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September 2010

The Autumn Collection


Little Greene Environmentally Friendly Paints and Wallpapers

Classic and contemporary paint & wallpapers - in association with English Heritage

For your free 128 shade colour card and stockist details please call us or visit UK & Overseas - +44 (0) 161 230 0880

Germany - 089 5506 5757

France - 01 42 73 60 81

LUXURY FOR LIFE Baufritz is passionate about creating a luxurious living environment that’s designed just for you. All our homes use an abundance of high quality, natural materials that are completely free of toxins, creating a harmonious atmosphere that looks beautiful, protects the environment and makes you feel good. To find out more about Baufritz or to make an appointment contact Baufritz in Cambridge: 01223 235632


We know just how it is; there are so many ideas, products and pieces in magazines that you wish you could find. The question is, where do you start to look? At design et al, we want to help you. We have been window shopping throughout the World and we think that we have found the best innovations and brought them home for you. There are too many prodcuts and suppliers to list on a page at the back of the magazine, so we have developed a customer helpline to give you that little bit extra - support and advice when you need it most. You can call or email to find out more about any products featured in design et al, find your local stockist or check on any additional details. Remember, we are always here to help.

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Call 0161 214 7200 for further information or visit the NEW Manchester Showroom at 261-267 Deansgate, Manchester M3 4EN Waterloo 020 7902 5250

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Guildford 01483 469430

Beautiful homes deserve beautiful features Templestone’s architectural features are handmade by highly skilled craftsmen. These traditional skills and artistry enhance the beauty of natural stone. From fireplaces to mirror surrounds, archways to window frames, porticoes to pergolas, Templestone brings elegance to your home from design to installation.

Traditional skills •Traditional service • Traditional values For a brochure call 01963 350242 or visit our website at

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SieMatic kitchens range from ÂŁ15K - ÂŁ100K + They have been the choice of the discerning home owner, architect and interior designer for over 80 years. Art House Creative Interiors - a National Winning Studio with collectively over 60 years experience - will create the perfect kitchen for your lifestyle.

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Hand picked, hand forged, hand finished. It’s the personal touch that makes our products unique. To create a truly unique environment you need truly unique furnishings and fittings. Every item in the Jim Lawrence Professional Collection is a one-off, individually crafted and hand finished, exclusively available from Jim Lawrence and no one else.

Handcrafted furnishings


Curtain Poles

Soft Furnishings



Call 01473 826680, email or visit Showroom at The Ironworks, Lady Lane Industrial Estate, Hadleigh, Suffolk IP7 6BQ.

114 Design Et Al The Platinum Issue

bedroom | bathroom | kitchen | home cinema | swimming pool | orangerie/ glasshouse / living space | bedroom | yacht design

for applications/ information please call 01244 346 347

Press Office: Cosima Westen - Raffaele Fabrizio DEDAR Srl - Via G.P. Clerici, 35 - 21040 Gerenzano (VA) tel. +39 02 96 81 381 -

So let’s start with a question, where would be your dream destination for your second home? Personally my opinion varies from Italy to Provence and, now and again, I think perhaps Vermont. After a holiday last year however on the pretty island of Nantucket I have to admit this is now my first choice; Europe comes a close second but there is no where quite like Nantucket and this is the location of our first beach side home project this issue. Designed by Kathleen Hay a designer who works and lives between here and a short commute to New York, just an hour by plane, the project is your typical dream home: the sort of home films and stories are inspired by, with a little sandy path leading down to the beach.

Bannenburg & Rowell. We have been fortunate enough to sneak a look at the sumptuous interior scheme throughout. From here we journey to London, to one of the city’s most exclusive developments - The Lancasters, close to Hyde Park. And finally a pool house in Somerset with a lighting scheme by Bruce Munro. As always, the design projects are varied in scope, style and finish. We are as always keen to look at all aspects of interior design from a broad spectrum. As you are aware next month sees our first International Interior Design & Architecture Awards and the winners will be decided by you, our readers, and the most important critics of all. You can vote on line until 5.00pm on 8th October for your favourite scheme in all categories. The short listed entries can be viewed easily, when you have looked through images and read the briefs simply tick the appropriate boxes to place your vote Until next month.

Our second project features an award winning super yacht by


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The Perfect Beach house A project in Nantucket by U.S. based designer Kathleen Hay

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Nantucket, USA; a jetsetter’s retreat and a place of natural beauty lined with pristine sandy beaches where long snowy winters give way to warm summers. This small island off the coast of New England, just 3miles wide and 14 miles long, is a place where recreational activities maintain a high profile. Windsurfing, sail boating, cycling and fishing are all offered here in a scenic family friendly setting. No wonder this location has become a playground for the rich! I was fortunate enough to spend a week’s holiday here just last year and it lived up to its reputation and my expectations in every way. If I had to choose one location in the world for a second home, this would be it.

“Describing her style as eclectic and sophisticated, Kathleen likes to get a balanced mix of materials, wood, metal, stone, wool and glass in each room.”

Nantucket based interior designer, Kathleen Hay of Kathleen Hay Designs explains that the bulk of her work has been on homes on the island. Many the clients who approach her see their Nantucket residence as their second home. Building laws on Nantucket Island though do carry a heavy influence, particularly on the exterior of the property. All homes in Nantucket must satisfy the Historic District Commission (HDC) whose stipulations are put in place to ensure that all new buildings are designed in keeping with the traditional 300-year-old architectural style found on Nantucket Island. So this is something that they did have to work around and for this reason all new design projects need careful consideration. As she was on board with the project from an early stage, Kathleen was able to work closely with the architects and carpenters and influence the shapes of the spaces and the choices of materials and woods used to really get everything just so. Vast open spaces though presented the biggest challenge, as they needed to be filled. Regular sized furniture would have been swamped so all of the sofas, coffee tables and general furniture had to be custom made to a much larger size. The kitchen is truly the hub of the house. It opens out on all sides into various living areas so it was important to tie it in aesthetically with all of the spaces

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stemming from it; there had to be a sense of flow. Inspired by nature and bringing a sense of the natural world into our living environments, Kathleen used natural elements throughout these spaces – tying them together with this common theme. In order to do this she selected a range of complimentary tones throughout whole home and kept the colour pallet very neutral, “You can’t use certain colours in Nantucket, the light here is very clear and makes them look harsh, “ Kathleen commented.

Describing her style as eclectic and sophisticated, Kathleen likes to get a balanced mix of materials, wood, metal, stone, wool and glass in each room. Though she avoids words like modern and contemporary, which she feels carry clinical overtones, she does like clean lines and comfortable living. In her own home, she explains, she brings in all of these elements, incorporating the natural world to an even more extreme level with seashells, feathers, birds nests and very neural colours. Dealing with aesthetics every day in her working life, she likes to come home to something restful. Incorporating nature has also been a success in the project. It has a real summerhouse style, very open to the elements with vast expanses of windows. Kathleen’s choice of window treatment really works here. Clean, light, airy and unfussy – it is deliberately a very simple choice. The living space is classic yet comfortable, so Kathleen used soft textures, pale yet interesting. Taking care to stick to the ancient Chinese philosophy she added various different materials, wood and metal to give balance. Kathleen specified everything right down to the towels and napkin rings. “Second homes are often great to work on as clients generally allow you to have a bit more fun with them.” Travelling to Boston, New York and Palm Beach, in addition to working on beach style houses Kathleen does also get the chance to work on city residences as many of her clients return to her asking her to work on their city homes.

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Beyond Reasonable Expectations Bacarella – a 60 metre super yacht by Bannenberg & Rowell Photography by David Churchill Design Et Al 36 31

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I am inspired by the words of the late Jon Bannenberg, founder of Bannenberg & Rowell “It all starts with one person’s imagination.” For this is true to every project, idea and concept and whilst the statement is simple, its simplicity and clarity make one feel that anything is possible. This has to be the case when working on exterior and interior schemes for super yachts, the most coveted possession of the super rich right now. We took a closer look at a recent project launched just a couple of months ago, a sixty metre super yacht called “Bacarella”.

“The client’s original brief was for a liveable, welcoming and smart Californian inspired interior taking full advantage of the large volumes and space provided by the boat’s hull.”

The yacht started her life as a fifty – five metre vessel, with construction starting in 2005, progress was however interrupted by Hurricane Katrina in late 2005 which subsequently led to a change of ownership and an extension of five metres to sixty metres in 2007, at this time construction moved from New Orleans to Gulfpoint. Metrica of Germany were appointed as the interior subcontractor and this was to prove a very important driver of the quality of the yacht’s interior. “The only wrinkle in the process was confined to the first few weeks, this was the battle between imperial and metric measurements,” Simon Rowell explained. “Metric won.” The client’s original brief was for a liveable, welcoming and smart Californian inspired interior taking full advantage of the large volumes and space provided by the boat’s hull. A palette of strongly-grained elm, limestone, slate, bronze and glass was developed for the architectural finishes on board, within which a fusion of pale, knocked –back fabrics provide the counterpoint to bulkheads. Design meetings were held with clients in London, New Orleans and Miami. The Lower Deck has a full-beam VIP double guest cabin (added after the yacht had been lengthened) and four further double and twin cabins. All have common architectural detailing and finishes on board, with variations in colours and textures provided by fabrics and upholstery on chairs and bed heads, whilst bathrooms exude a spa- like calm in pale limestone and mosaic. Limestone continues its soothing effect along the whole of the lower deck corridor in a geometric combination of three shades of stone from off white to rich chocolate. The main deck saloon is quite likely to be the largest on any sixty metre yacht afloat and features custom designed Bannenberg

and Rowell pieces in the form of a driftwood and bronze console table and a glass and oak coffee table for the central seating area. A quartet of upholstered stools slide under the glass table top and provide additional seating options. The overall feel in here is relaxing but tailored. The seat height of the sofa is a little lower than the norm to offer particularly comfortable and inviting seating, avoiding the slightly “sit up and beg” ergonomics of more formal seating. A separate Dining Saloon for twelve is approached through power sliding curved doors in filled in stainless steel mesh sandwiched in milky glass. The space offers the option for dining inside without the over powering formality often seen in these areas. The custom –designed dining table has an inset perimeter of opaque glass allowing light to glow through form above and below. Behind bronze wrought iron doors is space for over a hundred bottles of wine. Dining chairs are by Promemoria with seats in very dark, almost black, burgundy leather. On the bridge deck, the sky lounge is the main relaxation area on the yacht. Generous and informal seating options are served by a recessed bar, fronted in plaited stone panels. The bar top is set at chair height, rather than bar stool height – allowing an unobstructed view out of the large windows and promoting an intimacy with the rest of the room. All three decks are linked by an elevator and a dramatic staircase with iron and crystal balustrades. At bridge deck level, guests see a three metre wide map of the world incised in green slate, executed by a stonemason of international repute. A literary voyage across the globe is marked by inscribed quotations from Lord Chesterfield to Yoko Ono. Bannenberg & Rowell were also involved in aspects of Bacarella’s exterior styling as well as pool and bar details, logos and a selection of exterior deck furniture. As a result of an Act of God – the hurricane, the project was a lengthy one. “ The moment the cabin door shut with the solidity of a Mercedes S Class was the moment the client realised the sheer quality of what they had commissioned,” design …….explained. “ This inherent quality is apparent all over the yacht with a little exploration; shaped stone architraves in the bathrooms, the depth of deck head profiles, hemisphere crystal lenses in the balustrades of the main staircase - there are many.” The result is a project that exceeds all reasonable expectations.

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Everybody knows the importance of lighting within a home. We understand that a good lighting scheme can provide focal points to a design and create illusions of space. More than this, we understand that light can affect our mood and comfort within our homes. Modern lighting schemes have to cope with a variety of situations from entertaining guests, through watching television to relaxing in the evenings. Gone are the days of simply installing a dramatic centre light for all to admire; whilst we may still have feature pieces, they are just one part of an increasingly complex system of lights and associated controls. We no longer have the simple choice of what wattage bulbs we need; modern lighting requires careful planning and thought. In fact, the complexity of some of the most up-to-date lighting systems requires that they must be considered right at the start of a project due to the cabling and electronic devices required to link all the fittings, sensors and controllers. The choice of fixtures, fittings and control systems available has elevated lighting to a subject best left to the experts. It is all too easy to consider lighting as a secondary cost – something which can be altered in the future. Unfortunately, this is an unwise approach as lighting is arguably the most critical aspect in the design of any home. The space within our homes no longer has predetermined uses; we increasingly require a given space to function in an alternative way. The kitchen, for example, presents one of the most multi-functional rooms in a house – used at all times of the day for a variety of purposes. As such, it requires a multitude of lighting to provide for all uses - strong lighting is required on worktops when preparing meals, yet subtle lighting is required when entertaining. The double-use of the kitchen is just one example of the need for flexibility modern living demands. It is this requirement that drives much of the technological advances we see today; we are no longer willing to shape our life around what our home can offer, instead we demand that our home be shaped to fit our needs. Further than this, we want our home to react to our needs – to respond to changes in our environment. The huge interest in so-called intelligent lighting systems has prompted several big name electronics companies to begin producing control systems with a level of sophistication once thought impossible. Spurred on, in part, by legislative requirements on the working environment, office lighting systems can now actively

monitor and adjust both natural light entering a room as well as the levels of artificial light within it. Whilst external weather sensors are not commonplace in the home, technology is quickly filtering down, and being utilised in many projects. Widespread interest in environmental issues means people want to embrace natural elements when they can; if a house can utilise sunlight rather than electric light few people will argue. And no longer are we talking about hideous automatic shutters which adorn many modern apartment buildings – solutions for filtering and controlling natural light range from reactive glass through to fully autonomous control of blinds, curtains and screens which in the past have been constantly adjusted by hand to offer a comfortable level of light. As demand grows for these systems we will, no doubt, see new technology emerge, with more exciting and innovative products available to improve the quality of lighting in our homes. Efficiency will be a huge factor in the development on new products, especially in light of constantly increasing energy costs. It is fortunate however that lighting systems are not simply being forced on the market – they are being designed for the market, with thought being given to current trends and thinking. Often, in the past, technology has been embraced without regard for its impact on design. Unsightly control boxes, cable conduits and bulky fixings are often accepted as par for the course; a small compromise to be made for the benefits gained. Lighting systems, however, are different. The main attraction is the complete integration of them into the fabric of a building. With some careful planning, an intelligent and beneficial lighting system can be installed in a building without anyone realising the complexity of technology behind the visual presentation they see; people should marvel at the presentation and comfort of your home rather than the technological wizardry that is behind it.

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1. Tom Dixon / Swarovski The “Ball” light designed for the Swarovski Crystal Palace collection by Tom Dixon creates a perfect visual sphere out of hundreds of Swarovski crystals suspended on individual threads. Available in different sizes, for further information phone 020 7016 6780 or visit

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2. ConcilLuce The Maxi lamp from ConciLuce’s Formosa collection, featuring striking asymmetrical pleats is available as a floor lamp (as shown) or as pendant or table versions in a variety of sizes and a choice of either white or red fabric. For further information contact conciLUCE on 01372 383007, E-mail: Web: 4. ACDC Lighting designed by ACDC, for information visit 3. Murano Due or Tel: 01282 608400. Designed by Patrick Jouin for Italian company Murano Due, the Ether light features a cascade of glass droplets through which the multicoloured light from an LED diffuses. Available from Inspired By Design (Manchester), Tel: 0800 458 0669. Alternatively contact Murano Due direct on +39 041 574 1270. 46 Design Et Al 36

DESIGN : STYLE : QUALITY Tel. +44(0)207 856 2085

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This Page: Abode – Euphoria Double Shower Abode’s new ranges of bathroom brassware and showers have been created for people who want the perfect blend of design, performance and sheer quality. The Euphoria family of showers and accessories have been designed exclusively to co-ordinate with the complete collection of new Abode bathroom offerings. The luxury, double shower room has large square, overhead fixed showerheads, and concealed thermostatic showers finished with a rising rail shower kit. The roof mounted, stainless steel square showerheads measuring 50cmx50cm are priced at £899.00 each. The Euphoria concealed shower mixers in chrome cost £169.00 each and the Euphoria shower kit with wall outlet in chrome is £183.00 (all prices inc. VAT). Contact Abode, Tel: 01226 283434. Web: E-mail:

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Cesana – Horizon The stunning new shower enclosure Horizon, from Italian shower manufacturer Cesana is one of a new breed of high-tech showers that offers designer looks and state of the art technology. Its horizontal shelf contains a multi-functional shower bar, a rain showerhead and a practical hand held shower, both with anti limescale systems. The Horizon also allows you to regulate the water temperature and flow from both outside and inside the shower enclosure. The contemporary profile is in anodised aluminium with a bright finish, with the bar and details in chromed brass. Horizon is available in three sizes 180, 160 and 120 cm, left and right hand versions and is suitable for corner and niche locations. The ideal complement to the Horizon is the Onfloor shower tray in CristalplantŽ. With its smooth and joint free surface the Onfloor compliments the clean lines of the Horizon enclosure. Visit:

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Above:Tylö Classic Sauna Room – by Dröm UK If you ask people to describe a genuine sauna, the chances are that their description is more or less identical to a Tylo Classic room. The standard Classic model is the epitome of a traditional sauna, both inside and out. At the same time, it’s easy to adapt a Classic sauna room to its surroundings. Choose Classic Special if you want to add a finish that blends in perfectly with the rest of your bathroom décor. It’s as versatile as your imagination. Find out more visit: or call 01932 355655. Price from £2950 Right: Alape – Betty Blue German manufacturer of glassed Titanium Steel basins, Alape, has launched a unique basinless washstand into the UK. When in use, the Betty Blue basinless washstand (pictured) accomodates water flow from its surface mounted tap onto a completely flat surface, it then drains outwardly towards a gap of just a few millimetres that is discreetly placed around the inner edge of the wash stand. The water then cascades through the gap to a completely concealed waste below. Betty Blue is the brainchild of the team at Alape partners Sieger Design; it is made from GlassedSteel which enables the washstand to have impressively precise contours allowing for its strikingly contemporary form. The water supply and waste outlet are integrated within Betty Blue’s hollow slimline legs and therefore remains out of view. Visit

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Abode – Euphoria Exposed Rigid Tubular Riser & Passion Taps. Abode offer a myriad of outstanding brassware design pieces – square showerheads, round heads, oval heads, heads with glass, wall and roof mounted. Flat and conical mounted thermostatic shower posts and bar showers, concealed and exposed shower kits. Interestingly shaped rigid and tubular risers with and without handsets and body jets. The Abode Euphoria range of UK & Irish specification showers and accessories are designed to present consumers with the widest choice of showers for their bathroom and to give them the very best possible start to each day. Shown here is the Euphoria exposed rigid tubular riser with 20cm circular showerhead and shower handset priced at £339 each (inc VAT), which co-ordinate perfectly with their Passion range of basin taps. Contact Abode, Tel: 01226 283434. Web: E-mail:

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Left: Laufen – 08 Washbasin Launched just last year, the small asymmetric 08 basin is an addition to Laufen’s Palomba Collection designed by Ludovica+Roberto Palomba. Its geometrical shapes are designed to have an appearance reminiscent of the soft and natural shapes that can finally emerge as a result of the erosive effects of water on stone. Indeed the shapes of the washbasins are fluid, they derive from the water itself. The 08 ceramic basin measures 900 x 420 x 160 mm. Visit:

Left and above: Olympia Ceramica – Texture 01 Bold and vibrant, the stripy Texture collection designed by Ldesignconcept Studio for Italian bathroom company, Olympia Ceramica, adds individuality and a splash of colour to the bathroom. The range includes hand decorated basins and accompanying ceramic countertops in a range of colourful finishes and striking geometrical shapes. Shown here are the 01 and the 03 models, each features a round sink 45cm in diameter, supported by 100cm x 52cm fixed ceramic countertops. Visit:

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Take The Kitsch Out Of The Kitchen I am tired of seeing “kitsch” in the kitchen, if I see one more retro fifties set of accessories, funky toasters and chintzy/ funky fabric set of curtains in a magazine I will scream. We have suffered years of this, surely the time has passed and it is high time we all took the kitchen seriously. So, whilst over powering and clashing fabrics for everything from curtains and blinds and cloths to cushions may have been quite ‘the thing’ in certain circles at one time, the look has passed, was it ever really here? I am not sure but if you were one of the few to be drawn into this sickly world of “oh so sweet styling” it is time to call a halt to the sea of pastels that is clashing in your kitchen and move forward. The kitchen should be functional there is no question about that and the function aspect should not be complicated with clutter and nasty over flowery features. I am not advocating stainless steel, chrome, harsh but clean lines or any notion of utilitarian chic. For me the school canteen kitchen in its high tech format is not the look for any home, however there are aspects of the more industrial kitchen that can be adapted and tailored to your plans. The key is to seriously consider the functional requirements of the space and the room, think carefully about how you will work from a practical perspective in the room and then plan accordingly. Consider technology and implement it wherever you are able to,

integrated fully into your kitchen will mean an easier and more efficient use of your time and space. As to the actual finish of the kitchen, well this is of course down entirely to you, whether you opt for a sleek and contemporary or traditional hand painted the kitchen should have similar attributes with just a different facade. What you should do however is enable the kitchen to truly be integrated into your home and as part of your home. I am not for period styling in the sitting room and high tech sleek in the kitchen I think it is garish and a little passé, but more than that it looks like a kitchen salesman has been in and really over sold their products – sorry guys but you know the look I am talking about. I am not advocating seamless transitions from room to room and I am certainly all for an eclectic mix when working on a design scheme for an entire home. I am simply suggesting that all rooms should belong to the same house. I think we would all agree ? With the kitchen season almost upon us, yes that is right, autumn is the time when most of us consider a new kitchen, this is the first in a series of three consecutive kitchen features. For this month we are taking a closer look at some of our favourite looks and practical yet stylish solutions for appliances.

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Caple – Zodiac Chimney Hood. Geometrical stainless steel is complemented by modern sleek black glass panels in the Zodiac chimney hood. Available in wall mounted or island versions, at 900mm in width this hood comfortably fits over any sized hob. Promoting a quiet kitchen, the Zodiac incorporates Perimetrical extraction; which uses increased pressure through a thin slot to improve motor performance and reduce noise to a maximum level of 68dB(A). Lighting up to the touch, this chimney hood features chicly illuminated LED touch-screen controls and two square halogen lights. Boasting intelligent auto heat sensors, it can also adjust the extraction level settings according to the hob temperature. Of course, there is also the option to override these settings with four manually controlled speeds. Other features include stainless steel grease filters and an Auto timer, which switches itself off after five minutes. There is also an optional extra recirculation kit. The Zodiac hood retails from around £582 (inc. Vat) for the wall mounted and £815 (inc. Vat) for the island version. For more information call Caple: 0117 938 1900 or visit www.caple.

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Siemens – New Coffee Maker Range Siemens has introduced new models into both their Bean-to-cup & Nespresso ranges, bringing their total number coffee machines to six. In either a silver, black or combination finish, the new collection is designed to coordinate with all styles of modern kitchen décor. The price bracket has broadened in the new line-up, with models now available for all budgets, from £119 (TK30 Nespresso) to the new top-of-the-range elegant black Bean-to-cup model TK69 (Superpresso Caffe Nero) – pictured here – priced at £799. This is one of two fully automatic models in the Bean-to-cup sector. The other, the new silver model TK54 (Surpresso Compact) is priced at £399. Both models boast the Aroma Whirl plus system for adjustable brewing and Single Portion cleaning for automatic rinsing in-between uses. In addition, model TK69 features a unique AutoCapuccino frothing nozzle, milk container and built in water filter for optimum results in every cup of coffee. For brochures, call 0870 840 3300 or visit

A touch of style For a copy of our brochure, or to find out more, please telephone or visit our nearest showroom: LONDON 555 Kings Road Chelsea London SW6 2EB 020 7610 6626

NEWCASTLE 14 Clayton Road Jesmond Newcastle upon Tyne NE2 4RP 0191 281 3443

KNUTSFORD 92 King Street Knutsford Cheshire WA16 6ED 01565 754 547

Inspirational Furniture

Also represented in Edinburgh, Belfast and Dublin

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Above: Neff’ – New ‘In Line’ Gas Hob New from Neff, the extra wide four-burner gas hob, model T29P4N0. Finished in stainless steel to coordinate with other Neff appliances, it measures 1179 x 368 mm (120cm wide) and is unique to Neff’s extensive 2008 hob range. Rather than a traditional format of both front and rear burner options, the T29P4N0 boasts an original layout with all four burners set ‘in line’ for ease of access and safety, without having to cross over zones. The surface sits flush with the surrounding worktop for a streamlined appearance as the four recessed pan supports only rise 4mm above the work surface, which is unusual for a gas hob. The controls are side mounted for convenience and there is a powerful wok-style triple flame burner on the centre right. Key benefits of this eye catching new extra wide model include one handed ignition via control dials as there is no need for a separate ignition button, onepiece burner design for ease of cleaning, four individual pan supports for ease of handling and flame failure device for safety. For brochures & stockists, call 0870 513 3090 or visit RIGHT: Wolf Launches New Flush Fitting Built In Oven Manufacturer of high end cooking instruments, Wolf has launched a new built in oven that offers an unrivalled flush fitting finish. Whilst other built in ovens overlap the surrounding cabinetry, Wolf’s E Series oven is available as an unframed model that can be installed flush for a completely integrated look. Further contributing to its sleek profile is an electronic control panel with touch panel controls and easy to read LCD digital display. Measuring 762mm wide, this appliance is available as a single or double oven and has been developed to ensure the most professional performance possible. The oven cavity itself is the largest in the UK (H 419mm by W 546mm by D 416mm) and the large double pane window allows the interior to be viewed without opening the door. This appliance also features a dual convection system unique to Wolf consisting of two separate fans and four individual heat sources, which operate either simultaneously or independently for more precise cooking and more professional results. The ten cooking modes include bake, roast, broil (grill), convection bake, convection roast, convection broil (grill), convection, bake stone, dehydrate (dry) and proof. For Stockists call 020 8418 3800.

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Left: Smeg – Energy Saving Dishwasher Italian appliance manufacturer Smeg prides itself on producing some of the most eco friendly and efficient appliances on the market today and the new 12 place setting DF6SPLUS dishwasher is no exception. Energy saving recommended by the Energy Saving Trust, the 60cm DF6SPLUS has two key features (Aquatest and Save+) that contribute towards its ‘AAA’ rating. Aquatest is an electronic infrared sensor, which measures the clarity of the incoming water. At intervals the electronic board checks whether to continue the prewash cycle or heat the water for the wash programme – keeping consumption of water and energy to a minimum. Save+ is an option able to obtain a 10% reduction on energy consumption compared to a standard ‘A’ class dishwasher by using an alternative drying system and a new, more efficient washing cycle. Additional features on the DF6SPLUS include nine programmes, five temperatures, half load in upper or lower basket, total AquaStop, adjustable lower basket, automatic tilting upper basket and Ultracleanse. External features: finger friendly stainless steel and a sleek electronic display showing options selected, salt and rinse aid requirements, length of programme and time left to end of cycle.

TOP: Kuppersbusch Launch A World First In Sinks Innovative German appliance specialists Küppersbusch have launched their first ever sink and drainer to work alongside their full Vario-Line range of appliances. The Vario 45 R sink and drainer are each 45cm square and manufactured with a high quality black glass top and stainless steel bowl. The sink has a mechanical pop-up waste. The unique feature of the Vario 54 R is that it can be fitted directly next to the Küppersbusch Vario-Line Hobs and griddles – as Küppersbusch are the only appliance manufacturer that manufacture fully water sealed hob units. This makes installation of the sink next to Vario-Line hobs perfectly safe – a great space saving innovation from Küppersbusch, gone is the previously required 350mm space between hob and sink. Visit:

Above Left: Built In Coffee Machine From Gaggenau Towards the end of 2007 Gaggenau introduced a new generation version of the company’s popular built in fully automatic coffee machine. Specifically designed to coordinate with the much acclaimed 200 series of built in ovens, the 60cm wide CM 210 uses the sophisticated ‘Aroma Whirl’ brewing technology to produce perfect espresso, cappuccino or latte coffee from freshly ground beans. Finished in a choice of brushed stainless steel or aluminium metal fronts, the CM 210 boasts stylish central controls for full integration with other cooking appliances in Gaggenau’s built in line up. It has exactly the same dimensions as the collection’s matching steam and combination steam ovens for symmetrical installation in tandem or as part of a bank of cooking appliances. A matching warming drawer, model WS 261 also available for storing and warming cups. Visit www.

Above: Air Uno – Quadra Sinks – Launched at KBB 2008 in March From the innovators who introduced Parapan ® and Corian ® to the UK surfaces market comes yet another quality material! Expanding its Air Uno range, the company has teamed up with Foster, the Italian makers of superior stainless steel to offer a stylish range of kitchen appliances. Already suppliers to the top Italian and European kitchen manufacturers, Foster offers some of the most advanced technological solutions combined with elegant design. Their innovative ranges include sinks, taps, hobs and ovens. The difference between Foster and other stainless steel products is the superior quality of the material. This is most obvious on the elegant Quadra sinks (pictured). ‘If you compare a Foster’s Bowl alongside any other stainless steel bowl, you’ll soon see the difference,’ says Geoffrey Baker, Chairman of Air Uno. ‘It’s obvious in the folding and welding, but also in the depth of shine. The bowls have crisp, sharp edges – unlike any other sink – for that uber- contemporary look.’ The Quadra flushmounted bowl and drainer measures 985mm x 503mm and costs £998 exc VAT. Also pictured, the GEO tap is priced at £403 exc. VAT. Visit

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Above: Gaggenau Flush Fitting Gas Cooktop. A powerful flush fitting professional gas cooktop with a true wok burnerfrom Gaggenau’s luxury built in cooking collection. Visit Left: Earle & Ginger Earle & Ginger have been established for over 10 years, designing and installing unique, individual kitchens in Manchester, Cheshire and throughout the North West. Earle & Ginger have built up an excellent reputation for their attention to detail which also gained them exclusive rights to build and install Metris kitchens in Manchester and South Manchester, Earle & Ginger were also finalists in the much coveted Grand Design Awards, for their kitchen design in the ‘Best Eco House’ category. Building on the success of the Didsbury showroom, Earle & Ginger and have now opened a new and exciting showroom in Hale village, South Manchester. The showrooms not only feature a gorgeous Metris Wave Curve kitchen (Winner of Best Kitchen Design in Grand Design Awards 2010) but now display a new and exciting model from the stunning Comprex Kitchen range. Earle & Ginger have been granted exclusivity by Comprex Kitchens, and are the only kitchen design company approved to supply and install in the South Manchester and Cheshire areas. Earle & Ginger have an enviable selection of classic and contemporary kitchens and their range of surfaces and materials will astound you. They supply every style of appliance from all the top brand names and manufacturers, and can help you with all aspects of your new living space from under-floor heating to ambient lighting. Visit the showroom in Didsbury or Hale and find out how they can help you create your dream kitchen. You can also visit the website www. to see more of the range of beautiful kitchens they design and install.

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680 Wilmslow Road Didsbury Manchester M20 2DN Tel: 0161 434 4354

8 Broomfield Lane Hale Cheshire WA15 9AQ Tel: 0161 928 9600

The Classical Cosmopolitan The Lancasters, London - interior design schemes by Intarya

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Much has been said about house prices, their rise and fall in recent years and of course the abandoned new projects that we read about - the sites left in turmoil, the “ghost developments” whose future hangs in the balance and the negative equity of those who purchased at the top of the peak.

“The scheme has been built to the highest specification behind the retained stucco façade and is the only revival project of this scale on the market.”

However at the very top of the market things are very different and in my opinion all too often not reported nearly enough; if they are it is sometimes with an air of cynicism rather that positivity, it is time to stop being sceptical and look at the reality, the top end of the market is working. According to Knight Frank, the number of new houses under construction in Kensington and Chelsea for example rose from 557 in July of last year to 799 by the end of the year. Overall in prime markets construction rose by more than a third in the second half of last year. Price rises in London have been conditioned by the scarcity of supply, a factor that is gradually changing. Last month we took a look at One Hyde Park, a residential development that everyone is talking about and this month we are looking at its main rival, “The Lancasters” just across the park, which is giving it a run for its money. So this is designing for billionaires, but in fairness although both developments are situated overlooking Hyde Park, this is where their similarities end. The Lancasters is a luxury development of a Grade II listed period building into 75 apartments and two townhouses. The development is the result of a partnership between London developer Minerva PLC and prime residential developer Northacre. The scheme has been built to the highest specification behind the retained stucco façade and is the only revival project of this scale on the market. The project’s classical Grade II listed exterior is reflected in the

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newly - constructed homes, which have high ceilings, traditional fireplaces and Victorianstyle cornicing modelled on original 1850’s architecture. The former ambassadorial residences have been restored by Nilsson Architects into apartments ranging from over 1000 square feet to more than 10,000 square feet. Leading international design company Intarya have linked the historical element of The Lancasters with the best of contemporary interiors, creating a distinctive design with inspiration taken from La Belle Époque and the Grand Tour. Intarya is the interior design offering from Northacre – the property company responsible for reviving many of London’s most prestigious postcodes, was re launched in 2008 with a new name and brand identity. Managing Director Karmini Ezralow and her team create timeless, elegant spaces to enrich life for an exclusive mix of private clients and Northacre development projects. The design scheme throughout exudes luxury and sophistication, with the use of confident blends of colour and pattern. Intarya have commissioned the skills of fine artists and craftspeople to create a design, which is sensitive and sympathetic to the provenance, architecture and location of The Lancasters. The homes appeal to the sophisticated well-travelled individual who probably consider this as a second, third or fourth home purchase – the international traveller who needs a base in London. The scheme is suitably cosmopolitan with statues from Africa, chinosiere wallpaper, Venetian mirrors and Lebanese rugs. And interestingly not a plasma screen in sight, far from technology competing with design, here all such items are carefully located in cupboards and chests of drawers. Technology is of course necessary but it can also be ever so vulgar – not so here.









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Rugs the new artwork for floors? It can be argued that today the design of rugs is so detailed that they are indeed artwork for floors. The once practical floor covering is now a design statement. It is exciting times for the rug! From a historical perspective the rug was always a practical purchase, it was placed in front of the fire to protect from the spitting fire in the hearth. Very often it acquired one or two burns over the years, which in some cases hindered its aesthetic quality, but as patterns tended to be quite traditional and busy they were cleverly and easily disguised. The nineteen seventies and eighties witnessed the emergence of the geometric design on mass; it is hard to forget the swirling mass of colour amidst the wool and man made fibres of the time. As a small child I can remember being enthralled by my mothers new and very exciting circular rug, bought for the sitting room. It was round and its base colour was the obligatory brown of the late seventies/early eighties, with splashes of beige, cream, orange and a little white. The swirls of colour in the pattern and round shape, made it an ideal ice rink for my dolls, the swirls the imprint of their skates in the ice. And somewhere, were my sister and I would play for hours hosting ice skating championships for our dolls. I am sure that the rug was very fashionable at the time but it was hardly a design statement and nor could it be classed as artwork for the floor. The eighties saw us pull back our carpets, sand down the floors, feed the parquet floor and re stain it and invest in rugs once more. We were no longer worried about the spitting fire, we wanted fun, thick, plush rugs, the floor was now the base the rug was its feature, yet it still hadn’t made it to the position of design statement. The rug worked well with the newly found clean, polished floor, but it was still just a floor covering.

The late nineties were for me the time of the textured rug, well textured everything come to think of it! Textured rugs, cushions, wall hangings, you name it we bought it. We spoke about layering and adding texture. We bought long cashmere rugs, fine long silk and wool pile rugs and even scraggy suede rugs. Until a few years ago we thought of this as innovative, the latest thing and we loved them. I have owned several rugs where the “texture� left me with fluff all over my legs and clothes and others were the silk mix was so long and loose that it just was not practical for the floor. Today rugs have come of age, no longer the practical fireplace accompaniment, their design and scope has meant that they are design pieces in their own right. Bold style statements and something worth investing in. The recent shift towards carpet has not limited their appeal. Placed over carpet they are an added luxury, their designs lift our schemes, add varied interest to our rooms and mean our lives are ever so slightly more comfortable. More than this though, their bold new designs means that no longer are they reserved for our floor, increasingly rugs are being used to adorn our walls too. Rugs we may conclude are the new artwork for floors, but more than that they are artwork in their own right, for walls too. The new rug is here to stay, it is time to be bold, brave and let its presence be felt. So how do you choose one? Well there are many varied designs and themes, choosing your rug can be as individual a decision as buying a piece of artwork. We have however selected just a few of our favourites from new collections this year on the following pages.

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Pool House Glamour Pool house project by lighting designer Bruce Munro

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The phrase “pool house” immediately conjures up an idea of glamour and ultimately a sense of true style. In this case the reality matches the phrase perfectly and the overall look is just that. Built within the grounds of a large period house, the building is sympathetic to its older neighbour yet remains a perfect partner in both structure and stance. With several art installations on the slate, as well as large scale corporate or hospitality projects, lighting designer Bruce Munro relishes the chance to make lights for private residential properties once in a while.

“Built within the grounds of a large period house, the building is sympathetic to its older neighbour yet remains a perfect partner in both structure and stance.”

Such a project is the pool-house, newly built at the bottom of a garden in a beautiful village in South Somerset. Anna Craddock who led the project with Bruce Munro says, “This new building works really well with the existing period house. It’s lovely.” The brief was to create a party house for the owners and their two children – both under 10. From the start, disco balls were on their wish list. Munro and Craddock began by lighting the glitter balls with clusters of three colour-changing spotlights. Then for a feature light, they adapted Bruce Munro’s Random Drop chandelier to fit the large space. “The French windows are really big, and we needed something that wouldn’t tangle up with the first gust of wind. We used tear-drop diffusers instead of clear glass balls which might easily smash.” The teardrops look like water droplets, in keeping with the water theme. It’s a grown-up fibre optic piece, with 350

clear diffusers at the ends of fibres that measure 1m at heir longest. A special ceiling plinth measuring 2.6m x 1.2m supports the weight. The white light travelling down the fibres and refracting from the drops is projected from one 100W halogen light bulb, and the projector is set in a remote location. The client wanted to keep it simple and avoid lighting effects that would make their poolhouse look like a hotel. So Craddock installed white function lighting elsewhere in the living space, kitchen and changing room. Outside in the garden, 11 heat-treated copper wall sconces were installed around the façade of the building and along an old kitchen garden wall to the side. Then a total of seven copper spotlights were installed; one above each doorway on the pool side of the building, one on the door to the kitchen garden, one on the front door and one on the pump room door. Four small mushroomshaped copper path lights were then set along the perimeter of the tiny lawn. Finally, a Moonlighter was installed. “It’s a bright light, set high in the trees. It gives an effect like the moon shining through branches and casting shadows onto the lawn.” says Craddock. The Moonlighter has a tree-mounting strap and anti-glare cowl to keep the light angled downwards, and uses a 130W lamp to give the appearance of bright moonlight. What happens in the night garden when a full moon appears alongside Munro’s Moonlighter? Magic. Even when approaching straightforward residential projects, Bruce Munro Ltd can’t resist a little enchantment.

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Design statements today, icon pieces of the future? Chairs are certainly a piece of furniture that we can grow accustomed to, even fond of, many of us even have ‘our’ chair. You know exactly what I mean, the chair at the far end of the dining table, the comfortable chair in a prime spot for TV viewing. Personally I can say that I have never had my own chair, whether it be in the dining room or sitting room, I am just not that territorial. I am going to conclude that it is for the most part a man thing. So we have worked out that chairs have a purpose and prominence in our lives, they define our space, identify our territory and act as a comfortable practical piece of furniture. But are the chairs we are putting into production today design statements, icons of the future and tomorrows design classics? The twentieth century witnessed the emergence of the chair as a design classic. New materials and technology worked hand in hand with innovative young designers such as Marcel Breuer, Robin Day and Arne Jacobsen to provide progressive design solutions that were more than just aesthetically pleasing, they were design statements in their own right. So are the designs of this decade going to work in thirty, forty or fifty year’s time? Will we see their creators on the pages of future design books, their designs coveted and re created time after time? To be fair it is very hard to say, to have the gift of hindsight is rare, still the chairs of today should be celebrated and implemented wisely into our homes and interior schemes.

compromising on style in any way. But the chair offers more than just style and comfort, it offer a defined area of personal space within a room, something that the sofa just cannot offer. This is great news not only for the look of a scheme, but also from a highly practical perspective too. And what is more, it is something that should not be feared. I see lots of people wisely choose a wonderful corner sofa unit, or pair of beautiful sofas in perhaps a natural coloured finish and then discover that they are afraid to purchase chairs, because they will not “match’. Matching I am afraid is for home accessories departments of chain stores and is once again an issue for the style challenged. When it comes to choosing your chairs it is time to go bold.

In short, the chair is one of the most functional purchases that you will make yet it is however also a design statement that can add life and interest to any scheme. Some years ago now the traditional three-piece suite fell out of favour, and were reserved only for those over a certain age, and those of us who are seriously style-challenged. We embraced two seater sofas, three seater sofas, matching pairs, L shaped corner sofa units and chaises on mass. Chain stores selling high volume, low cost and no style upholstery stopped advertising chairs in their glossy over stylized sale ads, preferring to talk only of sofas in whatever form they may take. Yes I know I am criticising the high street chains once again, but to my mind inexpensive sub standard imports from China should remain that – inexpensive – as soon as the five years interest free credit deal has been added to the cost and the over inflated price worked out accordingly to allow for this, customers are left with a not so good, not so cheap product.

The same principal applies when you are choosing chairs for your sitting room, bedrooms, kitchen and even your dining room. Dining rooms tables and chairs do not need to be bought as matching sets; today you can choose your dining room table and opt for any chair you wish. Finishes, textures and colours are wide ranging, your main consideration however ought to be the size and height of the chairs from a comfort and practical point of view, they simply need to work with the table in this way rather than in a matching-style way.

The emergence of the multiple sofa purchase however has not diminished the need for chairs within our living spaces, and it has led to the opportunity to purchase some key statements which will certainly enhance our overall look. Chairs no longer need to match. In fact they can be as far away from the fabric, tone or style of the scheme within your room as possible, they do not even need to be upright. They can hold your body and cradle it, their innovative design has in many cases been created for ultimate comfort without

With so many chairs to choose from this suddenly makes shopping for chairs fun, interesting and certainly varied. I have to admit that in the past eight years or so I have written and edited countless articles on upholstery but never focused on the chair. The idea of an entire article being devoted to this one solitary piece of furniture seemed a little over the top. Today, however, I feel that there are so many new and exciting designs emerging that it is high time we celebrated the chair and its role as a practical design classic. Shopping for chairs has suddenly become cool; when you have assembled the key components of your scheme they can be the icing on the cake, the piece that adds the wow factor to your room. And with so many designs to choose from, not only is it cool to shop for chairs it is also fun. Is chair shopping the new shoe shopping? I can certainly see similarities… so go on have some fun.

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International Design & Architecture Awards 2010

We know that design awards are usually determined by a panel of ‘experts’, but we felt that it was time for a change. We want to give you the power to determine the outcome - you are the most important judges, real people with real views - in fairness the only views that truly matter. Until 8th October 2010 you have the chance to vote for your favourite scheme on line at:


made in england since 1860

The winners will be announced in an exclusive and select ceremony held at: The Connaught Hotel, London - 15th October 2010

For information call 01244 346 347

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The Influence of Scandinavian Design Few would argue that Scandinavian design is not a fundamental influence today and has been in the UK for the sixty or seventy years. Ikea is of course the largest known mass produced brand, they have been “piling it high and selling it cheap” for decades now. For many this is the how they see Scandinavian design, but the Ikea model is far from being representative of design from that part of the world.

Artek – Armchair 400 & Double Coffee Table 907b Founded in 1935 with the aim of introducing Nordic design to the world and bringing new exciting avant-garde to Finland, Artek creates high quality durable furniture with clean design lines for both commercial use in public spaces and residential use. The 400 armchair has a natural lacquered birch wood frame, employs internal springs to prevent sag in the foam and dacron seat and comes in standard fabric or can be upholstered in the customer’s own. Meanwhile the birch wood ‘Double Coffee Table’ features a twotier design in which the lower tier, suspended from the tabletop appears to float, (Height 56cm, diameter 75cm). Based in Helsinki, Finland, Artek’s products are distributed to countries worldwide. For details of UK stockists visit the website:

They say that the Scandinavian sense of style comes from a striving for survival, that living in the forbidding north has created a culture of designing things that are at the same time functional, long lasting and beautiful. Whilst this may be true from a historical perspective, today the survival part is pretty much taken care of, but beautiful objects are still produced. Of course we can trace the rise in the popularity of Scandinavian design back to the designer Alvar Aalto who received international acclaim early in his career with the completion of the Paimio Tuberculosis Sanatorium. It proved his dominance of the International Style and more importantly, emphasised his attention to the human side of design. The patient’s rooms with their specially designed heating, lighting and furniture including the Paimio chair that assisted patient breathing are models of integrated environmental design. His passion for painting led him to meet Pablo Picasso, a meeting that directly led to the development of his unique architectural style. The influence of the collage technique, invented by Picasso and Georges Braque, became a dominant element in all of his work after Paimio. He collaged the site’s individuality and the texture and colour of materials with light to create architectural landscapes in his projects. The finest example of this style is Villa Mairea. The exterior juxtaposed diverse materials and design elements such as sleek columns rough stone, grass roof, striped logs and teak into an architectural collage. The interior was even more radical and totally modernised Nordic Classicism. Aalto’s abstraction of a Finnish forest combined texture and natural materials to surround the visitor with trees. The spaces of the free plan opened and closed within the forest, creating an array of varied places that echoed the landscape and culture of the building’s homeland. His talents however were not limited to architecture, and included designing furniture and glassware too. He founded a company called Artek to market innovative furnishings, which still exists today. Few of us would not recognise the simple three-legged Aalto stool, which is a design classic today. His work first became popular in the UK in the 1950’s, the basic principles of Scandinavian design where to use sleek yet lively lines of genuine natural materials for functionality and mass production. Today it is clear that the Scandinavian sense of style has moved on from the mid twentieth century modernism and has evolved and developed into a far more sophisticated form. Its influence can be seen in modern furniture design today and its popularity in the UK has increased once again in recent years. We have selected some of our favourite items from recent collections and trade shows; we think that from a design perspective each is a classic in its own right. Design Et Al 36 89


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Integrated Living Space How many times have you spent long hot summer nights whilst on holiday sitting on a wonderful partially covered terrace, amidst lush vegetation, looking over immaculately tended gardens relaxing and enjoying a drink? And how many times have you thought to yourself “How can I re create this at home�. My answer to this is probably every time, but I have one very distinct memory of this when I visited the Capri Palace Hotel on the beautiful island of Capri a couple of years ago. Here the integrated space between the garden and indoor bar and lounge area is sleek, modern and combines luxury and style. There really is something quite special about that little bit of integrated space between the living space areas and garden that is neither indoor nor outdoor but links the two areas. Regrettably however in our homes it is rarely finished well, and its unique quality and charm is not exploited to its true potential. Many of us are guilty of neglecting this area, the truth is that despite my ideas and inspired thoughts after visiting the hotel in Capri, I returned home and they all faded with my tan. It is not that I am lazy it is just that other matters took priority, which is actually quiet unfortunate. I had the same thoughts again recently whilst staying in a hotel in Milan for a recent working trip. Here the city garden had been used to its full advantage and the integrated space between the lounge and garden was well planned and constructed. And so with some renewed enthusiasm I shall endeavour to integrate the space between my home and garden this summer.

The conservatory or part covered terrace makes the perfect transition between the home and garden. It is an area that links the home to the garden and garden to the home, yet it has a unique quality like no other room in the house. This connecting space is fundamental to how the home and garden work together and in these days of increased awareness in our outdoor living space it is widely recognized that a well-designed garden will add as much value to a home as a good kitchen. Many people say it will increase the value by 10%, but some go as far as to suggest that it is more likely to add 15% to the total value. Such is the value today of the work k of the garden designer, and in recent years for the first time we are starting to use our gardens as viable outdoor living space. Whilst I welcome these developments whole-heartedly I do think that all too often the interconnecting area is not integrated, so we do not enjoy the full benefits of our gardens throughout the year. If we are spending upwards of twenty five thousand pounds on a garden I think that we ought to enjoy it all year round, and this is of course the benefit of Design Et Al 36 93

the integrated living space. I have never been a real fan of the conservatory. The image that springs to mind when I think of the word is one the back of rows and rows of homes on new housing estates fitted with conservatories by double glazing companies who claim to be offering homeowners the benefit of an extra room.

“recent developments in glass technology working alongside architectural design has meant that the conservatory can be a successful integrated space�

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For the most part these extra rooms are rarely used properly, in the summer they are too hot in winter too cold, so there is that in between time when the temperature is ideal, but for an integrated space to work well it needs to be used all year round. From a design perspective I have to confess that I favour the covered terrace, for whilst it can not be utilised all year in the UK it does not make the claims that the conservatory does to be a room, it does not need to cost as much and it is without exception more aesthetically pleasing than the upvc, incongruous addition to the back of all too many homes.

as possible as you will be surprised how it will appear to shrink when a few pieces of furniture are placed inside. Although white is the most commonly used colour it is preferable to use grey, green or even wood tones as white can be too stark, harsh and bright which means it does not allow the structure to become integrated in any way and it does not work with the plants within the garden. I think that the recent developments in glass technology working alongside architectural design has meant that the conservatory can be a successful integrated space, for me however the glamour of the covered terrace will always be my preferred choice though. To feel fully in tune with the stars at night, the smells and sounds of the outdoors during the summer months and yet capture the design scheme of the internal living space is the ultimate goal.

That said there are some wonderful conservatory designs that are welldesigned spaces integrating the interior and exterior living spaces. My advice would always be to build a contemporary structure that complements the existing building but not to attempt to make a new conservatory seem old and as though it is part of the framework of the building. Glass is a wonderful medium and the more glass there is in there the better. Fortunately the technology to build good frameless conservatories has come along way in the last decade and is still developing.

For this area I would recommend that you bring some of the interior scheme through and use as many natural materials as possible. Stone, linen, cotton and silk work well. Combine the simple materials with richer bolder statement pieces. Do start with a good neutral base but add strong elements of opulent colour. My personal favourite palette is neutral tones, with a little camel, black and green (pistachio and olive are amongst my favourites). You can enliven it by adding soft rust tones in the form of delicate fabrics if you wish. The overlook look is highly sophisticated but also one that works well with nature and the area beyond your integrated space.

Whichever option you decide to go for, whether a conservatory or covered terrace it is important to design your space sensitively as not only will it be viewed in relation to the house and garden from the outside, but you will also need to consider how the garden will look when viewed through the conservatory or covered terrace from the inside. The space ought to be as generous

So this year bring something back from your holidays other than the taxfree perfumes and wines of the region. Bring back a little of the concept of integrated living space that our European neighbours have mastered so well and enjoy your outdoor living space all year round. And I shall follow my own advice and embark on the project to enjoy my home and garden this summer too.

Design in focus A converted Victorian railway depot provides so much more than just a home for architect Lucio Brieva

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Lucio Brieva is an architect by profession, born in Columbia he moved to the U.K in the late 1980’s to work for a large architectural practice that specialised in corporate projects. Whilst he appreciated the need for such schemes this was not his first love and from a creative perspective the projects did not excite his creative nature. This led him therefore to leave to pursue his passion for sculpture and interests in philosophy and sacred symbolism. Living and working in a converted railway depot in Kensal Rise, he has created a total environment there. The ground floor houses an impressive workshop and large showroom gallery where there are ready-made pieces of his work for sale. The middle floor is a loftstyle apartment; another showcase for ideas and the top floor is a recording studio.

“A pre-occupation with the geometry of sacred spaces can be seen in the extraordinary objects which Lucho has designed and made to furnish his life.”

Working to commission Lucho designs and makes and designs extraordinary illuminated fitments for bathrooms, kitchens and living spaces, torcheres, furniture, decorative objects and architectural components including room dividers, window grilles, balustrades and exterior canopies. The product of a restless, esoteric imagination Lucho’s work uses predominately natural materials including backlit jewel-glass and stone, specially finished metals and timbers, from polished hardwood to pieces of driftwood. Always dramatic they combine an air of “objets trouves” with sophisticated craftsmanship. The Victorian building which he calls home and work, was originally a main depot for the mainline railway which passes directly behind. Goods were unloaded in the siding and then hauled away by horse and cart. The building provided storage, administrative areas and stabling for horses. It is not known exactly when the depot closed, but the building then remained largely unchanged until the 1970’s, when a major conversion was undertaken. Originally, the ground floor was used as a car

park, with offices on the two floors above. Later, offices were made downstairs as well. It was a typically unsympathetic conversion which, when architect and metal-worker Lucho Brieva bought it in 1998, it still had yards of grey contract carpeting, flickering fluorescent lighting and industrial-type cubicles providing loo and washroom facilities to the workforce. Lucho immediately stripped the building back to its bare bones, but still with no formal idea of how he was ultimately going to use the space. Over the six years, its form and function have changed frequently as he has experimented with creating an ideal living/working space. A pre-occupation with the geometry of sacred spaces can be seen in the extraordinary objects which Lucho has designed and made to furnish his life. They have both immediate appeal and profound symbolic meaning for him. Downstairs, adjacent to the heavy-duty metal workshops where all of these pieces are made, is a large central space. This acts as showroom, storeroom for works in progress and space for great parties! The adjoining bathroom provides a taste of the dramatic use of light employed in the upstairs apartment. At the top of the stairs, a plain white door opens to reveal an extraordinarily rich interior where natural and artificial light are controlled day and night to create a wonderfully calm, contemplative environment. It is a perfect living space for a single person; comfortable but uncluttered and full of colour and texture. The spatial divisions are cleverly handled, never obscuring the fact that this remains one enormous room. The façade of the building now marries the splendour of the original Victorian commercial architecture with strikingly contemporary metalwork. Inside, Lucho Brieva has created an urban oasis - a calm, quiet space, light years removed from the building’s original hustle and bustle.

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Illustrating the design classics of the future So, when you think of the phrase “design classic” you may think of classical twentieth century antiques - perhaps an Eames chair or something by Charles Rennie Mackintosh are a couple of the more obvious examples. But has time led them to be classed as iconic pieces? Were they really recognized as such at the time of production? It is true that hindsight enables us to see the full potential and beauty of all items and situations and therefore these pieces have benefited from this, but what of today’s “design classics”, were are the iconic pieces of now that will become “classics” in time. We want to look closely at all areas of product design for interior schemes from sofas, chairs, lighting and flooring, through to fabrics and furniture – we want you to nominate pieces, make decisions on others and, ultimately, when pieces in each category are shortlisted, we want you to vote for the winners in each sector – the pieces you consider to be design icons of the moment and classics of the future. For further information, please see: or email:

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There is something about heavy, rich damask that it is not only decadent but also so sumptuous that it makes you feel comfortable, reassured and even indulged. So after years of pared down simple schemes it is a refreshing change to see decadence back with a vengeance. We have selected some of our favourites. The question you may ask is “Had it ever been away?” The answer is of course no, traditional rich fabrics have been used in classical design consistently, it is now time however to bring textured velvets, silks, damask and brocade into even the most contemporary of schemes. As someone who adores fabrics I am excited about the prospect of bringing a little opulence into even the most pared down scheme. I cannot count the number of dull, dreary, bland design schemes I have witnessed in recent years where fabrics could have brought new life and vibrance but instead the designer decided to opt for geometric print, flat faux suede and a distinct lack of pattern. No where has this been more apparent than in the “new home market’ where every designer wants to create a “loft look” even when the subject is a three bedroom home in suburbia. One cannot underestimate the value of fabrics on a scheme; your choice will have a serious impact on the finished look. Interior designer Kelly Hoppen believes that fabrics should be the starting point of a scheme.” People often think that design is only about the look of a room, but in fact it is more to do with how a room feels. It is fabric that conveys a mood, which is why when designing a room, my starting point is always fabrics” she commented. She believes that there should be “chemistry” between the fabrics used in a scheme, so that they bring out each other’s qualities without diminishing their own. So for example, a silk remains sumptuous and rich in texture when placed with a simple cotton or calico. Its qualities are not lessened in any way, but at the same time nor of those of the simpler fabric. More than this we may conclude that the qualities and differences between the two fabrics compliment each other and in doing this they accentuate the attributes of each other. It is equally as effective however to mix rich fabrics. Designer Joanna Wood illustrates this perfectly when she places velvet, silk and taffeta not just within the same scheme but also on the same chair. “The key to a sophisticated contemporary look, is to keep it simple and layer fabrics” she told us. The effect of these beautiful fabrics is maximised

in her schemes by strong neutral bases such as walls in Ivory grass cloth, which does not compete with the richer aspects of the scheme and again both elements serve to compliment each other. With a simple contemporary design scheme a greater reliance is placed upon fabrics, their construction, pattern and texture. It is possible to spend hours carefully selecting and putting together wonderful vibrant patterned and coloured materials some of which may be very good quality and expensive. Yet this will not guarantee a successful scheme if insufficient attention has been placed on the textural quality of the fabric chosen. So for example a scheme made up from materials with a similar finish will be flat and possibly even a little dull. However by juxtaposing contrasting textures it is possible to create excitement and vibrance in a scheme. Texture can have a great influence on how colour is perceived, so for example a matt material such as velvet will absorb light, rendering it darker. Whilst a shiny one such as silk will make the colour brighter and certainly more intense. Good light will of course highlight this further, which is why is it is a fundamental requirement of any scheme that lighting is focused. The right lighting will bring out the textural quality of a fabric. I started this article by talking of my love of rich fabric and for that reason I embrace the move towards the opulent designs wholeheartedly. The 19th century art critic and social commentator John Ruskin once wrote, “Whole cloth is wool of sheep, thread of flax, bark of tree- there exists no matrix. It can be shaped beyond the boundaries of origin. It shifts from the potential to an actuality that has a myriad of shapes and a myriad of ways of moving, responding to the action of the individual who manipulates it. It possesses the mysterious sense of unaccountable life in things themselves”. How right he was for the potential of fabric is almost boundless, one factor that cannot be denied however is its ability to transform an area, create a presence and re invigorate a tired or dull space. It is time to embrace the move forward and enjoy the opulence.

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Storage Adequate storage is absolutely essential in any home, few of us would argue this point, but where do you start? With so many possibilities the options are endless. For me I think that a good place to start is the smallest spare room that you have in your home, you know the one I mean, it is affectionately called a single bedroom or home office, by developers who have tried very hard to squeeze another bedroom in, to increase the value of a house. Fortunately in recent years developers have adopted a slightly more enlightened stance on this subject and decided to create larger bedrooms, bathrooms and en suites and even to introduce dressing rooms into their plans. This is about giving us the lifestyle that we want to have rather than merely an extra bedroom. All of a sudden the perceived value of a property does not rest upon the number of bedrooms a home has, but instead its viable living space. This has to be a really positive step forward, however many of us live in homes that were not built during such enlightened times, and suffer from strange configurations- and homes which may have a series of very small rooms. Having knocked down our walls in the last ten years, we have opened up our space and created light, height and continuity in many cases. However our need for storage is greater than ever, we can no longer discard items in a series of ‘spare rooms�. The way in which we live today means that many of us spend more time in our homes than previous generations, as flexibility has allowed us to work from home, we entertain more and spend an increasing amount of our leisure time enjoy our new exterior living spaces, home cinema rooms etc. Consequently we have more things to store. If like me however you still have a very small and barely usable bedroom then it is time to use this space in a more practical way. We joke that some rooms are little more than a cupboard, and this quite

simply is what they need to become. A dressing room with sufficient storage for clothes, shoes, bags and accessories is a great use of a room with limited floor space and keeps any unwanted clutter out of your main bedrooms. But adequate storage space throughout you home is essential for your design scheme to remain sleek and clutter free and therefore is key to the success of any design scheme. You can choose from a wide range of styles and designs but storage space is a must for every room in your home. Whether it is to house the television, AV equipment etc in the sitting room, highly practical workable storage in the kitchen or wardrobe and dressing room storage space in the bedroom, it is all fundamentally important. You decision has to be determined by the style and period of your home, good storage should work seamlessly within your scheme, and be a beautiful and key piece incorporated within the framework of your room and not an afterthought. It is one of the most practical considerations that you will make when working on your home but can also be something that is essentially aesthetically pleasing at the same time. From a personal perspective I am a real fan of built in storage, it is sleek, unobtrusive and practical. Finishes and detail should be given thorough consideration, as again this is as individual as your life itself is. The interior of any storage unit ought to be bespoke if possible, designed to your own individual needs and requirements. We have selected some of our favourite key looks from recent UK and international launches, but if you need any further information please do not hesitate to call us on the design et al helpline 01244 346 347.

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design et al issue 36  

Issue 36 of Interior Design magazine design et al