptural sanctuary rather than a conventional interior. At what moment did you realise the space needed to be felt as much as seen?

Very early on, it became clear that the apartment needed to offer emotional calm as much as visual beauty. Shenzhen is such a dynamic, fast-moving city that I felt the space should function almost as a retreat from that energy. The exceptional natural light immediately guided the direction of the project, allowing us to create something soft, layered and restorative. Rather than designing purely for aesthetics, we focused on how the space would make someone feel when moving through it, which is ultimately what transformed it into a sanctuary rather than a conventional interior.

2. Soft curves play a defining role throughout the design. What do curves allow you to express—emotionally or spatially—that straight lines simply can’t?

Curves bring softness, fluidity and a sense of emotional ease to a space. Straight lines can often feel rigid or formal, whereas curved forms naturally encourage movement and calmness. In this project, the curves softened the architecture and created a more organic rhythm throughout the apartment. Emotionally, they make the interiors feel more nurturing and cocooning. Spatially, they allow transitions between areas to feel effortless and harmonious rather than abrupt.

3. The lighting feels almost gallery-like, yet deeply intimate. How did you balance illumination as both a practical element and a curatorial tool?

Lighting was treated almost like a layer of architecture within the project. We approached it very carefully so it would enhance the sculptural qualities of the interiors without ever feeling theatrical. Soft ambient lighting creates warmth and intimacy, while more focused illumination highlights artworks, textures and architectural details in a very curated way. The balance comes from restraint. We wanted the apartment to feel atmospheric and emotionally engaging while still remaining highly functional for everyday living.

4. Bespoke stonework anchors the project with a sense of permanence. How do you approach stone as a living material rather than a static surface?

Stone has an incredible emotional and tactile quality when used thoughtfully. I never see it as something cold or static. In Shenzhen, the stonework was selected and detailed in a way that emphasised softness, texture and movement rather than heaviness. Natural veining, tonal variation and the way light interacts with the surface all give stone a sense of life and individuality. When paired with softer materials such as wool, linen and silk, it becomes much more sensual and human.

5. Layering is clearly central here—materials, tones, textures, moments of restraint. How do you know when a space has reached its perfect tension, just before it becomes too much?

It is always about balance and instinct. Layering should create depth and emotional richness, but never visual chaos. In this project, we worked within a restrained neutral palette, which allowed the textures and material contrasts to become the focus. The moment a space feels effortless rather than overly designed is usually when you know the balance is right. There should always be enough restraint to allow certain materials, forms or details room to breathe.

6. There’s a quiet confidence to the palette—nothing shouts, yet everything resonates. How do you decide which elements deserve to speak loudly, and which should remain almost whispered?

I have always believed that neutral interiors create a greater sense of calm and longevity. In Shenzhen, the palette was intentionally understated so the architecture, textures and sculptural forms could take precedence. Rather than relying on bold colour, we allowed materiality and light to become the focal points. Certain elements, like the bespoke rugs or curved stone details, quietly anchor the rooms, while softer linens, bouclé’s and tonal layering remain more subtle. It is about creating harmony rather than competition within a space.

7. This project feels deeply attuned to touch as well as sight. How important is tactility in your design process, especially in a space meant to be restorative?

Tactility is incredibly important because people experience interiors physically as much as visually. In a restorative environment, textures have the power to influence mood and emotional comfort in a very immediate way. Throughout the apartment we layered raw linens, organic wool, botanical silk, bouclé fabrics and hand-finished stone surfaces to create warmth and sensory depth. The goal was for every material to invite touch and contribute to the feeling of softness and calmness throughout the home.

8. Shenzhen is a city of speed and scale. How did the context influence your desire to create something so grounded, calm, and inward-looking?

The contrast between the city and the apartment became a very important part of the concept. Shenzhen’s pace and modernity naturally encouraged us to create an environment that felt slower, quieter and more contemplative. The apartment was designed almost as an antidote to the outside world, somewhere that allows people to decompress and reconnect emotionally. The neutral palette, curved forms and tactile materials all contribute to that grounded atmosphere while still reflecting the sophistication of the city itself.

9. Many of your spaces feel timeless rather than trend-driven. What does “timelessness” mean to you right now, in an era of constant visual noise?

To me, timelessness is about creating interiors that continue to feel emotionally relevant long after trends disappear. In today’s world there is so much visual overload that people increasingly crave spaces that feel calm, balanced and enduring. Timeless interiors are rooted in proportion, materiality, craftsmanship and emotional resonance rather than novelty. I think longevity itself has become a form of luxury.

10. If this interior were a piece of sculpture, what would you hope viewers carry with them after leaving the space?

I would hope they leave with a feeling rather than simply a visual memory. The apartment was designed to create a sense of calm, softness and quiet emotional clarity. If people walk away feeling more grounded, more inspired or simply more at ease, then the space has achieved what it was intended to do.

11. Was there a particular detail—perhaps something most visitors might overlook—that felt especially personal or meaningful to you in this project?

The bespoke rugs were particularly meaningful because they function almost like architectural gestures within the apartment rather than simply decorative elements. In the master bedroom especially, the organic perimeter of the rug mirrors the curved joinery and subtly reshapes the proportions of the room. It is a detail many people may not immediately notice consciously, but it deeply affects how the space feels emotionally and spatially.

12. Looking ahead, how has designing this sanctuary shaped the way you think about future projects, particularly those that blur the line between art, architecture, and interior design?

This project reinforced the importance of designing holistically, where architecture, interiors, lighting and materiality all work together as one emotional experience. I think the boundaries between art, sculpture, architecture and interior design are becoming increasingly fluid, and that is something I find very exciting. Shenzhen strengthened my belief that luxury today is less about excess and more about atmosphere, wellbeing and emotional connection. Moving forward, I am increasingly interested in creating spaces that feel immersive, sculptural and deeply human at the same time.