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Design Partnership is now presented by the practice as COOOP, a collective working across architecture, interior architecture and hospitality services. Its “Design for Behaviour” approach means using knowledge about how people act in social settings to shape restaurants, cafés, clubs, bars and other built environments. COOOP describes the approach and its intended effects; the available project accounts do not independently prove that any particular layout caused commercial success or measured changes in guest behaviour.
What Design Partnership is called today
Current official material presents Design Partnership as COOOP. A November 8, 2024 documentary article identifies the organisation as “COOOP (formerly Design Partnership Australia).” The practice says its work is led by creative and technical director Callie van der Merwe and delivered by an award-winning collective of architects, interior architects and service providers.
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COOOP’s current About page says the practice has worked in this field for “almost 35 years” and completed “over 490” venues. Those are company-published figures, so they should be read as the organisation’s own account rather than an independently audited industry total. Its timeline says Design Partnership was founded in South Africa in 1997 and opened a Cape Town satellite office in 2009.
The name change matters when searching for projects or credits: older listings may use Design Partnership Australia, while newer practice material uses COOOP.
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What “designing for behaviour” means
COOOP defines its philosophy as applying human behavioural knowledge to “design and curate highly successful social spaces within the built environment.” In practical terms, that means starting with the activities a venue needs to support—meeting, eating, talking, waiting, celebrating or relaxing—and then making spatial decisions that can make those activities easier or more appealing.
This is a design intention, not a guaranteed behavioural formula. The sources describe how the practice thinks about hospitality environments, but they do not provide a controlled study, guest-behaviour dataset or financial analysis demonstrating that a particular feature caused longer visits, repeat custom or higher revenue. A careful account therefore distinguishes between what a designer intended, what a project physically provides and what was actually measured after opening.
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A free scan shows the junk files, broken settings and background clutter dragging Windows down - then fixes them in one click.Free scan · Windows 10 & 11Behavioural questions a hospitality brief can ask
- Do guests need privacy, visibility, or a choice between the two?
- Should groups face one another, a stage, a bar, a view or a central feature?
- Where will people pause, queue, wait for a table or meet someone else?
- How can circulation avoid collisions without making the room feel over-controlled?
- Which materials, lighting conditions and acoustic treatments support the desired atmosphere?
- What should encourage guests to stay together, and where should a guest be able to withdraw?
These questions convert a vague request such as “make it social” into choices that can be drawn, specified and reviewed.
COOOP’s stated design process
The practice says it adapts RIBA and AACA stages to each client’s preferences. Its published outline moves from briefing through concept development to implementation, with the level of documentation adjusted to the project.
| Stage | What COOOP describes | Behaviour-related decisions to test |
|---|---|---|
| Brief development | Establishing the project brief and client requirements. | Defining guest groups, service model, desired atmosphere, operational constraints and the behaviours the venue must support. |
| Design concept | Developing the spatial and visual idea for the venue. | Testing adjacencies, sightlines, seating types, thresholds, focal points, lighting, materials and acoustic character. |
| Implementation | Technical construction documentation, bespoke joinery drawings, FF&E schedules and value engineering. | Protecting the intended experience while resolving buildability, maintenance, cost, accessibility and service requirements. |
Because the stages are adapted to client preference, a small refurbishment may not require the same documentation as a new hotel or a multi-outlet restaurant. The important point is continuity: the behavioural intention established in the brief should remain visible in the concept drawings and in the technical decisions that reach site.
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1. Brief development
A behaviour-led brief should identify more than a seat count. It can describe the mix of occasions—quick meals, long dinners, family groups, business meetings, celebrations—and the operational realities that shape them. Staff routes, deliveries, cleaning, accessibility and emergency egress are part of the social experience because they affect whether guests feel comfortable and whether the room functions under pressure.
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At concept stage, designers can compare alternative plans rather than treating the first attractive sketch as the answer. A plan with a central focal point may create shared orientation; a perimeter arrangement may give groups more protection. Material palettes, lighting gradients and ceiling treatments can signal where to gather or how to move without relying only on signs.
3. Implementation and value engineering
COOOP lists technical documentation, bespoke joinery drawings and FF&E schedules as part of implementation, along with value engineering. Value engineering is where behavioural intent can be lost if every distinctive element is treated as optional. A robust review identifies which dimensions, sightlines, surfaces, lighting positions or acoustic measures are essential to the experience and which can change without undermining it.
The Meat & Wine Co. Safari in Sydney
The clearest published example is The Meat & Wine Co. Safari in Sydney. COOOP’s November 8, 2024 documentary article says the project discussion began in 2022 and explored Design-for-Behaviour with filmmaker Tanzeal Rahim.
Cultural and material reference
The design draws inspiration from Tata Somba homesteads in the Atakora Mountains of northern Benin and Togo, particularly the Boma and its associations with a communal fireplace. The project account describes earthy tones, natural textures and acacia trees, combined in a contemporary interpretation rather than a literal reconstruction.
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Referencing a cultural building tradition carries a responsibility to explain what is being carried across and what is being changed. In this case, the publicly described idea is the Boma’s communal character and relationship to fire, translated into a Sydney hospitality setting. The account does not claim that the restaurant reproduces Tata Somba construction or social life.
Spatial arrangement
COOOP says Boma-inspired dining units were placed around the restaurant perimeter. The units were intended to provide protected, intimate seating for groups while directing attention toward the central fireplace and trees. That arrangement sets up two conditions at once: a sense of enclosure at the table and a shared visual reference across the room.
The stated behavioural aspirations were for guests to linger, connect and share. Those verbs describe the design team’s objectives. The documentary account does not report timed dwell data, observation studies, repeat-visit figures, sales comparisons or an independent evaluation showing that the arrangement produced those outcomes.
| Project decision | Intended experience described by COOOP | What the published account establishes |
|---|---|---|
| Perimeter Boma-inspired dining units | Protected, intimate group seating. | The units were part of the stated concept and layout. |
| Central fireplace and acacia trees | A shared visual focus that could support connection. | The features and their intended role are described; measured effects are not provided. |
| Earthy tones and natural textures | A grounded sense of place connected to the Boma reference. | The material and colour direction is reported; no independent atmospheric or behavioural test is reported. |
People credited on the project
The documentary names Callie van der Merwe as creative director, with Roberto Zambri and Calvin Janse van Vuuren as senior associates. It identifies Seagrass Hospitality Group and Bradley Michael with the venue. Tanzeal Rahim is credited as writer and director of the documentary, with Sze Wun Lau and Rahim as producers.
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A third-party ArchiPro listing describes Hilton Lahore as a 25-level hotel containing retail, hospitality, service, functional and leisure areas. The listing credits Archi-Tex with architecture and Design Partnership Australia with interior design, and gives an area of 50,000 square metres with a design completion period of 2021–2022.
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This listing is useful as evidence that Design Partnership Australia was credited on a large hospitality project. It is not, by itself, evidence that the project used every element of COOOP’s Design-for-Behaviour philosophy, nor does it establish guest outcomes. The page also includes build-status wording that may be outdated, so current completion status should not be inferred from that wording alone.
Independent reader supportYour contribution helps us test, update, and keep practical guides available for everyone.How to separate design intent from evidence
Behaviour-led language can sound more certain than the evidence allows. When reviewing a proposal, portfolio page or post-occupancy claim, ask three separate questions:
- What was designed? Record the plan, seating arrangement, materials, lighting, acoustic measures and operational assumptions.
- What behaviour was intended? Identify whether the aim was privacy, sociability, orientation, lingering, faster turnover or another outcome.
- What was measured? Look for observation methods, dates, sample sizes, comparison conditions, customer feedback or operational data.
If only the first two questions are answered, describe the result as an intention or design rationale. Do not convert it into a proven causal claim. This distinction is especially important when a practice uses phrases such as “highly successful,” because the available evidence may be self-description rather than an independent assessment.
A practical briefing checklist for a behaviour-led venue
Clients and design teams can make the approach more accountable by writing measurable questions into the brief before drawings are fixed.
- Define occasions: list the typical party sizes, visit lengths and reasons for visiting.
- Map movement: draw guest, staff, delivery and waste routes separately, then identify conflict points.
- Offer choice: include at least two seating conditions when the audience needs both sociability and retreat.
- Set sensory goals: specify the intended balance of light, sound, texture, colour and thermal comfort.
- Protect focal points: check sightlines from each seating zone and test whether service activity will block them.
- Plan inclusion: verify accessible routes, table heights, clearances and seating options for different users.
- Define success measures: decide in advance whether to track dwell time, table changes, queue duration, guest feedback, repeat visits or another relevant indicator.
- Review after opening: compare observations with the brief and record what should change in furniture, lighting, acoustics or operations.
What the available evidence can—and cannot—support
The material supports a clear description of COOOP’s identity, process and project narratives. It supports saying that the practice applies behavioural knowledge to social spaces, that its stages run from brief through concept to implementation, and that the Safari layout was intended to encourage connection and lingering.
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It does not support saying that Design for Behaviour is an independently validated method, that the Safari became popular because of its Boma-inspired plan, or that the practice’s “over 490” venues figure has been externally verified. The tenure and venue counts should remain explicitly attributed to COOOP’s current About page, accessed in 2026.
Why the approach is useful when stated precisely
Used carefully, the value of the approach is its discipline: it asks designers to connect spatial decisions with the people and activities a venue must accommodate. It also creates a point at which clients can challenge assumptions. If a designer says a central feature will bring people together, the team can test sightlines, circulation, acoustics and post-opening observations instead of treating the statement as self-evident.
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One free scan finds every outdated or missing driver and matches the right update for your exact hardware.Free scan · exact hardware matchCOOOP’s work shows how that reasoning can be expressed through a hospitality concept. In the Safari account, cultural reference, perimeter group seating and a central fireplace are presented as a coherent set of choices. The responsible conclusion is not that the choices guarantee a business result, but that they provide a design hypothesis that can be documented, built and evaluated.
Bottom line on Design Partnership’s Design-for-Behaviour idea
Design Partnership, now presented as COOOP, uses behavioural language to connect hospitality design with the ways people gather, move and spend time in social spaces. Its published process covers briefing, concept design and implementation, and The Meat & Wine Co. Safari illustrates the approach through Boma-inspired group seating around a communal focal point. Treat the behavioural and commercial effects as stated aspirations unless independent post-occupancy evidence is supplied.
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