If you've had a fancy lunch at a hip restaurant in a leading international style capital at any point in the past few years, it's high time you met Martin Brudnizki - because he probably designed it. In his London studios, which are fittingly situated just moments from Knightsbridge's swankiest stores, the Stockholm-raised designer has spent the past few years quietly and unfussily becoming the go-to guy for top-end bar and restaurant design the world over. That's not regulation style-mag hyperbole; it's the reality. In his adopted city, the Brudnizki-redesigned rib room opened in October, followed by another primo meaterie, grand new steakhouse 34 (which the Observer's Jay Rayner called "the most self-assured, delicious London restaurant launch in years"), a few weeks later. Before those two were Corrigan's, the St Pancras Grand, Scott's, J Sheekey, The Club at The Ivy, the Dean Street Townhouse. Beyond the capital and the UK, Brudzniki has a long-standing role in the global expansion of the Soho House empire (as well as redoing owner Nick Jones' country pad) and has been commissioned by Rocco Forte to build a hotel in Jeddah. A Brudnizki-designed Dubai Ivy and an Abu Dhabi Italian, Oro, both opened last year too (you can see all these, and the rest, at his revamped website: mbds.net). In short, then, if they will come, Martin Brudnizki probably built it. Impressive enough given that he left Stockholm to study interior design in London just two decades ago (with "no clue," he says, laughing); all the more so given the high-stakes rivalries and egos of the restaurant world and its insistence on a distinct visual identity. Though there are recurring tendencies - a relaxed, lived-in kind of luxury, an engineer's sensitivity to space and size, a fondness for fixtures and fittings that evoke rustic Sweden, mid-century Manhattan and the grand old cafés of Europe - Brudnizki's secret is the absence of an unchanging "signature style". "You have to follow the brief," he says. "You have to understand the client, what they want. It's not about me. It's not my restaurant. They have a menu, they have a target market and all these things. Then I also have to look at the neighbourhood, the street, the city…" Once he's done all that, one renowned Brudnizki signature is the forensic accuracy with which he manages everything from the placement of bars to the height of surfaces and the best way to get an old-school tungsten filament afterglow from a dull modern light bulb. In a recession, he says, getting it right is not only about spending carefully, but also about looking that way. "Don't go over-glitzy with the massive chandeliers, over-the-top detailing and lots of luxe, over-expensive stuff going on. You create a room that's beautiful that looks like it's already been there for a while and isn't over-extravagant." Brudnizki's been in London for a while, long enough to remember the time before the great bar revolution of the mid-1990s, when nightlife was usually about either avant-garde nightclubs or tatty pubs. He believes the city's nightlife and its food culture has come on amazingly since that time. Many critics would say Brudnizki was central to that process; others would disagree, but still give credit where it's due. Judging by his review, A.A.Gill liked 34 restaurant a whole lot less than Jay Rayner, but he did concede that it was "beautifully lit."