I first met Bennett C. Lo in the mid-90s, working at the iconic design office of Burton Kramer. It was there, where we collaborated on branding and space design projects, that we struck up a creative rapport. We always had strong dialogue, not just about design decisions, but about the why behind them. Even early on, Bennett had a thoughtful, deliberate approach to his work, and our conversations often pushed each other to think more critically, more strategically.

That spirit of dialogue between creative collaborators and between disciplines has shaped both of our careers ever since. Bennett went on to found Dialogue 38, an internationally recognized interior design firm known for refined, modern environments across North America, Europe, and Asia. The studio got its start in Toronto, helping launch one of the city’s first Asian fusion restaurants—a bold, genre-defining concept that helped shape the future of contemporary dining spaces in the city.

Since then, Dialogue 38 has built an impressive portfolio, including recent standout projects like Yu Seafood, an upscale Chinese dining experience at Yorkdale Mall and in Richmond Hill, and the rebranding of Air Canada’s Maple Leaf Lounges in two of Europe’s busiest airports—Frankfurt and London Heathrow Terminal 2B. Each project, whether a hospitality destination or a high-traffic transit lounge, reflects the firm’s commitment to crafting purposeful, elevated experiences through space.

We worked together on some of those early hospitality projects, where I helped create the brand identity and image that supported Bennett’s spatial concepts. It was always about more than just logos and layouts—it was about alignment, tone, and experience.

Today, our work lives in different design disciplines, but the challenges we face are strikingly similar: how to turn ideas into impact, how to balance creativity with business needs, and how to keep the conversation open—with our clients, with ourselves, and with the people we’re designing for.

I caught up with Bennett recently to talk about all of it.

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Will Hum: Hello old friend! Are you ready to get started?

Bennett C. Lo: You're going to make me look good right?

Will: Don’t worry I’ll be nice!

Bennett: Right. Okay.

Will: Your firm is named Dialogue 38. What does dialogue mean to you in the context of design – and in your work?

Bennett: To explain that, I’ll need to give you a bit of history. When I first started the company, it was honestly a bit of a scramble. Remember how we used to go to Spring Rolls all the time? We became regulars.

Will: Yep. I remember it was one of the firsts, if not the first, Asian-fusion restaurants to serve  traditional Chinese dishes in a modern setting. We got to know the owner pretty well.

Bennett: Right. One night after dinner, he sat down with me and said, “You’re a designer, and you’ve got good taste. What do you think of the food and the concept?” I told him he had a great idea. Then he asked, “What about the space?” I said, “It’s okay.” He laughed and said, “You think you could do better?” I said, “Of course I can.”

Then he said, “Well, I’m building a new restaurant next door. Why don’t you show me?” And I just said, “Sure, let’s do it!”

Will: Ah yes, ****I remember this. Brilliant. So confident.

Bennett: After the first project, it turned out really well. The restaurant concept took off, and within a year, we were doing another one. At that time, I was still working full-time at Kramer. Eventually, the owner said, “I’m spending this kind of money, and you’re still just a part-time architect. How’s that going to work long-term?”It was clear he planned to open more restaurants—and he was nudging me to take the leap. He said, “Don’t worry. You have to start somewhere. Build it, and they will come.”

I was having a lot of fun with it, so I thought, why not? I was young. Next thing you know, I’m starting my own design practice—and I needed a name.

Will: Right, you had to register something fast.

“Great work requires collaboration, real dialogue between everyone: the client, your team, the contractors, the trades. That’s how you bring a vision to life.”

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Bennett: Exactly. I didn’t want something like “Lo & Associates”—because I never believed design is a one-person effort. It’s always a team. Great work requires collaboration, real dialogue between everyone: the client, your team, the contractors, the trades.

So I landed on the word “Dialogue”—but it felt a little plain. I was 38 years old at the time, so I added that to the name: Dialogue 38.

Will: Right, good Chinese numbers!

Bennett: In the end, the name reflects how we work: design is a dialogue. It’s about collaboration and clear communication. That’s how you bring a vision to life.

Will: Good segue. How do you balance the artistic side of your vision with the real-world business needs of your clients?

Bennett: First and foremost it’s what will be best for the client and their brand. We will always try to understand what they stand for. It’s hard to escape current styles and trends, but we don't want to do anything dated, because you have to look back 10 years from now, and say this still looks pretty good and it served the client well.

Will: Speaking of branding, both interior design and branding aim to create experiences. How do you think physical space can support—or even elevate—a brand?

Bennett Lo: Most clients don’t envision their business lasting just a couple of years. They’re building something lasting. We’re fortunate to have helped some clients from their very first location to their 50th. Along the way, we’ve made adjustments, of course, but the core remains. One client we first designed for over a decade ago—today, we’re on their second version of the design. It’s evolved, but when you walk in, it still feels true to the original. That continuity tells their story and reflects their growth.

Will Hum: So the design grows with the brand?

Bennett: Exactly. The heart and soul stay intact. For example, one of our clients operates mostly in busy food courts, competing with ten other brands around them. Early on, we created a strong visual identity by owning a distinctive colour—something no other competitor was using. It’s a lesson I actually picked up from branding: CIBC has its burgundy, TD has green, BMO has blue—you own a colour, and it becomes part of your brand equity.

Will: Right, colour becomes a critical part of the identity. That’s a shared principle between our worlds.

Bennett: Definitely. And for that client, even after many years, that distinctive look still sets them apart in a very crowded environment.

Will: Have you ever had to push back on a client’s idea for the sake of good design?

Bennett Lo: Honestly, not often. We’re fortunate—clients usually come to us because they trust we know what we’re doing. Of course, sometimes we have to work harder to explain why we’re making certain decisions. Like, moody lighting for a fine dining restaurant, versus bright lighting for a retail space—you tailor everything to the context. It’s never about what’s trendy or cool; it’s about what serves the client’s needs.

Will: But what if a client pushes an idea that isn’t the right solution?

Bennett: Then you explain why. Sometimes clients suggest changes—like, “What if you try red?” It doesn’t always mean they want red. You have to read between the lines. Less experienced designers might just take it literally. But as consultants, our job is to understand the intent behind a request, not just take orders. We filter ideas, ask the right questions, and guide them. Because at the end of the day, if it turns out badly, no one will care who suggested it—they’ll only see the final result.

Will: Especially in the built environment—you can’t just tear it down the next day.

Bennett: Exactly. Once it’s built, it stays. That’s why we work so hard to get it right.

Will: You mentioned lighting earlier. That leads into my next question: how do you approach designing a space to tell a story or evoke emotion?

“Every project is different. In a restaurant, for instance, it’s about setting the right mood. Where you direct people’s gaze, how comfortable they feel—it’s all part of the story.”

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Bennett: Every project is different. In a restaurant, for instance, it’s about setting the right mood. Where you direct people’s gaze, how comfortable they feel—it’s all part of the story. Even things like vent placement matter. If you’re designing an office, you balance staff comfort with the impression visitors get in the lobby or boardroom. You layer all these functional needs with emotional cues to craft the experience.

Will: So it’s about shaping emotion through every detail?

Bennett: Absolutely. In a fine dining restaurant, you want people to relax and stay longer. In a quick-service restaurant, you design for a 30-minute experience—good, but efficient. Maybe the chairs are less cushy so customers naturally move on. It’s all intentional. You design not just for the experience itself, but for the desired length and nature of that experience.

Will: That’s brilliant. It's about shaping behaviour without them even realizing it.

Bennett: Exactly.

Will: A few more questions. You’ve worked globally—how do cultural differences shape your design approach?

Bennett: At first, we were nervous about building codes in different countries. But really, building codes aren’t that different. It’s accessibility standards that vary more. In North America, there’s a big emphasis on accessibility. In parts of Asia or Europe, especially older cities, it’s harder because the infrastructure is ancient. Culturally, the brands we work with tend to maintain their identity when they expand internationally. Our job is to adapt their brand image to local conditions without losing the essence. So it’s less about changing the brand, and more about thoughtful local integration.

Will: Makes sense. Toronto is one of the most culturally diverse cities, so we’re used to blending cultures.

Bennett: Exactly.

“Design is full of subtle, nuanced decisions—things you only catch through physical experience and dialogue with clients. Until AI can replicate that, it’s just a tool, not a replacement.”

Will: Last question. AI is reshaping creative industries. How do you think it might impact interior design and architecture?

Bennett: I haven’t used AI much yet, but I can see the potential. Someday, a client might say, “Just get AI to do it.” But there’s still a huge difference between AI and human experience. Design is full of subtle, nuanced decisions—things you only catch through physical experience and dialogue with clients. Like the way sunlight hits a site differently because of a building nearby—AI might not pick up on those subtleties. Until AI can replicate human dialogue, intuition, and experience, it’s just a tool, not a replacement.

Will: Perfectly said. It comes back to dialogue—you design for humans, and you need human conversations to do that right.

Thank you for sitting down to chat with me. This was great.

Bennett Lo: My pleasure. Talk soon.

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It’s always a pleasure reconnecting with Bennett—not just because of our shared history, but because he brings such clarity and intelligence to every conversation about design. Whether you’re branding a company or designing a space, the underlying goal is the same: to create something that resonates, that feels human, and that moves people.

Bennett reminds us that great design doesn’t happen in isolation. It’s the result of dialogue—between people, between disciplines, and between ideas. That’s a principle we live by at Clear Space, too.

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