When it comes to crafting spaces that merge history with innovation, Post Company stands as a firm with an extraordinary ability to balance both worlds. Renowned for their interdisciplinary approach, they masterfully blend architecture, interior design, and even carpentry into cohesive narratives that speak to the cultural and historical legacies of each project they touch. The firm’s design philosophy goes beyond aesthetics—it’s about creating spaces that reflect the depth of human experience, capturing the soul of a location, and infusing it with modern elements that resonate with contemporary audiences. Their latest projects, from the surrealist-inspired Hotel Saint Augustine in Houston to the deeply contextual Mollie Aspen, showcase an immersive process that marries storytelling with artistry, resulting in environments that both honor the past and inspire the present.

In this interview, the founding partners of Post Company—Ruben Caldwell, Leigh Salem, and Jou-Yie Chou—discuss how their diverse backgrounds and collective vision shape their work, and how they meticulously research and integrate cultural, historical, and contextual elements into each project. Through their responses, we gain insight into a firm that sees design not just as a craft but as a holistic experience—one that influences how people engage with a space, its history, and its future.

Post Company is known for its holistic approach to design, integrating architecture,  interior design, carpentry, art direction, and graphic design. How do you ensure a  seamless collaboration among such diverse disciplines to create a cohesive final  product? 

Post Company is very proud that our studio attracts designers with diverse talents and skill sets. This diversity, a desire to improve, and an innate enthusiasm for collaboration are core values for us. It’s not only in who we hire, but also a guiding principle that we’ve baked into our design process.  

From the very onset of a project, we have a charette that collects as many voices as possible. With informed and dedicated research into the space’s cultural, historical and physical identity, a narrative emerges that carries our studio, and our client, through the entire lifecycle of the project. 

As our studio has grown, we’ve been able to take on larger scopes for projects– from creative direction to exterior design. Having a larger input allows us to create a more cohesive environment, which is not only a more enjoyable design experience, but a more holistic understanding for the community around the end product.  

Each of you brings a unique background and set of skills to the firm. Can you share how your experiences at Nike, Microsoft, internationally recognized design firms, and in carpentry influence your collaborative projects? 

We’ve been working together for over twelve years. Our varied backgrounds in architecture, design, architectural history, branding, and hospitality converge to give the firm the broadest possible viewpoint in its projects. 

Ruben Caldwell and Leigh Salem met at Columbia University GSAPP and were introduced to Jou-Yie Chou by a mutual friend. Because of our complimentary skills, we began working together on projects across hospitality, retail, and residential typologies. 

With Ruben’s immense knowledge of carpentry and construction and skills ranging from digital milling to hand-finished joinery, he can play a pivotal role in driving projects from concept through execution. Ruben believes that the quality of the materials and the tectonic aspects of any design are as important as the form and concept.

Leigh’s wide-ranging experience for internationally renowned design and strategy firms, including Renzo Piano Building Workshop, David Benjamin’s The Living and KBAS informs his  work designing everything from brands to business models. With a background in fine arts, painting and drafting, he employs his broad knowledge of architectural and aesthetic styles to  the benefit of his projects. 

Jou-Yie has a deep background in experiential brand activations, which informs his view that, while design is critical, the way a space is activated – through objects, art, people and programming – is as important. He has served as the Brand Director of Ace Hotel Group, where he directed brand direction, product design, new development selection, and strategic partnerships, and has worked for a niche marketing agency that specializes in branding, experiences, and events for brands such as Nike and Microsoft. 

How does your collective design philosophy manifest in your projects, particularly in blending historical elements with contemporary design? 

We craft environments that are grounded in rich narration and guided by collaborative research,  contextual appreciation, and informed perspective. By blending historical elements with contemporary designs, we can honor the eclectic histories and legacies of a given site and establish a new destination for discourse, engagement, and relaxation for visitors and locals alike. 

Your work often reflects a deep respect for the cultural and artistic heritage of the  locations you work in. Can you discuss how you research and integrate these cultural  aspects into your designs? 

When designing projects Post Company always investigate the historical and cultural background of a building or location to inform our approach. We explore local architecture, restaurants, bars, and cultural institutions the community values and pour into archives to discover local writers, films, artists and thinkers who might have influenced the city. Our design narrative aims to honor that historical and contextual perspective.  

Beyond a historical context, we look at why visitors would flock to a certain area. Is it the area’s  renowned hiking trails, art museums, or even sport events? With The Rounds, for example, we were heavily involved in the architectural design of the cabins, which were made to serve in  reverence to the serene landscape. It’s meant to be more of a meditative experience as  opposed to the more traditional Scribner’s Lodge, which encourages communal gathering and  conviviality.

The Hotel Saint Augustine in Houston is described as a surrealist landscape that honors the city’s cultural heritage. What specific elements or inspirations did you draw from Houston’s history and the legacy of John and Dominique de Menil? 

We designed the hotel to allude to the city’s diverse population and legacy of John and Dominique de Menil who were tastemakers, art collectors, and human rights activists that shaped the city into the cultural nexus it is today. 

The lobby, for example, feels like you’re entering the private home of a great curator. The reception desk is wrapped in burled walnut and has Calacatta Viola marble accents. A spirit of collecting is represented in the display of products and retail shelving with glowing back-lit panels. There is theatrical drapery in tall, layered sheen linens that divide the space from the  bar and lounge. The bar is draped in window treatments and antique mirror panels that reflect the hotel’s surrounding landscape. 

In the suites and standard guest rooms, dark ebonized oak wood flooring contrasts with the blue, red, and mustard colors and velvet textures. The drapes add an indulgence of textile into the space and finishes of nickel and chrome add glitz and reflect the colors of the beds and seating areas. Sculptural lighting and surrealist fixtures and objects are dotted around the room and walls. 

The hotel’s restaurant is a vibrant space with an eclectic range of furniture and fixtures. It’s vibrant and warm, a true reflection of the Menil’s spirit. Art Deco inspired pendants hang from  the modeled ceiling with a hand painted abstract mural crawling above the bar and along the  length of the dining room. In admiration to the exterior landscaping, the space also features  large planters with large leafy plants, adding playful shadows and depth to the room.  

In designing the Longfellow Hotel in Portland, Maine, you aimed to  blend contemporary elements with traditional accents. How did you achieve this balance, and what challenges did you face in maintaining the historic allure while introducing modern features? 

Our narrative marries the historic allure of the port city with the residential atmosphere of the West End’s distinctive architecture and character. It’s a carefully curated balance of traditional  moldings, ceiling medallions, vintage furniture, and wide-plank, hardwood floors offset with  artisan crafted furniture and art sourced locally in Maine. We relied on leathers, rich velvets, oak, marble, and granite to anchor the spaces, while contemporary detailing, molding profiles, and lighting fixtures evoke a modern timelessness.

We work with local artists and craftspeople for most of our projects as well. We do this to bring  the human hand into the spaces and to highlight the artistry that exists in a given area. In this hotel, commissioned tables and case goods by Kidwell Fabricators (Portland) and Bicyclette Furniture (Brunswick) are showcased in the bar and spa. Shaker chairs by Windsor Chairmakers (Lincolnville) ground the communal table in the lobby. Paintings by Timothy Wilson (Portland) and photographic prints by Jonathan Levitt (Lincolnville) hang throughout the hotel. Custom ceramic table lamps by ANK Ceramics (Camden) are also dotted throughout the  spaces. 

MOLLIE Aspen’s design is inspired by Aspen’s mining history, natural landscape, and Bauhaus presence. Can you elaborate on how these influences are reflected in the design and the choice of vernacular materials used in unexpected ways? 

MOLLIE Aspen is a homage to Aspen’s reputation as a place of art, culture, and adventure. We took inspiration from the city’s natural landscape, storied mining history, and Bauhaus presence, which was brought to the town in part by Walter Paepcke and his wife Elizabeth during the 1940s, to create a design that combines understated luxury and natural comfort for guests and locals alike. 

CCY Architects was the architect for the hotel and we designed the interiors. 

The façade of the hotel is inspired by the lot lines from Silver Boom era buildings located in Aspen’s West End. Simple rectangular forms that slide axially north and south emphasize this  cadence. As the building’s mass meets its residential neighbors to the west, the two-story wood clad façade is reduced in scale to form a singular, one-story element in response to the mass and composition of the contrasting 19th century Victorian homes in the surrounding neighborhood. 

The historical narrative continues into the interiors. The hotel holds a quiet confidence with a deliberate eschewing of ski culture’s cliched excess. We blended vernacular materials, vintage woven textiles, and natural wood and terracotta tiles, among other elements to create an  enduring atmosphere. In the spirit of the Bauhaus, geometric lines harmonize with natural woods, earthen ceramics, and hand-dyed textiles, blending a formal rigor with a dedication to expressive craft. We focused on muted colors, hand-woven textiles and textures, geometric patterns, mid-century brutalist furniture, whimsical lighting and hardware accents, and natural  materials, such as wood, brick and stone in the design. 

We also designed the branding and graphics for the hotel. The logo is conceptually inspired by Anni Albers’ intricate textile studies. To echo that grid motif, we commissioned massive woven  textile from contemporary artist Rachel Snack hangs in the hotel lobby.

The restoration of the Lafayette Hotel in San Diego aimed to create a timeless expression of a Grand Hotel of the early 1900s. What were some of the key elements and design choices that helped you achieve this timelessness, and how do the new bungalows complement this vision? 

We weaved opulent details and textures into each space of The Lafayette Hotel and Swim Club – from the lobby to the iconic pool to the eight (!) unique food and beverage spaces – to create a multi-sensory experience for guests, neighborhood patrons, and citywide dwellers alike. 

Upon arrival, guests ascend a grand staircase and enter a lobby flooded with natural light from the building’s original atrium. This formal entry is gilded with rich plastered crown moldings, tumbled vintage checkered marble floors, crystal chandeliers, and lush plantings. The front desk is more an extension of the lobby bar than a traditional concierge. Burled millwork and case goods line the walls of the gift shop that has a dedicated café kiosk that serves cortados and fine pastries to welcome guests. Across from this café is a retail space replete with a myriad of products to explore. The lobby restrooms are interpretations of a Grand Hotel water closet with decorative tile, deep basin sinks, and aged unlacquered brass fixtures that speak to the golden era, while shared stalls and sinks nod toward a more inclusive era. 

Just across the formal entrance and through a curtained wall is a circular main lobby bar – decorated with a soaring glass ceiling – that acts as a hub of the hotel. This bar is constructed with detailed wood surrounded by delicate banquettes with wrought iron lamps. It is a convenient meeting space and starting point to the many dining and entertainment rooms held within this hotel. 

The Lafayette Hotel and Swim Club is home to a range of guest rooms, suites, and townhouses. Each of these spaces has classic, sophisticated touches with moments of fantasy, creating an enchanting respite for visitors. The Guest Rooms are rooted in traditional Victorian, Tudor, and  Gothic details. The Suze Suites that surround the outdoor pool follow the same irreverent  maximalism of the main hotel rooms but with more playful elements such as layered patterns and bright textiles, gathered bed skirts, ornate lighting, and a mirrored bar cart. The Townhouses on the property are in a Spanish mission style. Whimsical, bright textiles and distinct furniture juxtapose the more classical elements of mission-style flooring and wrought iron details. 

Renovating La Playa Carmel involved integrating contemporary artworks and objects while honoring the hotel’s century-old history. How did you select the contemporary elements to ensure they harmonized with the historical context of the hotel? 

The weight of La Playa’s history is apparent as soon as a guest steps through its doors. One of the greatest challenges was creating a destination where the artistic history and reverence for the surrounding landscape could be understood immediately, while still feeling contemporary. We refreshed many elements of the hotel, such as the many arches and grand staircase, with new finish work and intricate trim and interplayed these details with contemporary lighting, classical finishes, and vintage furnishings to soften the entire architectural experience.  

This project is as eclectic and varied as anything we’ve designed. We focused on wood as the primary material, a mix of fabrics to bring accents of color and texture, furniture that plays with geometry and scale to develop a visual hierarchy, traditional furnishings reinterpreted through contemporary styles and patterns, and ornate hardware and lighting that emphasizes the beauty and quality of the architecture to achieve this. We also embraced a rich and layered color palette to build a sense of warmth and provide haven in the colder months. 

The Rounds at Scribner’s features 12-sided structures inspired by shingled architecture. What was the conceptual process did Post Company have behind this design, and how do these structures enhance the guest experience at Scribner’s? 

In 2016, we led the building design, interior design, and branding transformation of the existing lodge. We reshaped the hotel’s structure and style into a contemporary hideaway that honors the retreat’s eccentric personality and historic past. We have built upon the lodge’s growing  popularity with this addition while providing an entirely different experience. One that immerses visitors into deeper into the landscape. 

The architecture of The Rounds takes cues from a long legacy of hut systems and small dwellings in mountain environs. They are efficient wooden structures that provide shelter for wandering travelers. While their concept is borrowed from European precedents – the hut systems of Chamonix or the Scandinavian cabins – the vernacular of The Rounds stems from  the whimsical shingled architecture of Woodstock and the Catskills.  

Both the palette and textures are meant to be complementary to the lush, natural, and wild Catskill setting. Materials are expressed unadorned – from the pine flooring and millwork, singular marble sink, or cedar shake on the roof and siding. Robust indoor and outdoor programming plays a central role in the experience. 

Designing 370 apartments within a 17th-century convent in  Lisbon presents unique challenges. How did you approach the preservation of the  historic architectural elements while ensuring modern comforts for guests? 

We designed these rooms with a sense of permanence and restraint that highlight their essential beauty. Wherever possible, we refined and highlighted the historical elements, while introducing subtle architectural details that nod to the past and unite the old with the new. Painted faux moldings harken to the original convent sleeping quarters, and deep extension jambs and paneled millwork give dimension and elegance to the rooms. Cream and warm grey paint on the walls unifies all these details. Light oak flooring that will age gracefully over time offers a residential feeling. 

The clean and streamlined architecture of the apartments acts as a canvas for intriguing and  unexpected furniture and fixtures. The furniture contains idiosyncratic winks and nods that reveal the depth of character behind the hotel, and were chosen to stylistically contrast with the ethereal elegance of the rooms while still feeling easy and comfortable. Mohair and boucle upholstered furniture in sinuous shapes lend geometric friction and tactility. Bold use of antique forms contrast with the contemporary insertions and clean, minimal millwork is softened by over stuffed textiles. Modern lighting adds playful counterpoint to historical interior details and a curved headboard and whimsical side tables contribute to this balanced, but spirited dialogue. 

How does Post Company incorporate sustainability into your projects, and what  innovative approaches have you found effective in creating environmentally conscious  designs? 

Post Company enjoys working with local vendors and artists and employing materials that are as close to the site as possible. We also rely on sourcing vintage pieces to bring history and  character to a space. We are proud to join a range of companies certified by Climate Neutral through a commitment to entirely offset its carbon footprint. Through their partnership with 1% for the Planet, we’re committing one percent of annual revenues to supporting organizations that are addressing the world’s most pressing environmental issues. 

Can you share any upcoming projects or design concepts that Post Company is excited about?  

We’re excited about our growing roster of residential clients. We have large hospitality projects across the globe as well as some fun, small restaurants in our backyard of New York City. We have designed furniture and lighting collections with collaborators such as Sixpenny and Roll & Hill and are now developing a new product line with Idaho Wood, which will launch in the Fall. 

Credits:

Interview responses from Jou-Yie Chou, Leigh Salem, and Ruben Caldwell, partners at Post Company.

Written by Kacey Perez | @studioblume_

Photography courtesy of Post Company | @post_company