concept + structure Edward Hill Partnership . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Lightplan, page 55
Alison Brooks Architects . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
17
Bere Architects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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Chris Dyson Architects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
25
Coffey Architects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 Jeremy Amos Architects . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
33
Knox Bhavan Architects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Christina Fallah Designs, page 125
Michaelis Boyd Associates . . . . . . . . . . . . . . . . . . . . . . . . . . . .
41
Northbeach . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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Studio Bednarski . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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elements of structure Lightplan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
55
Paul Clifford . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 Carlton Gas Fires . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67 DKT Artworks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71 Gibson Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75 John Spencer Specialist Joinery & Cabinet Makers . . . . . . . . . . . . . . .
79
Stone Theatre . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Thorp Design, page 97
Weldon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
87
Matt Livsey Hammond . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
91
The Nanz Company . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93 Rajartisan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Intarya, page 109
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contents elements of design Thorp Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97 Intarya by Kamini Ezralow . . . . . . . . . . . . . . . . . . . . . . . . . . . .
109
Alastair Graham . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119 Christina Fallah Designs . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
125
Interior Desires . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131 Veedon Fleece . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137 Archer & Smith Limited . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
143
Casa Forma Limited . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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Fromental . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
151
John Jones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155 Kinari Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159 L&B . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163 Northwick Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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Peggy Prendeville Interior Design . . . . . . . . . . . . . . . . . . . . . . . . 171 Constantine Lindsay Ltd. . . . . . . . . . . . . . . . . . . . . . . . . . . . .
175
Sue Whimster Curtains and Soft Furnishings . . . . . . . . . . . . . . . . . .
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living the elements Charlotte Rowe Garden Design . . . . . . . . . . . . . . . . . . . . . . . . .
181
Arne Maynard Garden Design Ltd. . . . . . . . . . . . . . . . . . . . . . . .
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Butter Wakefield Garden Design . . . . . . . . . . . . . . . . . . . . . . . .
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I
n the heart of Stratford Village, Kensington, lies a chartered firm of architects with over 30 years’ experience.
Edward Hill Partnership was founded by Edward Hill in 1977, the solo enterprise sprouting from his humble home studio. The practise has since grown by concentrating on its core business of architecture while developing longterm relationships with clients and fellow professionals— structural
engineers,
interior
designers,
landscape
architects, lighting designers, quantity surveyors, and many others. The practise greatly values the strength of these relationships and sees them as essential to the accomplishment of an architectural vision. The meticulous, award-winning results speak for themselves. A close-knit team of talented designers and technicians are all imbued with an attitude of service excellence. The firm’s aim is to design good-looking, practical, and userled buildings, providing solutions for an exacting clientele. Specialising in diverse projects including private residential, housing, commercial, educational, and leisure, Edward Hill Partnership is a sought-after studio. Its grand single-family house refurbishments are seen throughout Kensington, Chelsea, Belgravia, and Knightsbridge. With a penchant for historic restoration, many listed houses are featured within the firm’s portfolio, showing a sensitive eye and innate feel for sympathetic alteration and improvement.
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“Most London houses are not that big, and therefore space-planning, which is always important, becomes critical.� Edward Hill
Edward Hill Partnership arc hi t ec t ure
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“When refurbishing a listed building, good design largely equates to the elegant integration of 21st-century technology into an 18th- or 19th-century shell.� Christopher Mitchell
Previous Pages Left: Our double-height underground wine cellar was a total
Previous Pages Right: We gutted the ground floor vintage apartment in Mayfair
remodel. We met many challenges in designing the large volume beneath a
to provide superb quality accommodation and to house a collection of oriental
five-storey house to maximise square footage and create a dramatic space. We
sculpture. A series of small rooms was opened up into a lateral space, which is
successfully fused contemporary styling within a traditional structure: a glass
a rarity in London. We integrated the central air conditioning system with input
entry landing and high-tech stainless steel and glass staircase contrast with the
grilles placed at low levels. Fabric-stretched walls and wood louvres create a
original brick walls, oak wine racks, and natural weathered stone flooring.
light ambience. Wide linear cornices and skirtings, dark-painted moulded
Photograph by Richard Lewisohn
architraves, and light hardwood flush doors with dark inlaid detailing unify the look.
Photograph by Steve Stephens
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Above: We refurbished a lovely historic Victorian house in Kensington to the
Facing page: The kitchen-multipurpose room looks out onto a large landscaped
highest standard. Working remotely with a New York interior designer, we
garden. We overcame the floor-to-ceiling height constraint by use of cornice
jointly achieved the homeowners’ dreams. Our total renovation integrated 21st-
details and discreet uplighting combined with a highly reflective ceiling plaster
century services into the 1840s-era building through a melding of state-of-the-
finish. Travertine and wood flooring streamline the mid-19th century interior
art technology and impressive architectural elements such as plaster cornices
into a clean, contemporary family place.
and new door surrounds.
Photograph by Richard Lewisohn
Photograph courtesy of Edward Hill Partnership
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“To emulate and surpass the latest bathroom designs seen in hotels from Hong Kong to Houston, architects must keep abreast of global design trends.” Joshua Berry
Top Right: We engineered a three-flight elliptical staircase and
skylight connecting four floors of the all-new Wimbledon home. Stone-clad concrete steps with a metal balustrade form an everlasting element that will age gracefully within the modern "period" house.
Photograph by Steve Stephens Bottom Right: The bathroom is dressed in basic black for a sleek
urban look—black marble vanities and flooring, black cornice trim, and black louvres contrast with the stark white wall and ceiling, sharply brightened with chrome and mirrors.
Photograph by Steve Stephens Facing Page: The historic listed house was originally designed
in the 1840s by acclaimed architect Thomas Allom. We added another floor and refurbished the existing four-storey interior space by removing a lift and knocking out walls to create a magnificent master bedroom, and freshened the exterior façade with extensive replastering and repair work, including removal of a rough uneven finish which had been applied in the past.
Photograph by Edward Hill
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“We never strive to create a style per se, but work to fulfill the homeowners’ hopes and expectations. Style is a label applied retrospectively.� Edward Hill
Above: Integrating incompatible golf and cinema systems is a masterful feat,
Facing Page: We completely remodelled and fitted out a late Victorian-
yet all the more challenging when the underground room must also maintain
Edwardian building in north London, resulting in an uncompromisingly
green space above to comply with city planning regulations. The three-year
contemporary space. While the attractive historic shell is retained, all that
project required a high-tech home theatre system and advanced sensor-
is within is altered. The new mezzanine balcony includes a toughened glass
driven golf simulator system, seamlessly operable at the touch of a button.
balustrade and staircase with stainless steel railings. A gourmet kitchen is
We blended automated curtain and projection screens and various audiovisual
accessed through a full-height sliding glass screen adjacent to the dining area.
elements to create an interactive space for playing golf and watching full-screen
Photograph by A.C. Cooper
movies. Suede upholstered walls provide good acoustics, broken up by narrow horizontal leather strips.
Photograph by Richard Lewisohn
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arc hi t ec t ure
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L
iving and working in Spitalfields—a neighbourhood with possibly the most powerful sense of place in
London—Chris Dyson is in a good position to skilfully draw out the innate character of the capital’s buildings. Best known for his work in the East End, where his own home and studio are a triumph of sensitive restoration and bold modernisation, it is not the complete picture, however. Residential projects in London usually involve the restoration and refurbishment of historic buildings, and in their work Chris and his team offer an aesthetic that is simple and classical but does not sacrifice the soul of the place. The practise is extremely skilled at balancing old and new by enhancing existing features, employing specialised craftsmen, and deciding when to add sleekly contemporary new elements such as modern kitchens and bathrooms or glass walls. The studio controls the design process from concept to construction, keeping a tight rein on all phases and doing all the detailing in-house, making for a swift and efficient build process. Speed is nothing without a good finished result, however, and in the end it is a passion for preserving the spirit of place that sets Chris Dyson Architects apart.
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“Houses are the most difficult things to design. I enjoy them, but they take an enormous amount of time and effort, because you need to design down to the last detail. It is also a very emotional process.� Chris Dyson
Chris Dyson Architects arc hi t ec t ure
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“I see buildings as children, pets, or friends—once they are formed they begin to create their own personalities. I think this is an important sensitivity to realise.” Chris Dyson
Above: The project introduced us to the pleasures and joys of working with
Facing Page Bottom: By digging into the basement and raising the roof, the
Feng Shui, which in practise meant the inclusion of some very practical,
interior space could be increased from 450 to 600 square metres. A spectacular
thoughtful design elements. Leading off this conservatory dining area is an
cantilevered oak staircase with bespoke cast-iron balustrades unites the new
Oriental courtyard garden that provides the focus for all the ground-floor
top floor and basement with the three pre-existing floors. Our aim when
rooms, its Zen-like qualities providing a calm and peaceful backdrop against the
remodelling any home is to rationalise space, making it clean-lined and easy
urban environment.
to navigate; we like to contrast well-detailed, modern elements with a simpler form of construction. Walking that tightrope of old and new is what makes
Facing Page Top: The house as it was originally planned didn’t feel like it had
us different.
a heart, so a new hallway placed at the epicentre of the square plan, with the reception rooms effortlessly winding around it, creates that. It has a compass
Previous Pages: The homeowners’ brief to remodel their Edwardian home in
design and domed roof inspired by the work of Sir John Soane, reflecting the
Chelsea demanded a lot in terms of time and scale. Although the house remains
homeowners’ love of travel and enthusiasm for decorative detail.
apparently unaltered in its outward appearance, it has in fact been substantially extended and renovated.
Photographs by Richard Bryant, Archaid
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C
reating harmony between indoors and outdoors is a large part of Knox Bhavan’s work, perfectly illustrated
by its London offices: visitors step over a koi pond to reach the front door and it’s clear that natural surroundings are a vital design ingredient. When Simon describes the living space that clients often request—an informal kitchen, living room, and dining room in one—he affirms that the rooms should be an extension of the garden. It is this sensitivity to the environment and interpretive ability that co-principals Sasha Bhavan and Simon Knox
possess. Simon founded the firm in 1992 with Sasha joining four years later. They approach each project as a team, running jobs from start to finish, often employing craftsmen and specialists directly. An in-depth knowledge of construction helps with understanding the possibilities and limitations of a concept. Passion is evident in the final product—houses that are a daily pleasure to live in, full of carefully thought-out detail. Sasha says that the practise’s aim is to create homes that are more enlightening than mere accommodation. Creating award-winning projects from new private residences to refurbishments throughout urban London and its environs, Knox Bhavan designs beautiful dwellings with a decidedly modern aesthetic. One can likely hear whispers of influence from Alvar Aalto and Geoffrey Bawa.
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“Generic is not in our vocabulary. Envision a bespoke design crafted to your particular brief and suited to the land.� Simon Knox
Knox Bhavan Architects arc hi t ec t ure
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“I’m allergic to architect-speak and over-intellectualising. Designing your private home should be a pleasurable experience every step of the way.” Sasha Bhavan
Above: We designed a deep roof canopy to protect the room from inclement
Facing Page Bottom: The first floor rooms are quite lofty. Supporting walls
weather. On a summer’s day, sliding glass doors allow for fresh air while
never touch the ceiling, as glass panels extend to fill the gap. Brightly coloured
circular windows in the outdoor floor bring light into the basement. Curved
wardrobes identify different bedrooms down the hallway. Our transparent
European oak bay window seats extend from each child’s bedroom for lazing
plan with mirrored sliding doors reveals the formal stairway and horizontal
and reading.
timber window that provides needed privacy. Bespoke joinery defines the home throughout.
Facing Page Top: The front gable features a large hall window with horizontal
mullions and transoms. Panes are closer together toward the ground, lending
Previous Pages: The L-shaped, three-storey Dulwich Village house is sited on
privacy yet providing natural light. Our castle-inspired circular staircase has a
lovely property with a natural pond. Above the entry hallway, our mirrored glass
central steel post with solid European oak treads fixed to an aluminium "tuning
canopy gives protection from the elements while creating dappled light effects.
fork" chassis, all leading up to the skylight.
It’s hard to tell if you’re inside or out in the draft lobby—as one wall is stone and the other is brick. We designed the timber entry door with clear and coloured glass for an immediate view to the landscape beyond.
Photographs by Richard Haughton
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S
implification. This is the core design philosophy of Alex Michaelis and Tim Boyd, principals of Michaelis
Boyd Associates. The architect colleagues founded their namesake firm in 1985 after years of practising with renowned groups in London, specializing in commercial and residential work alike. Today the MBA team of architects is respected for their residential refurbishments and new builds as well as acclaimed public spaces and special projects. When developing a design scheme, the studio emphasises space, flow, and layout, creating urban habitats from traditional to minimalist that aptly suit today’s lifestyles. Integrated into city sites with green roof spaces and gardens extending from each house, Alex and Tim’s dwellings take their cue from the lay of the land. They permit sunshine to penetrate the dark nooks of a typical city structure, so natural light plays a big role in their designs, with myriad glass walls and skylights allowing dreary days to be a thing of the past. Decidedly contemporary, their spaces often have a gallery-like quality, awaiting original artwork, furnishings, and colourful personalities to inhabit them. Clean lines and purist forms emerge within their refurbished historic flats in signature MBA style and ready for real living.
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“Light, form, and flow define the spaces for our modern living.� Alex Michaelis
Michaelis Boyd Associates arc hi t ec t ure
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Above & Left: The historic Victorian townhouse in Arundel Gardens inspired
a fresh take on tradition. We used innovative LED and concealed lighting to enhance the feeling of space, and many traditional details and natural materials were incorporated to reflect the character of the original building. Facing Page: To successfully open up the space, we designed a large sliding
rooflight on the top floor that sends natural light all the way to the basement. The children’s quarters feature a dividing wall with a clever reading nook as well as built-in bookcases and bunks for an uncluttered effect. Previous Pages: Aside from the existing front façade and side party walls, we
demolished the four-storey structure to create a decidedly modern singlefamily home. The scheme included an open plan, lowered basement level, an excavated area to house utilities, and enlarged three-storey side extension, with a new mansard roof and small terrace to the rear. Our interior design maximises natural light with full-height sliding glass doors and screens.
Photographs by Richard Lewisohn
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“Architecture, like life, is a long meandering river.� Tim Boyd
arc hi t ec t ure
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Lightplan
“Lighting is an art form, a synergy of creative and technical skills.� John Roberts
Above: We designed romantic exterior lighting leading to the entrance of the London
home by integrating LED lighting into the planter boxes and using 40,000-hour lamp life to keep maintenance at a minimum. Theatre gels were used to acquire the desired colour temperatures for added ambience.
Photograph by Rod Borland Facing Page: The owner desired a private gym that would morph into a dynamic
nightclub. At the push of a button, the fitness room becomes a sophisticated entertaining space via a customised 90-minute programming of audiovisual, laser, and smoke effects. Our complex integration of technology makes the room dual-functional while also featuring energy-saving lighting systems. Glass and mirrors maximise the space and allow for a contemporary envelope with concealed lighting. Interior by Christina Fallah Designs.
Photograph by Nilu Izadi
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“Great lighting is rarely achieved as an afterthought, but rather through its total integration within a greater vision.” John Roberts
Above: Our lighting concept allows for seamless integration of the drawing
Facing Page: The private home’s music conservatory is the epitome of clean
room and dining room; programmed computer systems are touch-screen,
and simple lighting design. Recessed downlighting, linear LED lighting to
keypad, or sensor controlled. Decorative lights are internally customised and
showcase the ceiling detail, and a floorstanding reading light provide ample
now use an energy-efficient cold cathode light source. The displays, artworks,
lighting for the multipurpose room.
and tables are accented with fibre optics, and linear LED lighting is integrated
Photograph by Nilu Izadi
into the ceiling detail, glass floor at the rear of the room, and bookshelves.
Photograph by Rod Borland
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“It is imperative that interior and exterior lighting plans are designed as an extension of each other; this way the external light sources serve to enhance the internal scheme.” John Roberts
Above: Our minimalist, award-winning lighting design for an Eaton Square apartment follows
Facing Page: The brief for our project was to develop lighting
the design directive of the ultra-modern and highly polished scheme. Discreet backlighting
to a museum grade for the owner’s extensive art collection. In
behind floating ceilings and artworks using RGB LEDs allows for a vast diversity in scene setting,
a double-height internal courtyard featuring a Barry Flanagan
while trimless, plaster-in luminaires maintain the design’s sleek appearance. The powder room
bronze sculpture, we put the hare in silhouette by uplighting
features energy-efficient fluorescent mirror lighting, providing even facial illumination for perfect
from behind and used fibre optics to accent the sculpture’s
make-up application.
finer detail. Side emitting fibre optics with colour changing
Above left photograph by Alex Franklin
projectors frame the skylight’s architectural detailing.
Above right photograph by Mark Luscombe-White
Photograph by Alex Franklin
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Paul Clifford
“I do maximalism…in small doses.” Paul Clifford
Above: Flower heads are often featured in my work. An occasional table top for a
Knightsbridge residence is deep sandblasted on the underside of 19-millimetre, lowiron glass and gilded with gold leaf. Facing Page: The highly decorated glass-clad doors were inspired by Rateau and run
almost continuously around the room. The artwork was sandblasted and gilded in reverse against a background of water gilded and distressed silver leaf, then backed with a layer of gold leaf.
Photographs by Josh Clifford
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“We carve and gild deep beneath the surface of the glass to create texture and decoration that appears to be solid but is just a skin, microns thick.” Paul Clifford
Above: A sense of depth to the table top was achieved with an additional
Facing Page Bottom: For a dressing room screen we created large medallions
sheet of etched and gilded glass laid on top. The background gilding has been
influenced by the work of Art Deco metalworker Edgar Brandt. Deep carved
distressed, creating a look of decay and antiquity.
glass was gilded with gold and white gold leaf against a ground of frosted
deep-etched scrollwork. Subtle butterflies and foliage appear through refined
Facing Page Top: A variety of effects can be achieved using traditional
sandblasting techniques and softly distressed silver leaf.
glasswork techniques. Individual beveled glass diamond shapes are gilded with
Photographs by Josh Clifford
aluminium leaf or reverse-painted black to give a harlequin effect. To achieve a gilded glass ceiling above a private pool in Mayfair, square panels of glass were kiln formed on a softly undulating plaster bed, water gilded with gold leaf, and set within gold-plated frames.
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“Gilded glass brings opulence to interior architecture.� Paul Clifford
Above Left: The surface of a drinks cabinet is made up of individual glass
Facing Page: Paying homage to the 1930s works of Hofer, the glass-clad cabinet
tiles, each beveled, gilded, and UV bonded to the backs of four-millimetre-
is water gilded with moon gold leaf. Its organic decoration is deep etched and
thick panels for protection. Despite the overall glass thickness being only eight
gilded with white gold. The cabinet feet were carved in our studio, and then
millimetres, it appears to have a strong three-dimensional quality.
sand cast in bronze and lightly patinated.
Photographs by Josh Clifford Above Right: The room-dividing screen is made up of beveled glass shapes
gilded on reverse in alternating palladium and silver leaf with the sunburst motif deep etched into the back of the glass and gilded.
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The Nanz Company
“Decorative hardware is often an overlooked opportunity to make a design statement. It gives a sense of quality and importance to a space.� Carl Sorenson
Above Left: We design and manufacture metal hardware for new homes and restoration projects,
understanding that authentic hardware made in historic designs with 21st-century technology functions better than original pieces. In collaboration with architects and interior designers, our team fabricates decorative door knobs, cabinet hardware, and bath accessories that add rich quality.
Photograph by Raj Shah Above Right: Antique finishes in 24-karat gold plate, brass, and bronze portray an aged and
patinated look for distinctive character. Nickel, pewter, silver, and chrome are polished, burnished, or given antique finishes. More than a hundred specialty textural effects can be achieved, from detailed roping to hammered texturing.
Photograph by Gregor Halenda Facing Page: We design and manufacture classical and contemporary hardware pieces: doorknobs,
handles, hinges, levers, and key lock escutcheons. Whether creating archival or new custom hardware designs, the complex art involves design, engineering, casting, machining, chasing, and plating.
Photograph by Gregor Halenda
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Intarya
“Designing a residence is an extremely intimate process. We hold people’s lifestyles in our hands and the result must be a place to call home.” Kamini Ezral ow
by
Kamini Ezralow
Above & Facing Page: The main salon includes the living room and formal
dining room replete with a tiered Murano crystal chandelier. Asked to convey the look of a Hamptons retreat, we kept true to the beach house feel but infused the scheme with elements of luxury appropriate for a megayacht. We specified textures of linen, silk, leather, and silk velvet along with special finishes such as verre églomisé, a technique of gilding, etching, and painting backs of mirrors dating from the 18th century. We designed verre églomisé panels, inset into cabinets, adapting a design from antique wallpaper. The colour palette of soft blues, aquas, and ivories creates an environment that evokes tranquility.
Photographs by Edina Van der Wyck
i nt er i or d esi g n 109
“The role of designer is not just about making a space look lovely; it is about the seamless, harmonious integration of ‘being’ into an environment. Design is, after all, a sensory experience.” Kamini Ezral ow
Right: Boats are about indoor-outdoor living and the relationship between the
two spaces should be seamless, yet each must have identity. We designed the outdoor spaces with the fresh palette of soft white, infusing each deck with a punch of colour for fun and interest. Furniture was specified in high gloss white and seat cushions are off-white with contrasting leather piping; scatter cushions feature an array of printed fabrics and hand-carved leather details. For the sun deck we used tones of soft yellow and ivories to create a sophisticated backdrop for entertaining, complementing an impressive backlit onyx bar. The mood is one of understated elegance.
Photograph by Edina Van der Wyck
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“Interior design is all about the details, the overall result being unique to each person. The context and intention arises from the client, so there is a common thread from their homes on land to their yacht at sea.� Kamini Ezral ow
Above: The bespoke headboard and bedside cabinets in the master cabin have
Facing Page: For the wheelhouse deck cushions, we used red leather piping
a nickel and mother of pearl inlay detail echoed in the sea fastening cabinetry
on ivory fabric, along with a geometric pattern in a rich red tone. The tonal
handles. There is a fresh twist on tradition with the use of classic proportions and
harmony relates to the colour of the hull, which is a deep burgundy. We added
materials such as dark walnut timbers, and contemporary fabrics. On the sofa,
interesting layers by blending laser-cut leather cushions inspired by marine
a cashmere-lined silk throw is personalised with embroidery. The undulating,
designs with more neutral-toned but textured fabrics. While the interior is very
carved wave pattern rug lends to the room’s glamorous ambience.
much about the flow of space, layering of textures, and a fresh palette, the exterior is just as elegant but with a punch of colour.
Photographs by Edina Van der Wyck
i nt er i or d esi g n 113
Above: The VIP stateroom is decidedly female, with colours of lavender and
purple on a background in shades of grey. The owners’ daughter studied gemology, so we commissioned cushions with genuine amethyst crystals embroidered on purple satin to adorn the bed. Left: The VIP ensuite bathroom features silver vein travertine slabs laid in a
vertical orientation. The bespoke Murano mirror frame is etched with a delicate floral pattern, and together with crystal faucet handles and mother of pearl inlaid sea fastening knob, creates an understated and elegant environment. Facing Page: The unique finish applied on the atrium walls and flooring was
the first of its kind on a yacht. We collaborated with a local company to create the 'skin' for the staircase atrium by coating the surfaces in a platinum metal finish with impressions of leaves; it starts as a canopy on the deck flowing down the atrium stairway. The finish was applied on the moor oak treads to reveal platinum highlights in the grain. Our recessed handrail repeats the platinum finish but with a concealed light for an effect that is truly unexpected, ultra tactile, and completely unique.
Photographs by Edina Van der Wyck
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“I believe that good design comes from pushing boundaries.� Kamini Ezral ow
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Above: The study-media cabin features the latest in audiovisual technology. The
Facing Page: Perfect for entertaining alfresco with the glittering harbour or
main deck room has proved to be a great space for the owner to work in, as
a serene ocean sunset in view, the round lacquered dining table comfortably
well as for enjoying family movies and entertaining. Sofas are upholstered in
seats up to 12 people. The colour tones are muted but still fresh: creamy ivories,
a comfortable duck egg blue linen and the joinery unit and desk are clad in
light taupes, and soft yellows.
walnut timber with blackened steel accents and soft suede. In residences we
Photographs by Edina Van der Wyck
often design to achieve multiple functions; in yacht design it is no different. Because space is limited, we must make the most of the room, all the while respecting its different functions.
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