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Founded by Steve Leung, Steve Leung Design Group has grown into one of Asia’s most established design practices. Born in Hong Kong in 1957, Leung began his career in architecture before moving into interiors and product design. He set up his first consultancy in 1987 and later restructured the business into its current form in 1997.
Today, the group operates across multiple major cities in China and is listed on the Hong Kong Stock Exchange. His work is known for its contemporary style, often drawing from Asian culture while maintaining a clear design language.
Bangkok has become more than a regional base for Steve Leung Design Group. It represents a shift in how the practice sees its future. The decision to establish a permanent presence in Bangkok reflects a broader belief in the city’s creative potential and its role in shaping the next phase of the studio’s work.
At the centre of this move is Mai Chongchaiyo, who leads the hospitality arm while overseeing the development of the local team. Having worked closely with Steve Leung for several years, he understands both the culture of the company and the nuances of working across regions. His role in Bangkok is not only managerial but also about translating a long-established design philosophy into a new context.
The reasoning behind choosing Bangkok is direct. Thai creatives are widely regarded as capable and adaptable. In the past, language may have limited collaboration, but that is no longer the case. A younger generation now operates comfortably in an international environment. Communication, once dependent on proximity, has shifted. Remote working has proven that teams can operate across cities without losing clarity or pace.
This shift has influenced how the company grows. What began as a traditional studio model has evolved into a distributed structure. The expansion to more than five hundred employees did not rely on a single location. Instead, it grew through networks, trust and shared standards. Bangkok fits naturally into this system. It offers both local understanding and access to a wider regional market.
There is also a cultural dimension that the company does not try to smooth out. Thai teams bring a sense of openness and humour that contrasts with more structured working environments. Rather than seeing this as a challenge, it has become part of the process. When managed carefully, this difference leads to ideas that are both distinctive and commercially viable.
The Bangkok office is still developing, with a small team and clear ambition. The aim is to build a group of fifty to one hundred designers who can deliver work at a consistent level while maintaining individuality.
This direction aligns with the company’s broader outlook. The idea of design without limits is not fixed. It changes depending on context, but at its core is a refusal to remain static. For the team in Bangkok, this means focusing less on output and more on identity. What matters is not how much is produced, but what each project represents.
Southeast Asia plays a role in this thinking. The region is diverse, with layers of culture, language and craft. Thailand in particular offers strong traditions in materials and detail. When these qualities are understood and applied with purpose, they can create work that connects beyond its origin.
The opening of the Bangkok office forms part of a wider strategy of renewal, diversification and global reach. It signals a move towards a more flexible organisation, one that is less centred on a single figure and more on collective strength.
For Mai and his team, the focus remains on people. Younger designers are encouraged to step forward, not to follow. The goal is to stand alongside one another rather than behind a hierarchy. In practice, this creates a working environment where ambition is shared and improvement is continuous. Bangkok, in this sense, is a test of how the studio can evolve while staying consistent in its standards.
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