We were asked to assist with refurbishing this extremely popular premises, working with the owner to develop his aesthetic vision for the transformation, we provided design advice and working solutions throughout the process. The turnaround refit was 12 days in total which was achieved for a re-launch just before Christmas.
The general concept was to marry elements of Victorian charm and contemporary Soho house chic to give a warm, harmonised functional and aesthetic space, close, expansive, crisp and bright, and create a space to reflect their reputation for quality, providing a fitting backdrop for their renowned menu.
Particular attention was drawn to the need for less intrusive lighting whilst promoting a real sparkle. Ceiling spotlights were inset to help reduce glare and all lighting was placed on dimmers. The pendent lighting which we used as a subtle signature piece we dotted around the bar and over the seating to the right of the bar are from Northern lighting based in Sweden.
Beautiful cast bronze wall lights with an innovative cold cathode Carat squirrel cage bulbs (a breakthrough invention as alternative to the traditional energy inefficient incandescent version) are by renowned Belgian lighting company Tekna.
The entrance welcomes with its victorian patterned tiles which make an immediate statement - creates a greater sense of space and has attitude. At the entrance we also included lots of antique mirror work vertical and horizontal with borders of moulding, and moulded panel work used repeatedly throughout to add texture and a version of gentleman's club warmth. This can be seen quite clearly in the inky green snug area to the left of the bar.
As the space when you enter seems to divide into halves we intentionally made the decision to work with some of the through bar views and using mirror where necessary to give reflection of other spaces and angles that gives a better and useful sense of wholeness.
The rogue-designs workshop has arrived -Well it has been around since February 2013 and here is one of the items recently commissioned by our client for their very large extended living space. It is a day bed utilising 2 very large cast iron and rubber castors and recycled materials that once formed their original kitchen flooring and also their roof timbers. The non-virgin wood was sympathetically brought back to life and treated /finished with a light oil containing carnauba wax mix for added longevity. The addition of white in the mix keeps the wood from yellowing.
Below some of the make up work in the workshop....
The daybed cushions are made to measure with fabric by Ian Mankin, striped pattern and in an 100% linen for durability. On the one side of the daybed (footed end) is a holding bar for
moving the bed on occasions which also allows books/magazines to be stored on a day to day basis. With level surface access to the outside the design allows the piece to be wheeled onto the terrace easily for summer lounging.
Fully installed and in use!
The a wall of folding doors, and exotic and rich teak parquet flooring were integral to the clients wishes as they represented very strong and important aesthetics. Working with the charm of the original Victorian house, we wanted to produce a bright, modern, crisp space, that linked through from the original by using the warmth and detailing of flooring and joinery.
The kitchen design was devised alongside Martin Williamson of InHouse Kitchens, featuring Leicht furniture and Seimens appliances, and the top is a honed matt white composite stone top, which on the island wraps around the two ends. The bank of full height units in a brushed and textured copper oak cleverly conceals the integrated appliances whilst adding texture and substance to the room. The units are double thickness and appear in certain frames as a large mass. Units on the back of the kitchen side add a great deal of extra storage whilst consuming a small but light cloakroom and lavatory snugly separated from the living spaces. Patent double glazing along the one side of the extension floods light through giving that sense of openness that characterises modern living. Ligne Roset furniture further enhances the dining space. In the far corner of the bank of units a tambour unit conceals a pull out coffee maker and other kitchen aids.
The whole scheme was devised with the addition of a fireplace set into the existing chimney void. Initially it was to be a functioning proving oven but was revised to a multi-fuel stove for increased warmth and celebration throughout. Below shows the integrated scandi fireplace with valuable log storage space below.
For drama and purpose over the island we used three Circus pendents from Innermost. They are sprayed black on the outside with a copper gold look on the inner. Other lights used are under shelf task lighting just above the sink area and on upper cheek of the ceiling, three discrete white Hero spot lights to add an extra degree of function.
Below are examples of some of the design material we prepared and used for the process of client communication.
The round ceiling rose, as so often happens in these types of properties, disappears over time and it is often a great event putting them back as they add focus and elegance to a room.
Upstairs we updated bathrooms, including this one shown with encaustic patterned cement tiles from Portugal, which we also adopted for the exterior facelift to the front of the property.
Part of a series of Porches we have carried out this season.
The Porch is part of a larger body of work at the property that consisted of a complete revamp of the front garden bay window area alongside an overhaul of the driveway and its multiple levels. It is also the completion of the full renovation at the premises, including the basement extension
A planting scheme was also initiated that complemented the nature of the local environment.
In the summer of 2012 planning permission was granted and the project started in December later that year. We begun by excavating the whole of the front bay area to the start of the driveway.
A substantial retaining wall and series of tiered planters were created to reflect the shape of the bay rising in 450mm stages to allow one to jump down but not create an actual stepped area. The planting in this area was based on woodland plants that could cope with the shaded conditions and that perhaps would not require the same level of attention as other plants. It is a natural spectacle for the occupier of the house at lower ground level, a backdrop and bit of theatre - the tiers just recede enough to allow some of the sky light through and retain a sense of openness. From the driveway it is not at all obvious that the area exists at all aside from the verbena and the heads of a large variety of lavender ascending. This forms a visual soft stop for cars entering the drive.
The driveway itself was reconfigured from a solid concrete platform to a paved option using hand made chestnut clay pavers that allowed ground water to permeate. The design incorporates curves that gently handle what otherwise would have been an austere frontage due to the imposing scale of the architecture and the volume of red brick. This design makes the space softer , approachable and more palatable. The start of the pathway to the Porch and the end of the handrail form one start point for the curve which arcs towards the Quince tree in the top bed (see illustration). The curved flow is counterstruck in the space left over from the arc by opposing the direction creating a greater sense of an organic system. The pattern is echoed in the curvy iron railings that were commissioned and made to our design. Restoring iron railings is a key project in the North Oxford Conservation Area, and we felt these were an elegant contemporary take on a classic victorian railing. Aside from the practical nature, they carry the sense of undulating movement from the floor to the vertical and give a restrained, elegant graphic show with the red brick wall as a backdrop. This again adds a needed quality in direct contrast to the red brickwork.
The curves as mentioned lead you to the Porched area - the previous Porch was dissassembled and a new large, insulated and enclosed Porch was built. The whole of the facade was kept and reused with a front and rear door designed by ourselves. The front door is placed just behind the arched facade. This gives the impression from a distance, that the door is arched also. The interior has a beautiful spanish encaustic cement patterned floor which brings a happy surprise to the entrance area.
The interior was kept simple. Vertical pine boards and the light created by the conservation velux alongside the silver pendent add a touch of Scandi elegance to the show. The Oak hall furniture is designed and made by Rogue-Designs in our workshop, and was made to fit the the right hand wall as you enter. The shoe rack is a double construction with adults shoes above and children's below.
Drawing room and dining room >
In this drawing room (a proper, first floor affair) light and the huge windows are all. We wanted to create a design that played with formal traditional drawing room style, and messed about with it, adding colour and fun. A huge element of the room is the floor to ceiling shelving structure, which is constructed from ash with an ebonised hardwood that delineates and configures the structure. This was designed to house various elements including books, objects, TV and media and a stereo with space for cd's. This was a one-off item which we created for the client. It holds your attention and commands the space that it lies in. There is an almost art deco feel to it, with the dark and light woods and polished finish.
detail of shelving
The sofas were sourced from Fran at Liscious Interiors, and re-upholstered in striking fabrics in soft brushes cotton. The colours reflected the dining space but lifted and lightened. The Chesterfield grey sofa has a purple running through it and we applied very bright violet buttons to the piece and dressed with lime accents. The lime - or chartreuse - Chesterfield was very simply dressed and as such we reversed the colour works and had predominantly purple striped cushions in a deep velvet.
A small day bed wrapped in a defined purple inhabits a space close to the book shelves and near to the distinctive sash windows.
A balance between privacy and letting the light through was achieved by way of full length linen curtains with a silk floral motif running through, and a sheer roman blind that drops down (colourfully) to frost out the background, again in natural linen but with colourful stripes.
We strongly felt that this huge space did not need a central ceiling light, but to light the space with
in 1970) sits on Platner side tables, each a stainless steel spoke framework with a glass top created by
r for Knoll in the 1960's.
Platner side table with Alega lamp
The beautiful carrera marble fireplace is a focal point, its gas fire supplementing the classicv column radiators (in anthracite) we put in, and the alcoves either side are wallpapered with a fantastic
design. Period chairs were limed and re-upholstered in a funky silk, and an
piece catches the eye above the fire.
Dining Space >
glass table reflecting the window
Previous to its present incarnation, this was a jumbled space, cold and dark and possibly with mixed use. In its present form we decided to change shape a little. Keeping the 'hand made element' we made something a little more formal i.e an evening dining space for guests.
Our client wanted a dark, intimate and rich palette, but with linking colour from the drawing room next door. Assisted by our client the colour we chose was a plum colour, in a proper flat matte, not cold. It sits more in the red spectrum. This gives it a deep lushness that with the addition of evening candle light, brings in a grandiose quality.
Of the candelabra; it is hand crafted by French makers
and acquired through
. Its artisan qualities shine out. Made from brass and copper and french glass yoghurt jars and crystals. It was further modified by myself with deft assistance by the owner, converting it from electrical to hold candles. Furthermore, it hangs by sash cord which is fixed via a pulley system and tied off near the dumb waiter. This allows the piece to be raised and lowered when necessary. Secondary lighting is via the picture lights overhanging the inherited pieces of our client.
On first entering the room from the hallway it becomes obvious that the dumb waiter is no longer functioning. Due to modifications in the past it had become a non viable restoration project. This left us with the awkward shape in the corner! As the owner wished to house some of his wine collection we decided that the best purpose of the woodwork was to turn it into a wine rack. I think this works especially well and looks rather neat and perfect as well as being architectural and fun.
The carrera marble fireplace needed extensive cleaning to the marble to bring it up to a gleam. The hearth was simply of limed concrete and as such was painted black. A writing bureau, hand painted by Maitre Allegre now sits in the alcove closest to the window.
A collage of mirrors that we collected from a host of places hang in a pattern above the fireplace.
detail of candelabra with mirrors behind
Under foot, the carpet is a fine boucle in a light grey that adds a level of luxury to the rooms. It runs through the dining and lounge space and spills on through the hallway and staircase.
Below is a picture of the hallway with the dining space chimney wall framed in the antique mirror.
living etc front cover rogue-designs
This particular project features on our main web site. However I thought I would share more photos with you. The project itself featured in Living etc magazine (front cover no less) and also featured as one of their 50 best for that year.
The whole of the interior was knocked through and opened up to maximise the level of light penetration from the back of the house.
The kitchen boasted 40mm walnut worktops that wrapped around 3 sides and at the end had a small breakfast bar area. Along the main wall through to the dining space there was another bank of units that carried a greater amount of space for food storage and prep. The inset sinks add to the designs less cluttered aspect. Walnut insets were created to sit over the sink when not in use.
The walls were very exciting and somewhat experimental. They are of a concrete render which had black volcanic glass granules thrown at it in the last stages of its preparation. The whole thing then rubbed up and when dry, rubbed back slightly to reveal the penetrated glass.
The lighting in the dining space in image 4 was sourced from a london antique centre that specialised in italian mid century lighting design.
The dining space also had space for an bubble chair to be secured to one of the main roof supports.
by Eero Aarnio
features: Lacanche gas oven, Island unit, slate grey porcelain tiles, lime green, oak lantern, Blanco inset sink.
This project was the second of 3 commissions by our client, after working with them on the design of
, and then later their
This began life pre-extension and the remit was to design a kitchen that was highly functional and host various items like a large and rather special
wine fridge (see photo) and also a smaller wine unit to be housed in the island unit. The list of appliances continued; there was the
range; a multi ring gas burner that was to stand centre stage in the kitchen. The owner being a very interested and extremely capable chef insisted upon this furniture, and why not! The extension was cleverly designed by architect
, making much of a slightly awkward space. The extension was carried out to a very good standard and so made the process of designing for the space much easier than it could have been. It is imperative that your builder is accommodating at this stage as various items will impact on the final design. Whilst some features had to be altered i.e.size of steel beams holding up the house, most of the structure and size was kept within targets. Working with an experienced design team at In House, we organised a design that fitted the needs of the client and made sense of the space: ample room for cooking, room for art on walls and a place where this family could be seated in an evening or entertain.
Kitchens are notoriously difficult to organise and generally work around very clear principles. However, every space is different and can ask different questions of the designer.
In the photo > Cabinet work is in a mixture of Anthracite and white gloss both with doors that have matching edge details.
Inset handles on the cabinetry avoid fuss and visually speak more discreetly about a design. They also fair a little better chronographically and tend never to lose that much in style.
Set within the anthracite top of the island unit is the Blanco
'zerox' inset sink, with one large sink and a small drainer. Its a 1000mm x 510 unit and has a low profile that keeps the sharp quality to the design.
The incredibly hard wearing floor tiles are ceramic
and the pattern that ensued clearly adds to and makes sense of the linearity of the space.
The lengths of floating shelving, 50mm thick and 350mm wide, were manufactured from the same material as the worktop, also in anthracite and so complimented the rest of the units. Their fixing method is concealed. With the projected weight it was considered that allowances should be made during the building process to accommodate it: as a result, medium density building blocks were used rather than thermalite blocks at the fixing points, in order to secure them.
On the feature wall the client commissioned a mirror which was covered rather ornately in mixed elements of fabric from
designs and it sits upon the green wall very effectively. Other elements of interest are got through the individual elements that our client brings to the room such the stainless steel vegetable holder which rests upon the island unit like a floating piece of sculpture.
The colour on the wall is very striking and was chosen by Charlotte. Strong accent colour like this can be quite hard to work with, but we both felt there was a great deal of spirit and good health about this colour and to use it in the scheme would be very affirming. In fact, later on you will see that the colour is repeated in the
. To see this room of an evening, have a look at the
post, which shows off how joyful and colourful even such a vividly minimal and practical kitchen can be.
Striking, clean, highly functional and full of fun.
More about Christiane Baumgartner from Alan Cristea gallery: "Christiane Baumgartner was born in 1967 in Leipzig, Germany,
and studied there at the Hochschule fur Grafik und Buchkunst before completing her Masters in Printmaking at the Royal College of Art in London in 1999. She now lives and works in Leipzig.
Baumgartner is best known for the monumental woodcuts based on her own films and video stills. She first came to public attention in the UK in EAST international in 2004 and a year later with a major solo exhibition at the Ikon Gallery in Birmingham. She was included in the groundbreaking exhibition at MoMA, NY, called Eye on Europe and her work is held in over 30 public collections around the world including the Albertina, Vienna; the Museum of Modern Art, New York; the Bibliothèque Nationale de France, Paris and the Staatliche Museen zu Berlin."
|hand made kitchen in maple with crafted panels, pre mural.|
The Parktown area of Oxford is a famous landmark site and this project was sited within one of the crescents that exists. The house was built in the late 1850's and was designed by Samuel Lipscomb Seckham using bath stone as the main building material. He was a surveyor who was commissioned by St John's college to develop the area. Should you wish to visit you will see that It is very reminiscent of the famous crescent at Bath, and was no doubt designed to air a similar grand quality.
The project was to be the total revamp of one of the houses in the crescent (in stages), and as such the owners had decided to commission us to 'lift its spirit'. This project was a total pleasure in many ways, as we both loved the house and its character. The house is set out over 5 floors, the piano nobile with the drawing room and dining rooms on the 1st floor with views over the Parktown gardens. Initially there was not a great deal of harmony in the house (design-wise) as it was split into several separate apartments at some point in its near history. This then meant having a total vision for the place, whilst staging the works and bringing the different spaces together again. Whilst first impressions of the house in this state would to many dictate a total 'rip out' and refurbishment, we felt, with the support of our clients, that a restoration approach could achieve more and retain the character of the property. Restoration is a gentler, but more intricate, complicated and sometimes time consuming project, but the end result is so much subtler and kinder to the house that we believe it is well worth it. It seems a shame for example to replace a lathe and plaster wall with modern plasterboard just because it is flatter - after all, the character of an old house is in the quirks (and ripping out old lathes always makes we think of the person who whittled each piece of timber individually).
Whist full of character, the house had been badly mistreated in some ways, and many of the period features were somewhat obscured. Its most notable features were the beautiful handrail that trailed throughout the floors; the tall glazed internal doors; the high ceilings with original cornice and the fireplace in the ground floor living space. The main carrera marble fireplace housed decorative Duncan Grant tiles and it was this detail that gifted us the idea of using art and craft to give the house an artisan feel, that it possibly once had. We wanted to take the core concepts of arts and crafts, but tweak and modernise, and see if the ethos and character could also work within a contemporary and modern sleekness.
Many of the items that you will see throughout are either one-off or unique in someway. So, while we adapted some of the arts and crafts designs, we weren't faithful to them. In fact we gave the designs a modern twist, something that would sit alongside individual modern items and not look out of place.
It is a house like no other and so for inspiration we decided to visit Blackwell House, an arts and crafts exhibition house, situated in the Lake District, which houses a wonderful collection of relevant pieces. William de Morgan tiles adorn the fireplace surrounds in the large house. Also on show in the exhibition at the time, were lots of ceramic work. The hallmark of the arts and crafts period was the level of embelishment. Nothing was left blank and ordinary if at all possible.
At the time of investigating where we should place our design, we came across an artisanal nature to the craft industry in Holland and in the UK. Leading designers like Hella Jongherius, were bringing their passion for 'handmade' skills within modern production methods to the table.
|cowparsley splashback with led lighting|
So it became quite clear, that within the make over, it wouldn't be out of place to acquire craft from other sources to sit alongside our own brand of arts and craft informed designs, and link through for a very unique experience.
|initial design concepts|
|initial design concept 2 (island unit)|
The project began at the deep end with the transformation of the kitchen and ground floor lounge area that ran into each other separated by 2.8m high glass double doors.
kitchen; The main features are the maple worktops,
white washed flooring, mural, backlit bespoke splashback and the Hans Wegner dining room set with a soaped wood finish, the aga that sits in the middle and the suspended lighting.
|the lighting with its suspension cables allows flexibility in the positioning of the light modules.|
Its a galley style kitchen, tapering to the back wall. A 3 metre long worktop island unit separates the dining space from the rest of the kitchen, and cupboard doors to the dining side give access to plates and glasses. The island unit is made using solid maple, providing storage and housing two built in fridges. An electric oven and a ceramic hob supplement the aga, and provide alternative cooking means during hot summers. The handles were created using maple and brass as an insert. Each of the handles were carved with their own unique pattern.
The element of carving and piercing also shows in the end panel of the island unit.
|fine detailing in the maple|
|brass inlay into the maple side panel|
The colour scheme is light cream, sage green, natural blond wood with black elements and details. On the wall with the aga to the centre, a long set of wall units with doors in a matte sage green, spans the full length of the room, straddling the large chimney breast, serving to emphasize the length of the room. Below, the base units continue in solid maple.
The lighting throughout the room was commissioned from Album lighting via the marvellous Cameron Peters Fine Lighting based in Ardington, near Wantage, Oxfordshire. Album, an Italian firm, specialise in suspended LED and halogen lighting for heritage projects - since the cabling runs around the top of the walls, and is only fixed at minimal points, it is perfect for heritage or valuable ceilings, and much more sensitive a scheme than halogen spotlights. We chose a mix of light modules for interest and to mark different areas - thus elegant blown glass fittings are suspended above the dining table, and architectural spotlights provide task lighting above the island. For fun, a single moon piece hangs above the sink area.
Full height sliding wooden doors act as shutters in front of the glass doors which lead to the garden. We adorned these with a mural of cow parsley, in a slightly darker colour than the paintwork, so as not to make it too pronounced, but play with how you percieve the room and how you experience it.
The cowparsley theme ran into the splashbacks. This was experimental (a technique more often associated with exhibition stands) but works tremendously well. They are very colorful and add another level of patternwork that uplifts the space either side of the chimney breast. These were designed by Charlotte and printed onto thick perspex. The perspex was separated by a few centimetres from the wall, and an LED lighting strip was placed between, in order to light up the panels from behind and add further refinement to the overall design. They fit very precisely from worktop to underside of wall cabinets.
|cowparsley etched onto the plexiglass|
|plexiglass backsplash design|
The table and chairs are classic designs by Hans Wegner. The table is soaped oak, which is an under-used finish these days, but is no less hardy than varnish. It is non yellow and soft in appearance. This consideration of material is just whay you would expect from the master craftsman.
|hans wegner table and chairs|
|dark chair detailing and table in soaped oak and grey|
More Scandinavian design appears with the Secto floor lamp in black and natural birch wood, designed by finnish architect Seppo Koho.
All in all, the room is a blend of materials, textures and style that hints at what will continue elsewhere in the house.
Light, open, softly spoken but crafty and unique.
The space known as the DJ room, is situated between the kitchen and the lounge. The room housed the owners record collection. A functioning glitter ball was also attached to the ceiling. A discreet spotlight activated the spinning ball when switched on.
No speaker cable was visible due in part to it all being housed behind the skirting boards. speaker points were then dotted around for increased flexibility.
The dj console was created by rogue-designs, especially to house the dj decks with a space under for other electronic equipment. It was sprayed in a gloss lipstick red. As it was a feature to the space it warranted a stand alone quality.
|bespoke dj deck|
The owners had recently moved into the house and required it to be modernised throughout.
Many of our customers enjoy the need for the works to be staged, rather than to be carried out all at once. This affords them the ability to assess the scheme and its direction without being bombarded with a great many decisions all at once.
The starting point of this particular project was to be one of the main bathrooms and culminated in the overhaul of the 25m garden area, completed on the back of a special extension.
1st stage: master bathroom.
palette: > thin strip oak, lemon marble tiles, mirror, flint grey.
an alcove inset that is lined with the narrow strip oak. This is also lit from above with 2 dedicated dimmable spot lights. The bath is freestanding and is painted on the outside in a light green grey, and the whole thing is sat on two oak cradles. The colours are all complimented by the colours in the natural stone. The lemon marble tiles fitted tightly to each other and the appearance was more monumental rather than 'tiled'. The colour on the walls and the ceiling were painted in a satinwood finish and allowed light to reflect off it for further space and light enhancement.
|Dornbracht IMO' tap|
|wallpaper behind bevelled glass splashback|
|'one-off' sliding mirror cabinet by rogue-designs|
|lounge view with duncan grant tiles set into the fireplace|
|the lefthand unit; 'silver birch'|
|sparrow about to land (detail)|
A fascinating detail, the legacy of the old house were the victorian servant bell pulls, visible immediately next to the Carrera marble fireplace.
|detail of one of the light module|
All in all the scheme has some amazing features that sit well in this natural, artistic environment.
Units above the toilet provide the storage along with the vanity unit. The chimney breast
allowed us to inject an element of texture into the room, to sit alongside the nibbled sugar cube effect tiling in the shower. We re-plastered the chimney with the plaster sucking away at the moment it dried, leaving flat platelets behind. This was then painted and the effect is subtle but effective. Swimming pool glass
mosaic tiles were used and applied with a slightly textured effect, and a black tiled alcove in the shower cubicle affords a subtle shelf space.
The interior of the fireplace was painted black to swallow up the space and the rubber floor was dressed right into it. The driftwoodwood over the fireplace had been languishing in our back garden for near on 4 years after we had hauled it off a beach in the Lake District. It's oak and when we brought it back to life with the aid of a thicknesser it bacame apparent that this was the space in which to use it. It is some kind of industrial beam, full of stains and character and at some point had been part of someone's campfire, leaving beautiful blackened areas. The oak was washed and sealed with oil.
All in all, the project was an exercise in subltety.
We extended the rubber to cover the bath panel for continuity and fun, and because in such a small room it often works to have as few as possible different elements or materials.
There is no reason not to have a big bath in a small room! This generous version has clean architectural lines, and due to its square base allows the user to stand directly under the shower.
The lighting in this room comes from two sources - small ceiling spots, and a wide wall light above the mirror and basin console.
The theme of dark stained wood and flooring continued through to this room from the living room area. Made from Piranha Pine at 40mm thick, a funky shelving system with some lime green enclosed spaces houses an assortment of books and objects.
|study with shelving|
The huge window overlooking the garden floods in greenly, so we took this palette and applied it to the walls, by way of a heritage Zoffany wallpaper pattern, fresh and funky.
The wall lights that you see are of glass and stainless steel with a silver frame and a light canvas square shade. The light is titled 'opera' by Chad lighting. This room was always going to be a study room for books and ephemera and so it was important not to overcomplicate the room.
|a beautiful wall light|
Victorian House living room
features: cast concrete fire surround with wood detailing, stained piranha pine box shelving, dark stained flooring, double sliding curtain rail, danish rosewood sideboard, architectural light shade, handmade radiator covers.
We chose to use an organic and muted colour range complimented by the use of dark stained material (including the floor), textures and subtle tonal changes to create an intimate room with a quiet aspect. We promptly got to work on a fireplace design, and hand cast a simple white polished concrete piece with stained wood mantle. A large L shaped grey corner sofa provides flexible seating. The vintage Danish rosewood sideboard from our lovely friends at The Modern Warehouse sits on the back wall against striking wallpaper.
Opposite, on either side of the chimney breast, there is a configuration of dark stained display boxes of differing sizes. They are like a sliding rule - each pair amounts to the same space, separated by the chimney breast. We used the wallpaper at the backs to set off the objects within, and create continuity with the feature wall. The large oak table with two slate insets is the owners own.
Above the fireplace is a very striking mirror which the owner purchased from a gallery in the Czeck republic. Its strong features also informed the design and it adds a great focal point to the room.
The cut perspex pendant lamp is designed by Louise Campbell for Louis Poulsen, titled 'collage', has 3 concentric white perspex rings which have been laser cut with a floral motif. When the light is on, it creates a wonderful flecked floral pattern around the room, especially when the light is subdued. As there are many strong design elements in the room, the light shade doesn't actually dominate, it rather delicately absorbs with colours. In fact it tends to sit in the background until lit when it takes on its splendour.
The ceiling rose that you see, is a beautifully crafted plaster reproduction of a heritage piece that was installed as part of the design.We felt the ceiling looked rather sparse without it. While it wasn't evident that a ceiling rose had been there previously, the room has fine original cornice molding, so it sits perfectly well, and creates focus and mixes the old and new with the contemporary chandelier.
Two pairs of curtains, one sheer linen for privacy, the other a thick raw weave cotton for warmth, are full length and hang on a double bay window pole in brushed steel (a piece of clever engineering) It is finished off with hand blown glass finials. Small touches against large bold pieces help to create little surprises that enhance the experience.
Below are a few detail shots from the room.