Interviews with Silvia Schaeffer

I believe bookstores today have a much broader role than simply selling books. They are becoming places for connection, conversation, and cultural exchange. From the beginning, I envisioned Aera Bookstore as a community destination a place where people would want to stay, meet friends, attend events, work, read, and simply enjoy being there.The design intentionally creates different experiences throughout the space. Some areas encourage gathering and interaction, while others provide moments of quiet reflection and intimacy. This balance allows the bookstore to serve many different types of users and activities throughout the day.In smaller American cities and regional communities, spaces like this can have an especially meaningful impact because they become cultural anchors. They offer opportunities for people to reconnect with their local community in an increasingly digital world.I think Aera demonstrates that retail can move beyond a purely transactional model. When commercial spaces are designed to foster belonging and encourage people to linger, they create emotional connections that are ultimately more valuable and lasting than the act of purchasing itself. In that sense, the future of bookstores and cultural retail lies in creating places that people identify with and feel a sense of ownership toward a true community living room.

The material selection process was guided by three principles: durability, warmth, and long-term value. Every decision involved balancing environmental considerations, aesthetic goals, and budget realities.I researched and tested different flooring materials, finishes, and millwork solutions, always asking the same questions: How will this material perform over time? How much maintenance will it require? Can it withstand heavy daily use? And does it contribute to the overall experience we wanted to create?For the flooring, we ultimately selected a solution that offered the warmth and appearance of wood while providing the durability and ease of maintenance required for a high-traffic commercial environment. For the finishes and millwork, we prioritized materials and fabrication methods that minimized waste, improved longevity, and allowed for efficient construction.The modular millwork system was especially important because it enabled us to maximize resources and create flexibility for the future. If the bookstore’s needs evolve over time, many elements can be adapted rather than completely replaced, which is also an important aspect of sustainable design.Aera Bookstore demonstrates that sustainability, creativity, and financial pragmatism are not opposing ideas. In fact, constraints often lead to better design decisions. By carefully studying materials and understanding their long-term performance, we were able to create a space that feels warm and timeless while remaining financially responsible and environmentally conscious.

Receiving recognition from the A’ Interior Space, Retail and Exhibition Design Award is incredibly meaningful because it validates the idea that thoughtful, human-centered design can have an impact far beyond aesthetics. For me, Aera Bookstore was never just about creating a beautiful retail environment, it was about creating an experience and a place that people genuinely want to be part of.In terms of innovative use of space, the project transformed a large open floor plan into a series of distinct yet interconnected experiences. Through the use of the custom wooden pergola system, flooring transitions, and carefully planned circulation, we were able to create areas for browsing, gathering, reading, and community interaction while maintaining a strong sense of openness and cohesion.Accessibility was also fundamental to the design. I wanted every visitor to feel welcome and comfortable in the space. The layout was intentionally designed with clear circulation paths, intuitive wayfinding, and flexible areas that can accommodate different ages, abilities, and ways of experiencing the bookstore.From a cultural perspective, I believe Aera Bookstore reflects a growing global desire for spaces that foster human connection. Today, people are looking for environments that encourage them to slow down, engage with their community, and create meaningful experiences. The bookstore was designed not simply as a place to purchase books, but as a cultural destination where people can gather, learn, and connect.This international recognition is especially important because it highlights the value that well-designed spaces can bring to local communities. Awards are certainly an honor for the designer and the client, but their greatest significance lies in demonstrating that investing in thoughtful design has the power to enrich everyday life, strengthen communities, and create places that people genuinely care about.For my clients, this recognition reinforces the idea that design excellence and commercial success can coexist. For the community, it is a reminder that even in smaller cities and regional markets, it is possible to create spaces with global design relevance while remaining deeply rooted in local needs and human experiences.

One of the biggest challenges of the project was the existing ceiling. Due to both structural and budget limitations, replacing it simply wasn’t an option. At first, it seemed like a significant constraint because the ceiling was very high and visually overwhelming for the intimate and welcoming atmosphere we envisioned for the bookstore.Instead of fighting that condition, I decided to embrace it and reinterpret it. Painting the existing ceiling black allowed it to visually recede into the background, minimizing its presence and creating a sense of depth. This approach also enabled the new architectural elements to become the focus of the space.That decision led directly to the introduction of the wooden pergolas. Rather than trying to conceal the ceiling entirely, we created a secondary layer that redefined the human scale of the interior. The pergolas visually lowered the space, organized the different functional zones, and became the structure that integrated lighting, circulation, and spatial identity.The contrast between the dark ceiling and the warmth of the wood was also essential. It created a stronger architectural composition and made the bookstore feel both contemporary and inviting. What initially appeared to be a limitation ultimately became one of the project’s defining characteristics.This experience reinforced something I strongly believe as a designer: constraints often generate the most creative solutions. Some of the most meaningful design ideas emerge not when we have unlimited resources, but when we are challenged to rethink what already exists and discover new possibilities within those boundaries.Aera Bookstore reminded me that good design is not about having perfect conditions, it is about transforming limitations into opportunities and creating spaces that feel intentional, memorable, and deeply connected to the people who use them.

From the very beginning, my goal was not simply to design a bookstore, it was to create an experience. I wanted people to feel welcomed, inspired, and comfortable enough to stay, explore, and connect with the space. Every design decision was filtered through one question: “How do I want people to feel when they are here?”That emotional intention directly influenced the material and spatial choices. The warm wood finishes were selected to create a sense of comfort and familiarity, qualities that naturally complement the experience of reading and discovery. The generous use of greenery introduced an element of nature and calmness, softening the commercial environment and making the space feel more alive and inviting.The curved furniture was also intentional. Curves create a softer and more approachable environment, encouraging movement and interaction while avoiding the rigidity often found in retail spaces. I wanted the bookstore to feel fluid and welcoming rather than formal or transactional.Lighting played an equally important role. Instead of relying on uniform illumination, I layered different lighting conditions to create depth, intimacy, and visual comfort. The integrated lighting within the wooden pergolas helped define different atmospheres throughout the bookstore and guided visitors through the space in a subtle and intuitive way.My design process always begins with listening. During the first conversations with the client, I try to understand not only the functional requirements but also the emotions and experiences they want people to have. From there, I develop the concept, create mood boards, study circulation patterns, and carefully select materials that support the desired atmosphere.Throughout the design and construction phases, I continually refine and adjust details, because creating an emotionally layered space is not about a single design gesture, it’s about the accumulation of many thoughtful decisions working together.By the final stages of construction, I'm paying attention to every detail, from the texture of materials and the quality of light to the way people move between spaces. For me, the success of a project like Aera Bookstore is measured not only by how it looks, but by how it makes people feel. When visitors choose to stay longer, gather, read, and return, we know the space has achieved its purpose.

Aera Bookstore reinforced something I strongly believe: the future of commercial design is no longer about creating spaces with a single purpose. People increasingly seek environments that can adapt to different activities, foster human connection, and evolve alongside the communities they serve.From the beginning, I designed Aera to function on multiple levels. It needed to operate as a bookstore and café on a daily basis, but it also had to accommodate book clubs, workshops, film screenings, lectures, and social gatherings. This required me to think beyond traditional retail planning and create a flexible framework that could support changing uses without losing its identity.The multifunctional zoning was essential to this approach. Rather than relying on rigid boundaries, I created distinct areas that remain visually connected and can easily transition from one activity to another. The pergola system, furniture layout, and lighting strategy all contribute to defining spaces while maintaining openness and adaptability.I also paid close attention to comfort and atmosphere. Elements such as wood finishes, soft materials, greenery, and spatial layering help create a sense of intimacy and contribute to acoustic comfort, making it possible for different activities to coexist within the same environment.I believe projects like Aera represent a broader shift in interior design. Cultural and commercial environments are becoming increasingly hybrid, and their success will depend on their ability to offer meaningful experiences rather than simply accommodate transactions. Spaces need to be flexible, emotionally engaging, and capable of bringing people together.For me, this project has further strengthened our commitment to designing spaces that are community-driven and experience-oriented. Moving forward, I will continue exploring how architecture and interior design can create environments that are adaptable, multifunctional, and deeply connected to the people who use them.Ultimately, I believe the future of interior design lies in creating places that can evolve over time, spaces that support different forms of interaction, encourage community, and remain relevant as people’s needs and lifestyles continue to change.

If there is one lesson that Aera Bookstore reinforced for me as a designer, it is that meaningful design is not determined by the size of the budget or by having ideal conditions. It is determined by having a clear vision and understanding how a space can positively impact the people who use it.When I first approached this project, I was faced with significant limitations. The space was a vacant office with structural constraints, budget restrictions, and existing conditions that simply could not be changed. But instead of seeing those limitations as obstacles, I chose to see them as opportunities to think differently and focus on what truly mattered: creating a place that felt welcoming, inspiring, and deeply connected to its community.One of my strongest beliefs is that the most powerful spaces are not necessarily the most expensive or technologically advanced. They are the spaces that create an emotional connection and make people feel something, comfort, curiosity, belonging, or inspiration. Those experiences often come from thoughtful decisions about scale, materiality, light, and the way people move through and interact with a space.As a designer, I always begin by asking myself one simple question: “How do I want people to feel when they are here?” The answer to that question becomes the foundation for every design decision that follows. It is a much stronger guide than any trend or aesthetic preference.Aera Bookstore also reminded me that constraints can become catalysts for creativity. Some of the project’s most defining features, the black ceiling, the wooden pergolas, and the flexible, community-centered layout, emerged precisely because I had to work within fixed conditions and limited resources.Ultimately, I believe design has the power to transform everyday life and strengthen communities. Even modest projects can have a profound social impact when they are approached with empathy, intention, and a genuine understanding of human needs. That is the most important lesson I take from Aera Bookstore, and it continues to guide me in every project I design.

One of the most important lessons I learned from Aera Bookstore is that existing conditions should not automatically be seen as problems to solve or elements to hide. Sometimes, they can become an essential part of the design narrative.When I first saw the space, I knew that replacing the ceiling was not feasible due to both structural and budget limitations. Instead of fighting against that reality, I asked myself how I could transform it into an advantage. Painting the existing ceiling black allowed it to visually recede, almost disappearing into the background. By doing so, the new architectural interventions, the wooden pergolas, lighting, and spatial organization, could become the protagonists of the project.I have always believed that good interior design is based on hierarchy and visual composition. Every space needs moments of emphasis and moments of restraint. In Aera, the dark ceiling became the quiet background that allowed the warmth and texture of the wood to stand out. The contrast created depth, defined human scale, and brought a sense of intimacy to a space that initially felt too large and impersonal.This experience reinforced my belief that there is an important dialogue between architectural constraints and interior design language. Constraints often force us to be more intentional and to make stronger, more thoughtful decisions. Instead of asking, “How can I eliminate this condition?” I now often ask, “How can I use this condition to strengthen the story of the space?”The spatial language that emerged from Aera has absolutely influenced the way I approach subsequent projects. I have become even more interested in working with existing structures and finding ways to reinterpret them rather than replace them entirely. I believe there is something incredibly powerful about layering new interventions onto existing architecture in a way that feels honest, intentional, and meaningful.As a designer, I have learned that some of the most memorable spaces are created not despite their constraints, but because of them. Aera Bookstore reminded me that creativity often begins where limitations exist, and that thoughtful design can transform fixed conditions into defining elements of a project’s identity.

From the very beginning of the Aera Bookstore project, I approached the design from the perspective of the user experience rather than simply the physical layout. I wanted to understand how people would move through the space, where they would naturally pause, how they would discover different areas, and, most importantly, how they would feel throughout that journey.The circulation was carefully mapped to create a sense of exploration and discovery. Instead of designing a direct, transactional path, I wanted people to experience the bookstore gradually, moving from one atmosphere to another. The shelving layout, the placement of the pergolas, and the transitions in lighting and furniture all work together to gently guide movement while allowing moments of pause and spontaneity.The shelving was intentionally positioned to maintain visual connections across the space while also creating smaller, more intimate zones. I believe bookstores should encourage both curiosity and comfort, so it was important to avoid creating either a completely open environment or one that felt too compartmentalized.The media area required a different set of considerations. Because it hosts screenings and gatherings, we paid close attention to creating a sense of separation and comfort within the larger open plan. Material choices, furniture placement, and spatial layering all contributed to creating an environment that could support different levels of activity while remaining connected to the rest of the bookstore.The use of greenery, natural materials, and layered lighting was also intentional. I often think of these elements as emotional tools. As visitors move through the bookstore, the atmosphere subtly changes. Some areas feel more energetic and social, while others feel quieter and more reflective. Those shifts are not accidental; they are carefully orchestrated through materiality, scale, light, and the degree of enclosure.For me, spatial storytelling is about creating a sequence of experiences rather than designing a single room. Every space should have moments of openness and moments of intimacy, areas that invite gathering and others that encourage contemplation. The most successful environments are those that allow people to choose how they want to engage with the space at any given moment.One of the principles that guided me throughout Aera Bookstore was the idea that people seek both connection and retreat. A solitary reader should be able to find a quiet, comfortable corner, while a larger group should feel equally welcomed and energized during an event or gathering. Achieving that balance is, in my opinion, one of the greatest challenges and opportunities in contemporary interior design.Ultimately, I wanted Aera Bookstore to feel like a journey—one that unfolds gradually, offers moments of discovery, and allows every visitor to create a personal relationship with the space. I believe that when design can support different emotions and different ways of inhabiting a place, it becomes much more than an interior; it becomes an experience that people remember.