Zoe Masterton-Smith is the founder of Transit Studio, a London-based design practice known for architecturally-led hospitality and cultural projects shaped by narrative and place.

Previously with Foster + Partners, Conran & Partners, and Michaelis Boyd, she has worked globally, including on the award-winning RYSE Hotel Seoul and Fords Bar in London. Her recent projects span bars, distilleries, and heritage-led hospitality spaces.

We asked Zoe about her career, her creative lens, and what it takes to design spaces people actually want to be in.

How did you move into hospitality?

When I was a student, one of my projects was a bar suspended over a firework factory in an industrial viaduct. I was inspired by the hotel, bar and club world. At Michaelis Boyd I started working on restaurant projects, often several at once. We were working on Byron, where each site was completely different – even down to the signage – which was a novel approach at the time. Reinventing the wheel each time was a challenge, but a stimulating one. The pace of hospitality is also refreshing. The fastest project we did went from first seeing a site to opening in four months.

What makes hospitality clients different?

Hospitality clients are often highly experienced and completely passionate about what they do. It is a difficult industry to succeed in, so they usually have a strong commercial mindset as well.

Which projects stand out to you?

RYSE in Seoul really stands out. The client loved the idea of a pink resin floor so much that he had it poured in his office and lived with it for six months. More recently, Le Méridien Ra near Barcelona was an amazing opportunity. Its coastal setting and history provided an incredible foundation. Fords Bar at Thames Distillers was also particularly interesting, bringing together a working distillery and a hospitality space in one environment.

How do you design across different contexts?

We respond directly to each client’s brief, so every project is tailored. In Sicily, the joy was getting to know the history, materials and landscape. We used lava stone in multiple ways, reflecting the slopes of Etna. At The Groucho Club, the challenge was stitching together three buildings while maintaining flexibility. The variety of challenges is what keeps the work exciting.

What challenges have shaped your perspective?

Earlier in my career, people often assumed I had little experience. I would listen, then explain exactly how something was possible. Some situations I feared most turned out to be the most supportive. Working globally has also raised challenges, especially in the current political climate, and there are some red lines I have had to draw.