Engine House Media Ltd is a multi-platform media business with a passion for everything Cornish. Visit www.enginehousemedia.co.uk to find out more. Our mission is to create READ-WATCH-EXPERIENCE media opportunities marrying together consumers with the fabulous businesses across Cornwall. Our publishing and marketing teams are specialists in creating print and on-line communications, devised to achieve a range of marketing objectives. With over 20 years of marketing, brand management and magazine experience we develop effective communications that deliver your message in a credible and creative way. We operate across all media channels, including: print, online and video.
Join our team
We have an exceptional and loyal team here at Leven Media Group but as a fast-growth business we’re always interested in talking to outstanding individuals. If you’re a superstar of extraordinary talent then we would love to hear from you.
elly.burnard@levenmediagroup.co.uk
CEO
Ben Pratchett – 01326 574842
ben.pratchett@levenmediagroup.co.uk
Chairman & Founder
Andy Forster – 07711 160590
andy.forster@levenmediagroup.co.uk
Call us on 01326 574842 or email enquiries@enginehousemedia.co.uk Visit driftjournal.co.uk to read more about our writers. Subscribe online
Editor
Hannah Tapping
hannah.tapping@levenmediagroup.co.uk
Creative Designers
Spencer Hawes
Jamie Crocker
Finance & HR Manager
Charlotte Forster
charlotte.forster@levenmediagroup.co.uk
Credit Control
Tracy Dart – 01326 574842
tracy.dart@levenmediagroup.co.uk
Proudly supporting DIVE PROJECT CORNWALL
Providing life changing opportunities for young people across the UK www.diveprojectcornwall.co.uk
PROUD TO BE PART OF
Home, in its most elevated form, is an act of architecture before it is an act of habitation. It is not simply built, it is composed, like a score; each line, space and meeting of materials articulates a spatial philosophy re ecting the values of its occupant. Architecture, becomes a vessel for meaning. It frames light with precision, choreographs movement through proportion and pause, and lends weight to silence through consideration. Home now serves as both sanctuary and sculpture, and throughout DRIFT Abode architecture resists spectacle in favour of depth, contextual sensitivity, material integrity and restraint. Open-plan volumes converse with landscape; tactility tempers minimalism. Home becomes a evolving autobiography, its structure an
index of personal and cultural memory. The way in which the tenet of home has evolved, means that interior design is less about decoration and more about revelation. It is the inner life of architecture – intimate, expressive and deeply personal. Within the geometry of a home, interiors act as a kind of psychological mapping, where every surface and object hold the imprint of its owner’s sensibility. The home, then, is not styled but inhabited with intellect and emotional balance, each room a gesture of memory and desire. In this way, architecture and interior design does more than define space it dignifies it. he luxury home today is less about scale than about spatial intelligence: a retreat composed with rigor, clarity and grace. Here, we do not merely live, we dwell, with intent.
A pivotalMOMENT
WORDS BY HANNAH TAPPING
“Of the hill, from the hill, for the hill”; a dialogue between landscape and living.
The RIBA national awards are a highlight of the architectural year where a panel of architects visit projects throughout England to select the best, the curious and the deeply worthy. This year only one house in Cornwall made it through to the final jury selection and is now being considered for house of the year 2025. Mike Rundell, Principal of Rundell Associates, discusses what makes Two-Family House such a special project.
How did this project come about and what drew you to this particular site?
One of the clients was well-known to us as we had worked on their London home previously, so we had good experience of working together. They were interested in finding a seaside retreat, so I went in search of a suitable site on their behalf. I’m Cornish myself, and grew up in Cornwall in a family of builders; I know the North coast very well and realised that a site in Mawgan Porth would be perfect as it’s so close to Cornwall Airport Newquay. We were lucky enough to secure an off-market sale of a front-line south facing site with a garden and private path leading right down to the beach. Perfect!
unfeasibly expensive for my client to make best use of the site. Rather than accepting a trade-off on location or design, they made a different compromise: to share ownership. They therefore approached some like-minded friends and plans for Two-Family House were born
Can you tell us about the existing structure and how you approached the site initially?
It was a classic 1930s house, built on the site of an abandoned quarry with a high stone face at the back of the plot and a plateau at the front. The original house had been set quite a way from the back of the quarry, so we effectively kept the same plateau, nibbled away a bit more of the stone face and planted the new house right back against the face of the quarry, which gained us a lot of extra space.
What was the client’s brief and how did you respond to it?
While it was obviously a great location, it soon became clear that it was going to be
The house had to exist comfortably in its surroundings, connecting with them, rather than being a brash intervention – an ambition well-articulated (with apologies to Abraham Lincoln) as “Of the Hill; From the Hill; For the Hill”. The clients wanted a modern home and each person had their own wish list, most of which was achievable. One particularly memorable request was to
be able to see swathes of colour from sea, to beach, to garden and then to the sky – lines of blue, yellow, green, blue – which was for me a particularly colourful brief. Another was to have a place where you could sit and watch the sun set into the sea every evening. That in itself was quite complicated, because the sun doesn’t set in the same place throughout the year; rather it changes through a wide arc between mid-winter and mid-summer. However, for 90% of the time we achieved the ideal and for the rest of the time the client was prepared to stand outside instead. A measure of compromise is always essential…
Can you tell me about the materials used and how they respond to the landscape?
The lower part of the house – the plinth –is faced in locally quarried stone. Whilst it would have been wonderful to use material from the site itself, this wasn’t possible due to its quality, and so stone was sourced from a couple of quarries a few miles away. We used two quarries because we wanted a real variety of colours ranging from reds, and browns to yellows and greys.
The upper part of the facade is clad in Shou Sugi Ban, a Japanese charred timber, in a paler grey than is normally used to ensure it blended with the silvers of the local landscape. The roof was clad in copper, which was weathered by the salt from the sea to a wonderful green patina within a few weeks of installation. The interior walls were all left ‘fair faced’ and either clad in stone, in wood, or coated with a Cornish clay plaster – a naturally coloured material giving rich sandy tones of pale ochre.
How did you optimise the design for the views?
Obviously, as architects, we can’t take credit for the view – we didn’t design the hillside. What we can do is make absolutely sure that views are edited, optimised and very carefully controlled. In the early stages of the build, after we had formed the plinth on which the house would stand, we therefore pegged the property out and built a series of towers at different heights to allow the client to check the views that would eventually be part of their life – views from the bedrooms, from the kitchen, from the spa etc etc.
By doing this, we realised that the angle between the west and east wings were not quite right – and so we changed it by eight degrees to take the view away from the village of Mawgan Porth and more towards the headland at the front. And now, when you walk into the house, your view is entirely focussed on the headland and the sea, making it feel very private, very secluded. This kind of late tweak was only possible due the bespoke nature of the build and the close relationship we had with the client.
Can you tell me about your approach to sustainability?
Both families were very environmentally conscious – which suited us perfectly as it is also fundamental to our practice. The choice of how to build was therefore very much on the table from the beginning. We had used cross-laminated timber (CLT) as the basic structure in a recent project with the builders – Gynn Construction – and it seemed the most sensible and
environmentally sustainable option for this house as well. The process involves machining large panels of prefabricated timber that, while taking up quite a lot of design time at the start of the project, pays dividends as the build process on site is very fast. As the panels are so carefully made and set out you can pre-order your windows and doors, so that, when the structure arrives, it can be installed, coated in a waterproof membrane and then made watertight almost immediately.
While this calls for considerable logistical control behind the scenes, there’s no other system that can get a building erected in two weeks. And in Cornwall, getting a building up in that relatively short space of time is a very, very useful thing. Being on the North Atlantic coast you want your building to be weather-tight as quickly as possible. We then installed a ground source heat pump alongside electricity from solar cells, PVs and batteries to make sure the house was as self sufficient as possible.
How did you address the challenges of building in Cornwall’s climate?
We designed the whole building – from the plaster, to the CLT structure, to the thick wood-fibre insulation and cladding – to be breathable. Obviously, you don’t want any building to be draughty, but you really don’t want to create a sweaty box where there is damp air all around. We then installed an MVHR system (a mechanical ventilation system with heat recovery) so that the whole house can operate in winter without ever opening a window. In summer you just throw the widows open and let the sea breezes cool the house naturally. There are a lot of sea breezes in Cornwall!
How did you work with the interior designers?
We believe that it’s absolutely to engage with an interior designer right from the beginning and so we collaborated very closely with Millard and Flo – a local company – to create a shared vision. Primarily, we needed to Cornwall-proof the house, so floors needed to be robust, there needed to be areas to de-sand children and wash muddy dogs. Certain materials like steel were no-go as they would rust in weeks due to the salt air. We also agreed that the addition of texture throughout the interiors was essential to breathe life into the new build.
How does the house balance being recessive with having interior drama?
Recessive, for me, is a house that doesn’t seek to dominate its surroundings. No one wants a noisy neighbour. So, we used deep overhangs to ensure that the large glass windows are never too visible, and we used local materials, the same colour as would have been quarried centuries ago, to blend the house into its environment. We also wanted to minimise its apparent size, so we buried half the building, bringing the hillside of gorse and grass over the roof.
Internally, however, excitement is essential. One significant design element was the circular central staircase which became the knuckle around which the house is pivoted and is fundamental to the way the episodes of the house connect. It’s a beautifully dramatic shape as well –everyone wants a house to have drama but the drama needs to be curated rather scattered arbitrarily. Essentially, when designing a house, we see it as a series
of episodes that make up a whole story. When you open the front door the first chapter is the view, and then the second is the materiality and then the way that the spaces flow together. We wanted to create a progression through the house that was as visually exciting as possible. However, ultimately the way the drama and excitement are created are by the views of the hillside, the views of the sea, the views of Cornwall. That’s the main story. And then within the chapters, there are smaller paragraphs – the practicalities of pantries and boot-rooms, the twisting staircase, the window seat that you can prop yourself on while looking out to sea… paragraphs and chapters are all essential parts of a good story.
As Mike and I close our conversation I asked what the response from the families had been. They were, it was clear, very happy with the outcome and had given their feedback to the RIBA jury.
design of the house and its materials were sympathetic to its natural and frontline setting, and furthermore, in terms of community management, by scheduling noisy and disruptive work outside of holiday periods.”
“Finally, creativity – in terms of the nuances that make the house so beautiful: the aspirational lift of the west wing of the building’s roof; the intricate aligning of wooden detailing inside and outside the house; the playful curve of the staircase; the tactility of each material the hand comes in contact with; the selection and laying of stone in the walls that bring warmth and texture.”
“The resulting house is one that no-one on the project would have dared envisaged: a house where each member of both families is so in love with it, they wouldn’t change a single element, to the extent that living in the house presents only one problem: no one ever wants to leave.”
“Throughout the process, working with the team was a masterclass in patience, sensitivity and creativity”
“Patience – because by designing a house for two families they were prepared to take on the prospect of a four-headed client, and a client group that were obsessed with getting the house’s orientation and layout perfect, even when that meant redesigning it to capture just a few more degrees of view.”
“Sensitivity – not just in terms of balancing the different demands and wishes of the co-owners, but also in ensuring the
And that, of course, is what defines a great house.
Two-Family House was recently awarded a 2025 RIBA South West and Wessex Award – the only residential build in Cornwall to receive one. Presented since 1966, the RIBA Awards set the standard for great architecture across the country. TwoFamily House has now been put forward for a RIBA National Award and is now being considered for house of the year 2025.
rundellassociates.com
Beauty in SIMPLICITY
WORDS BY HANNAH TAPPING
R n d d i n a armonio l conn c ildin o lac .
Chris and Flo set up their collective design studio, Millard & Flo in Cornwall 2011. Flo had studied Fine Art at Wimbledon College of Art, and Chris moved to London a er graduating in roduct esign. hey both then worked in the art and design scene in ondon for several years an inspiring time to be creatives in the capital where they built up an enviable circle of contacts and gained invaluable experience ahead of their move to the coast.
Chris and lo o en work together, providing a full and comprehensive lighting and interior design service to clients. owever they also work alongside other designers, architects and contractors, particularly on the lighting design side of the business. Each project team is
entirely uni ue and they both en oy the collaborative nature of each project.
Chris is irector of ighting esign at the studio, producing comprehensive circuit by circuit lighting plans detailed specification of architectural and decorative light fittings and bespoke feature lighting for both newbuild and complete renovation projects. Flo is irector of nterior esign at the studio and takes on a select number of pro ects per year due to the broad scope of work that falls under the umbrella of interior design. From design concepts and space planning to bespoke furniture design, kitchens bathrooms and custom oinery through to specification and procurement of all finishes furniture fixtures and
Chris and Flo Millard
TOP illard home and pantry
ABOVE Beach House, Rock
e uipment interiors pro ects can take up to three years from inception to completion.
believe that everybody has an innate style that is a culmination of collective experience, natural preference and honed lifestyle aspirations says lo. Every one of our pro ects is entirely uni ue to each site, client and project brief but would like to think there is common thread running through all of our work that is re ective of this.
e believe that every pro ect has uni ue characteristics that demand a tailored approach. n Cornwall there are many factors that re uire very practical solutions. Sand, salt winds and watersports, to name a few, all affect the way our spaces are designed. his ensures that our clients lifestyles are woven into each project and that the occupant can move through the space unbothered by the practicalities that have already been considered and apprehended by the designer.
instance very exposed locations feature artworks, complex material conditions and integrated automation. nterior design and architecture also undoubtedly inform the way a space is lit and Cornwall has such a diverse range of architectural styles and situations. Our design service is uid and organic to re ect each uni ue pro ect.
he ability to combine and integrate an interior scheme with the lighting and electrical design is invaluable for Millard and Flo’s clients and contractors. his not only ensures a consistent and coherent overall scheme, but the benefit is especially apparent at first fix stage, when conceptual ideas combine with technical design and support on site.
Chris adds Our lighting designs are very site and client specific and each pro ect presents uni ue lighting challenges. or
Chris and lo take a very collaborative approach, both in the studio and among the wider pro ect team. he team fre uently share collective expertise to create the best design solutions for clients. Multiple disciplines cross-over and the studio boasts an extensive materials library. A great deal is achieved over collective discussion and coffee.
“We are so fortunate to have worked on some truly incredible pro ects and with some wonderful clients over the past years since we established illard & Flo in 2011. We are so proud of all of our pro ects especially our most recent pro ect completion in awgan orth wo amily ouse which was recently awarded a outh West & Wessex Award 2025. Working with the immensely talented Rundell Associates (architects) and GYNN Construction (contractor), we were able to provide combined, full-service design for this incredible cliff edge property explains Flo.
distinctly relaxed and comfortable feel with a core palette of natural materials such as local reclaimed elabole slate agstones Cornish clay plaster marble and lots of warm natural timber.
panning several years our involvement encompassed all aspects of the interior and lighting design of the house from bespoke oinery and custom furniture design comprehensive finishes specification complete E specification turnkey styling and a complete interior and exterior decorative and architectural lighting scheme.
“Our brief was to create a comfortable family beach house for two different families to co exist in both individually and all together. he interior has a
playful sense of fun also runs throughout adding to the informality of the house, with pops of colour, bespoke millwork, striped patterned tiling and plentiful so seating and vintage pieces. ockets of custom oinery create moments such as the oating daybed window seat looking out over the beach, a reading nook in the kitchen and alcove shelving in each room to store found beach treasures, games and books. Every inch of the interior invites you to sit play relax and ust en oy the home and its beautiful locality yet with a sense of relaxed luxury.
udges cited about the interior of wo amily ouse finely executed and orchestrated stone, timber and plaster finishes create subtle transitions between spaces which echoes illard and lo s design ethos there is beauty in simplicity.
millardandflo.com
ABOVE & INSET wo amily ouse
At the EdgeTHE FRAME of
WORDS BY HANNAH TAPPING
Husk Construction has grown slowly and deliberately, with its projects grounded in lived experience and long-term thinking.
Husk Construction is a family-run construction and carpentry team with decades of experience in the construction industry. It began with Joe, a carpenter by trade, who learned his cra in the Canadian ockies building monumental timber homes for wild winters and big skies. That time embedded in him not just a love for wood but a reverence for how buildings meet their environment.
Husk Construction has grown slowly, deliberately. “We didn’t rush it,” Charlotte says. “When we moved back to the UK, Joe started out as a jobbing carpenter in 2019. We took on projects that made sense for us and for the people we were building for.” In the early years, those pro ects were o en small garden structures, outbuildings and timber frames for extensions. But what set them
apart, even then, was a particular kind of attention. “We’ve never built the same thing twice,” she says. “Everything is bespoke. That’s non-negotiable.”
The design decisions are always rooted in use and how people move, live and change. “We’ve been that young couple trying to renovate with no time and even less money. We’ve been the family living through a build, so we know what it takes,” Charlotte says. “That’s what we bring to every project; empathy, care and detail.”
Their work is deeply Cornish, not in an aesthetic sense, but in its commitment to land, weather and adaptability. Although they are experienced in a wide range of building methods, their roots lie in timber. “Joe just loves wood,” adds Charlotte. “It’s in everything we do. The way it takes the light the way it so ens
ABOVE
Uncle Guy’s annexe
with time, the way it brings warmth and expressiveness. We work a lot with oak, cedar, birch ply, even OSB – materials that are tactile and unpretentious”.
Sustainability runs as a gentle undercurrent throughout Husk, not least due to Joe’s degree in Sustainable Building Surveying. One of their hallmark building methods is a ground screw foundation, an alternative to concrete that leaves the ground largely undisturbed. “We literally use giant screws, two or three metres long, that are driven straight into the soil. There’s no need for excavation, no concrete, and it doesn’t damage delicate root systems. ou can li the whole structure off if you ever need to. It’s more exible and more respectful of the land than traditional methods.”
One of their earliest ground-screw builds was an angular, timber framed o ce for a client to accommodate her growing business. She originally commissioned a small pod, but the result ended up being about three times bigger. “It’s a very striking building, but function, performance and aesthetics all held equal weight in the design process, which was very collaborative with the client. The orientation of the building and the angle of the larger side of the asymmetrical roof was specifically set to optimise the building’s solar output through PV panels. It is super-insulated with custom designed
CNC-cut birch ply interiors. The client wanted something that felt raw and honest, so there was no plasterboard or paint, just lots of timber and plenty of light.”
That studio led to another commission. The client’s Uncle Guy, an artist in the early stages of dementia, urgently needed somewhere to live that was a space of his own, but close to family. The result was a purpose-built annexe, designed and completed in under three months. Everything in the annexe was shaped by his needs both as a person and an artist: zero plastic, no synthetic materials and an accessible design with provision for future care. “We even strengthened the ceiling in case a hoist is ever needed. But you wouldn’t know it to look at it. It doesn’t feel like a care facility. It feels like him. His art is everywhere.”
The building was timberframed, with aluminium windows, cedar cladding and OSB walls which created a blank canvas for artwork, and custom details such as bespoke birch ply window reveals. It was at once functional yet beautiful and delivered on a modest budget. “It came in at around £100,000,” Charlotte says. “While I know that’s no small amount in itself, for a permanent standalone fit for purpose home, it’s certainly provided food for thought as a housing model. And I think that is the key thing here – what we have created really is a home, not just accommodation.” Their
client, who runs a planning consultancy and who oversaw the permissions for the project, has since submitted the project for an award, proposing it as a socially sustainable model for multi-generational living. For Charlotte and Joe, it’s proof that good design doesn’t have to shout. “It can just quietly do the work,” she says.
Husk Construction’s portfolio has evolved. rom one off pods and garden buildings they now take on full-home reconfigurations timber extensions and multi-phase developments. The thread that binds their work is a closeness to the build, the land and people. One of their current projects is a complete internal reconfiguration of a family home. “They’ve lived there for 15 years. We’ve stripped it back to the bones and are rebuilding from within. It can be an invasive process. Our work is not just about construction, and we very much appreciate the effect the upheaval can have on someone’s life.” The clients have moved next door and are watching the house evolve in Husk’s hands. “This level of trust is hardwon,” she says. “You can’t fake it.”
“My brother is our foreman. He learned everything from Joe. My cousin works with us. Others have become like family. here s a different kind of accountability when it’s your name on the van and your brother holding the tools.” That ethos extends to how clients experience the build. “There’s a stereotype about builders being messy, loud and chaotic. We work hard to prove the opposite. We appreciate that we’re in your home and we take that very seriously.”
Another recently completed project, an oakframed garden room with fixed glazing captured something of their design intent. “The light just pours in. It’s where the family now live, study, eat, talk. It’s the room everyone wants to be in. That’s when you know it’s working.” At its heart, Husk Construction is about how people live and how good design made with care can shi the rhythm of a life.
Every build is a collaboration. They work alongside talented architects, planning consultants and a huge network of trusted subcontractors and suppliers. “Joe designs many of our projects himself. But we’re not precious. We love working with other experts, it makes the outcome stronger.” The team on site is close-knit, literally family.
Charlotte laughs when asked if they’d ever go bigger. “Maybe. But I think we like being close to the build, we like knowing the people we’re building for and that’s where we feel at home.” In a time of over-scaling and design by algorithm, Husk Construction’s work feels rare; embedded in the Cornish landscape, attuned to family and built, always, with both hands.
huskconstruction.co.uk
ABOVE
Tactile unpretentious design, embedded in the landscape
Transforming homes
WITH DESIGN
Breathing
Living pace Architects craft spaces that elevate everyday living, blending heritage sensitivity with cutting-edge technology. From Exeter’s urban restorations to Devon’s rural retreats, their designs are shaped by sustainability, craftsmanship and place.
This extension to a mid-century home in East Devon transformed its small cellular living spaces, seamlessly linking the home to its garden. Opening up walls improved flow, while carefully framed openings drew natural light deep into the interior.
With expertise in South West planning regulations, from new homes in Areas of Outstanding Beauty to conservation area restorations, they have a proven record of planning success. Using laser scanning, 3D models, and Virtual Reality walkthroughs, iving pace refines every detail to ensure refurbishments and e tensions sit effortlessly within their context.
Contact studio@livingspacearchitects.com for a consultation or explore more of their work online.
livingspacearchitects.com
From conceptKEYS to
WORDS BY HANNAH TAPPING
By combining the design and build stages, Ric ard o r a ni a roac a rin all a c o a ro c nd r on roo .
Modern, stylish, but in keeping with the landscape and local architecture, Richards has the skills to design and build your perfect home. In conversation with Director and Owner Kurt Richards.
How do you approach the delicate balance between cutting-edge design and timeless architectural integrity in high-end builds?
At Richards, we believe that true innovation is rooted in understanding and respecting the past. Our designs are contemporary yet timeless, achieved by blending modern aesthetics with enduring architectural principles. We aim to simplify the process of building a home whilst still delivering an end result that will take your breath away.
This philosophy ensures that our projects are forward-thinking and grounded in lasting design integrity.
What distinguishes your work in the luxury space from others operating in the same arena?
Our integrated design and build approach sets us apart. Combining architectural design, technical detailing, and construction experience under one roof ensures seamless communication and execution throughout the project lifecycle. This holistic method allows us to deliver bespoke solutions tailored to each client’s vision, ensuring quality and consistency at every stage. To ensure clients get the best value from the tangible elements that finish the space to meet their high expectations.
ABOVE
Turning ambitious ideas into beautiful reality
With increasingly ambitious clients, how do you bring bold architectural visions to life while maintaining buildability and long-term value?
We thrive on turning ambitious ideas into reality. Our team meticulously assesses each project’s feasibility, ensuring that practical construction methods and sustainable practices underpin bold designs. This balance guarantees that our clients’ visions are realised without compromising durability or long-term value.
How do you integrate sustainability and performance into your modern architectural designs without compromising aesthetics?
Sustainability is integral to our design philosophy. We incorporate energye cient systems sustainable materials and passive design strategies to enhance building performance. Our commitment is to create homes that are not only beautiful but also environmentally responsible, ensuring comfort and e ciency without sacrificing aesthetic appeal.
Can you describe your typical collaboration process with clients on large-scale bespoke homes?
hen a client first gets in touch with us we start by guiding them through our Discovery Questionnaire and pointing them to our Knowledge Hub on our website, which is a collection of articles we have written, designed to support everyone from first time self builders to those embarking on their second, third, or even fourth custom home.
Our process is transparent, collaborative, and entirely client-focused. We take the time to understand each client’s aspirations, lifestyle, and practical needs. Using tools like moodboards and inspiration from social media, we build a clear picture of their vision.
Regular design workshops and in-depth planning sessions help ensure every detail is thoughtfully considered and aligned with what the client wants. This open, engaged approach builds trust and leads to homes that feel deeply personal a true re ection of the people who live in them.
What are some of the technical or conceptual challenges that often arise in luxury residential architecture, and how does your team solve them?
uxury residential pro ects o en present unique challenges, from complex site conditions to integrating advanced technologies. Our multidisciplinary team addresses these challenges through carefully considered design solutions, rigorous technical analysis, and close coordination with our experienced construction team and specialists. This proactive approach allows us to navigate complexities and deliver exceptional results.
How do you tailor your designs for clients who seek both architectural innovation and deeply personal spaces?
We prioritise understanding our clients’ personal narratives and preferences. By engaging in thorough discussions and exploring their inspirations we cra designs that are both architecturally innovative and intimately personal.
This ensures that each home we create uniquely blends cutting-edge design with personal significance.
Could you highlight a project that exemplifies your approach - one that pushes boundaries while respecting context and craftsmanship?
Harbour View, situated in the Cornish village of ylor Churchtown is a refined example of our ethos in action. Envisioned as a sanctuary for both summer escapes and year-round living, the house was cra ed to settle gently into its coastal surroundings, grounded, enduring and thoughtfully composed.
The construction responds to its surroundings with natural finishes a Delabole slate roof, reclaimed timber cladding to the building and sauna building, and a material palette that re ects the coastal tones beyond. Internally, light pours through carefully placed apertures, illuminating the open-plan kitchen and dining spaces and connecting inside with out. It’s a home shaped by light and landscape designed not just to impress, but to endure.
As with all our projects, the detailing is restrained but purposeful. Every decision was made in close dialogue with the client, whose brief called for a building that felt both personal and quietly luxurious. Harbour View delivers that balance with confidence.
What advice would you give to clients embarking on a build who want to ensure both artistic expression and practical excellence?
Engage with a team that values both creativity and practicality. It’s essential to have open communication and trust in your design and build partners. By collaborating closely and being open to expert guidance, clients can achieve homes that are not only artistically expressive but also functionally exceptional and enduring. In a traditional project, the design and construction phases are separate, which o en leads to disconnects. ime and again, we see architects design something beautiful but beyond a client’s budget. At that point, compromises begin, and redesigns, delays, and unexpected costs can follow.
With a design and build approach, cost is integrated into the conversation from day one. Because design and construction happen under one roof, the budget is not an a erthought but a parameter that guides decision-making. Clients know early on what things will cost. f something needs to ex it happens intelligently, with full transparency and without compromising the integrity of the project.
ut simply design and build protects the budget and the vision by respecting value.
ar ric ard .co.
ABOVE
Grounded, enduring and thoughtfully composed
In the SPOTLIGHT
WORDS BY HANNAH TAPPING
Bespoke, personality-driven interiors with an emphasis on local context and client inspiration.
With over 40 years of experience, Amos Lighting delivers tailored lighting plans for a variety of projects, from restoring grade-listed buildings to designing modern, ground-up constructions. The team combines deep industry expertise with a passion for innovation, ensuring every design blends functionality, beauty and timeless appeal. Committed to energy efficiency, ecological sensitivity and high-quality craftsmanship, the team
collaborates closely with partners to turn visions into reality, offering a seamless service from concept to installation.
With an online lighting and furniture range of over 6,000 products and an immersive lighting and furniture showroom based opposite Darts Farm near Topsham, Amos Lighting is perfectly placed to illuminate your next project.
amoslighting.co.uk
amoslightingdesign.co.uk
5. AMOS SOUTHGATE CHANDELIER ANTIQUE GOLD & WHITE £680
2. SECTO OCTO 4241 PENDANT SMALL £835
3. STUART LAMBLE STEPP FLOOR LAMP £310
6. MOOOI RANDOM LARGE BLACK PENDANT CHANDELIER £2,459
4. TALA MUSE PORTABLE LAMP IN FARROW & BALL PLEASURE
£275
Creative RESILIENCE
WORDS BY JAMIE CROCKER
Sometimes, making the hardest choice produces the best results.
In the words of Robert Frost, ‘Two roads diverged in a wood, and I, I took the one less travelled by, And that has made all the difference. t s not easy in fact sometimes it s hard. ut the point at which the path divides is one you ve been heading towards for a long time. nd although you may not recognise it at the time the choice has already been made. ou ust needed something external to yourself to push you over the threshold. o it was with Jo Downs, both creatively and in terms of where her business was going next.
et s backtrack to a few months ago and several hundred miles away. etreating to the hills of rural pain o discovered something she hadn t experienced for years uninterrupted creative ow. way from the pressures of running a thriving glass business she found herself returning to the raw experimental spirit that first drew her to the medium three decades ago. he pieces that emerged from those weeks of solitude would become some of her most celebrated work yet, some of them selling before they could even be properly photographed.
o has spent over years perfecting her cra developing techni ues that blur the boundaries between drawing and glass forming. er latest Signature Collection represents a leap in complexity incorporating what she describes as almost like a collage of different processes. sing a needle tipped pen loaded with specially mixed enamels she draws directly onto glass surfaces creating lines that blur and bleed during the firing process like watercolours meeting paper. he organic unpredictability of these reactions mirrors the Cornish coastline that has been one of her inspirations from the outset. uxtaposing solidity with erosion, it took her on a ourney back to her creative roots, allowing her to recognise the inspiration behind her work in new ways even though it was happening thousands of miles away. n some way this is no surprise. t s well documented that human creativity thrives in a state of absence when separation from the thing you love gives you space to see it afresh and appreciate it as you did at the beginning.
TOP LEFT
artmouth allery
TOP RIGHT
Jo at work
ABOVE
Vibrant Reef Art Frame
he technical mastery re uired for these pieces demands patience that commercial pressures rarely allow. ack of time and guilt combine to cull the creative urge. n this case each work involved multiple processes spread across days with elements created separately before being assembled into complex textured compositions. he results are three dimensional narratives that invite engagement their surfaces ranging from smooth curves to deliberately sharp edges that have le their maker s hands permanently scarred. s o wryly observes she could measure her expertise in cuts rather than hours having long since surpassed the holy grail of the hour threshold for mastery.
his commitment to pushing boundaries creatively miraculously became a transferable resource. ast year proved to be challenging the dark clouds of rising overheads were looming over the business she had built from her bedroom decades earlier. ent increases soaring energy costs and broader economic pressures created an unbalanced e uation that was not sustainable via the existing model. he mathematics pointed to an undeniable choice expand or contract.
he decision to open galleries in ruro and artmouth represented more than business expansion it was a survival strategy born of necessity. hile advisors counselled caution o recognised that shrinking wasn t an option. he ruro venture initially a three month trial exceeded all expectations and became permanent. artmouth suggested years earlier by her father, who remembered the town s appreciation for fine cra smanship proved e ually successful.
hese business challenges pushed o to confront fundamental uestions about her role within the company. he creative passion that launched her career sometimes clashed with administrative demands, leading to periods of overwhelming pressure. he solution came through recognising that delegation and letting the reins loosen were the answer. his restructuring allowed o to spend more time doing what she was good at creating.
he master classes she runs re ect this philosophy of experimentation over rigid instruction. rawing from decades of learning through trial and error she encourages students to embrace uncertainty and discover possibilities through play. er approach stems from entering the field when glass fusing was far less documented than today forcing her to develop knowledge through pure experimentation. his methodology born out of necessity has become her greatest strength.
he panish retreat represented the culmination of this ourney back to creative fundamentals. n a small mountain village, working with a modest kiln, Jo rediscovered the oy of following ideas to their natural conclusion without deadline pressure. he resulting pieces with their complex layering and textured surfaces represent her sketches translated into three dimensional form. hey disappear from galleries as uickly as they re created with buyers vying for pieces they ve seen in brief television coverage.
ecent appearances on C potlight originally covering economic challenges
facing creative businesses inadvertently showcased work that sold within hours of broadcast. n fact the recently held oyal Cornwall how drew visitors to her stand who recognised her from television demonstrating how cra excellence cuts through media noise to reach its intended audience.
he expansion beyond Cornwall s borders re ects broader strategic thinking. hile the county provided the foundation for success growth demanded new audiences. artmouth s artistic community and tourist demographic proved ideal while ruro s central location captures year round footfall from across the region. Each location serves different purposes while maintaining the consistent uality that defines the brand.
his geographic expansion mirrors the evolution in o s artistic practice. he techni ues developed in panish solitude are now being refined in Cornwall s more substantial kilns allowing for larger more ambitious pieces. he marriage of intimate scale experimentation with production capability represents the maturation of both artist and business owner.
he physical demands of her cra remain unchanged. lass edges draw blood daily, leaving permanent reminders of creative dedication etched into scarred hands. ou can tell a person s trade via their hands holds true. et this tactile relationship with material remains central to work that celebrates texture light and the unpredictable beauty of controlled accidents. Each piece emerges
from fire fundamentally transformed carrying traces of its maker s touch and the environment that shaped it.
ooking ahead o continues to balance creative exploration with business responsibility. he panish retreats will continue providing essential space for the experimentation that feeds her artistic development. he galleries provide platforms for sharing discoveries while the master classes ensure knowledge passes to the next generation of glass artists. t s a model built on sustainable creativity rather than endless expansion.
he story of o owns illustrates how traditional cra can thrive in contemporary markets through authentic innovation. er success stems not from following trends but from deepening expertise pushing boundaries whilst maintaining an unwavering commitment to uality. n an era of mass production handmade ob ects that carry their maker s original intent beneath their surface offer something irreplaceable the human touch that transforms raw material into art.
rom bedroom studio to multi site operation o s ourney proves that creative businesses can weather storms by being bold and not straying from the original reason the ourney began. es you adapt along the way but if you ve come this far the bridges behind you are gone. here is no going back. he glass may blur and ow in the kiln s heat but the vision behind it stays clear.
jodowns.com
TOP LEFT listening eef anel
TOP RIGHT Vibrant Reef
ABOVE ruro allery
of The art LISTENING
WORDS BY JAMIE CROCKER
Frances Healy doesn’t walk into a ac i a d id a.
She listens. She looks. She asks the right questions. Only then does she begin to shape the design. This attentive open approach defines her work.
Her interiors aren’t stamped with a signature style. They’re thoughtful responses to people, to buildings, to how a room is actually lived in. The results feel natural, intelligent, and unmistakably right.
We asked Frances to talk us through how she works. What comes across is clarity, curiosity, and a designer who knows that beautiful interiors start with paying attention.
Can you tell us about your journey into interior design hat first dre you to the field and ho has that e ol ed into Frances Healy Interiors?
That’s a really simple question for me to answer. I was brought up in a large
rambling Georgian house on the outskirts of Penzance. When my parents bought the house, the entire interior was painted one shade of cream – ceiling, walls, woodwork fireplaces every single surface. My father had a great artistic eye and he brought the house back to life and added colour, wallpaper, beautiful curtains, furniture and artwork to every room –the transformation was amazing – that was it – I was hooked!
our or con eys a clear and confident aesthetic – how would you describe your signature style, and what informs it most deeply?
I really don’t like to think that I have a signature style as I look at each house, client and project as an individual and design to their brief and requirements. That said, of course I love a mix of colours, patterns and textures and I do have a favourite selection of suppliers which I o en return to for inspiration but also
like to keep each project fresh. Clients are paying for a bespoke service, they deserve a bespoke design.
Cornwall’s landscapes and architecture often in uence creati e practice do local materials, history or surroundings shape your approach to interiors?
Cornwall inspires me every single day – I walk my dog on the coast, in the lanes, on the moors, around the villages and seaside towns and I never ever do this without stopping to look at something new or take a photograph. The colours of our county particularly inspire me, as it feels like every day something new is happening in nature. Just recently, I spent a day at The Lost Gardens of Heligan, where the colours of spring were amazing – white wild garlic, pink campions, bluebells, fresh greens on the trees and of course, the amazing technicolour range of the huge rhododendrons.
improved upon and sometimes the worse it is, the more fun I have restoring it. Houses have souls and you ust need to find them and bring them back to life.
Clients are looking for my help and I inspire them, which is what I endeavour to do, but usually they also know what it is they want, you just have to ask the right uestions to find out what that is and then just look and listen – listening is very, very important. I always design houses for what my clients would like and need; they live there, not me. I just hold their hand through the process and stop them from making expensive mistakes.
Sourcing and craftsmanship appear central to your work – how do you choose makers, materials and suppliers to bring a project to life?
What types of projects do you most enjoy — are there particular types of spaces, briefs or clients that inspire you?
Every house is inspiring – however sad, run down or neglected it is, it can always be
Wherever possible, I will use local companies for either their services as upholsters curtain makers fitters but also suppliers of stone ooring kitchens and bathrooms – the more business that I use locally, the easier it is for me and the better it is for the economy of Cornwall and the South West. However, there is a huge array of products out there, so I also make regular
trips to the Design Centre, London and the Paris interior show in the Spring, which opens up the whole of Europe to me.
The product primarily has to appeal to me in its design. Secondly, the quality has to be good, and thirdly, the cost has to be correct the price must re ect the product. Unfortunately, there are some well-marketed companies out there that charge a lot for their goods, which fail miserably on quality and service. That’s not for me!
Can you share a recent project that particularly exemplifies your approach? What made it stand out to you?
The recent boathouse project in Rock was hugely inspired by nature. The house was painted white internally from top to bottom. The clients wanted to bring in all the colours from the estuary and the fields and trees on the opposite bank. he palette used re ected this with blue, teals and aqua from the water colours and greens from the fields and trees with splashes of orange to represent the trees changing colour in the autumn.
Overwhelming joy and happiness…I hope…that’s the reason why I do this, to make a house more beautiful and bring joy to people’s lives – it is a dream career.
As you look ahead, are there new materials, ideas or collaborations that excite you and may shape the next chapter of Frances Healy Interiors?
Every day is a school day, and even a er years haven’t stopped learning and finding new suppliers and products. I think the move towards furniture, fabrics and rugs being made from upcycled and repurposed products is very exciting, and I look forward to seeing more developments in this area.
inally ho do you personally define a home that feels both elegant and deeply li ed-in?
What are the typical emotions or experiences you hope people feel when they al into one o your finished spaces?
don t define it start the process guide clients through the minefield of choice and help them to achieve a well-furnished and balanced house that will stand the test of time. They make it home and lived in with their personal effects artwork, photographs, books and memories.
ranc al in rior .co.
Finding stillnessCOLOUR in
WORDS BY HANNAH TAPPING
Beth Richardson’s work finds the extraordinary in the ordinary, encouraging inquiry into simple, everyday objects.
Having spent over a decade painting in Portugal, artist Beth Richardson has returned to Cornwall, bringing with her a palette shaped by sunlight, shadows and the gentle musings of everyday life. Her work, known for its saturated stillness and quiet contemplation, continues to blur the line between the domestic and the transcendent.
y paintings are definitely a little bit autobiographical,” she says. “Sometimes things stop me in my tracks. It might be a glowing magnolia caught against a sunlit sky on the Helford, a washing line of sarees in India or simply a chair stacked high with laundry at home that are committed to memory,” Beth’s world is made up of fleeting observations that settle on the canvas like memory.
of holding people’s ga e. here’s definitely a meditative kind of quality to them,” she says of her paintings. “A stillness.”
There’s a spatial generosity too –something Beth describes as a kind of quiet collaboration with the viewer. “I feel that the paintings which have a lot of space in them, those immersive fields of colour, allow the viewer to bring much of their own world to those spaces.”
Richardson regularly explores subtle dualities within her compositions. here’s often an object and its shadow, creating a relationship between the two,” Beth explains. “And also, an element of blurred edges… you’re not quite sure if it’s in focus or not. I like that sense of exploring perception, of what’s real and what’s imaginary.”
Working in acrylics on canvas, Beth layers paint before paring it back to a visual essence. build them up, layer after layer. I start with putting a lot of things on the canvas… and then it’s a process of editing out until the bare minimum is left. er compositions are meditative in both form and intent. “The simplest paintings can have the strongest impact. I’m curious to play with composition, with the intention
Based near the Helford in a converted barn studio, Beth welcomes commissions and studio visits by appointment. Her work is shown through the Greenstage Gallery in the UK and internationally at Affordable Art airs, as well as at Galleria Palma Arte, Italy, where she has a permanent collection.
brichart.co.uk
A StoryDESIGN of
WORDS BY HANNAH TAPPING
An approach to the interior design panorama that is undertaken within the narrative of location, environment and trust.
Designers are visual storytellers and perhaps none more so than international design expert Nicola O’Mara, who for over two decades, has been shaping some of the most desirable homes in Cornwall. Her remarkable talent for intuitively grasping the stylistic and colour requirements of every property, be it traditional or contemporary, shows an innate ability that distinguishes her designs.
Based on the north Cornish coast, her namesake studio has built a reputation for creating interiors that feel as effortless as they are elegant – layered, timeless and deeply in tune with the surrounding landscape. The philosophy is simple: good design should never shout, instead, it should gently guide, offering calm and comfort while telling the unique story of the people who live there.
From new coastal builds to complex renovations, Nicola is often involved from the earliest architectural stages, working alongside planners, contractors and craftspeople to shape homes holistically. “It’s about making sure every detail supports the bigger picture,” she explains. “Where the light falls, how a space will be used and how materials work together – it all matters.”
A recent project near Fowey (pictured), is an example of the level of luxury styling that Nicola achieves in her designs. With its elevated position above the cove, the interiors needed to reflect the views and natural environment, all while remaining in tune with its architecture. As a new-build project that spanned a five-year period, it was also important that Nicola built a relationship of trust with the client. By meticulously overseeing every aspect of the design process, from concept development and space planning to procurement and installation, each element was executed to the highest standards of quality and craftsmanship, taking any worry and stress away.
Clients often describe Nicola as intuitive and grounded, someone who really listens and responds, rather than imposing a style. This people-first approach has earned her commissions across Cornwall and beyond, including ones from returning clients and referrals. Whether the property is a personal retreat or an investment, her approach remains consistent: always tailored, always timeless. “It’s about character and quality,” adds Nicola says. “and design that lasts.”
nicolaomara.com
ABOVE Colour, textue and shape combine to create a timeless design
WORDS BY JAMIE CROCKER
ImpressionsOCEAN from the
HStevie McCrindle is a force of nature. While others perceive doubt and fear, she discerns potential.
er positive outlook is infectious. Brought up in the harbour town she has returned to, she is a dynamic entity within the community, stepping up to the mark when others wilt away; she engages and motivates. Her forte isn’t chained to a single discipline it flies free, swirling and weaving like a rolling wave.
ou’ll find her in her modest yet thoughtfully presented space on New Road, Newlyn, surrounded by art that can trace its provenance to the sea in one way or another. In fact, it is this connection that informs her ongoing venture, which is gradually rising and growing beyond its genesis. On the walls of the gallery, you’ll see her art, representing the beginning of this journey.
octopus – rendered directly from the fish themselves in iridescent acrylics, printed onto fine paper and eaten not long after. er work reimagines yotaku, an 18th-century Japanese method of recording a catch before supper, stripping it of nostalgic reverence and placing it in a contemporary realm with fine and broad black line work.
Neither sentimental keepsakes nor throwaway décor, the pieces are vibrant, anatomical impressions of marine life – John Dory, turbot, even invasive Mediterranean
But it is what Stevie then goes on to do with those prints that elevates her work beyond the confines of the frame. host nets recovered from the sea are ground into pellets and used to 3D-print sculptural lighting bases inspired by her original designs. She’s now extending this innovation further, carrying out research and development into producing 3D-printed furniture from the same nets – pieces that will be upholstered in her own fabrics. t’s a process that reunites fish and net in a way that feels entirely new and truly without precedent.
er fish prints are scanned, segmented, repeated and printed onto a durable range of items, with applications extending far beyond fabric. One recent invitation saw her pitch a scheme for a superyacht: imagined as a cohesive narrative of sea-to-surface design in which everything, from headboard to cushion, was derived from the same original catch. Detailed and beguiling, speaking of where it came from, the patterned material grounded the interior of the vessel in its element whilst paying homage to it at the same time.
Its design is driven not by trend but by an awareness of the circle of connection that exists within the natural world, coloured with a sense of realism. For we have to make things, things of beauty and practicality, to survive, but if the process can be made to work in harmony with the planet, then it is to be lauded. This is what you’ll encounter with Stevie’s work.
just see the fish, she says, you feel it – and that matters.
Stevie is open to creating bespoke designs for clients – her portfolio represents only a fragment of what is possible. Increasingly, her work draws attention from beyond Cornwall. Interior designers, sustainability consultants and TV producers have all expressed interest in the originality of her method and its broader application. A programme following the journey of a single fish, from catch to print, from adaptation to installation, is a prospect that excites her. If it happens, it will reflect the same ethos that underpins her studio: material intelligence, ecological awareness and a willingness to improvise. Nothing here is wasted. Everything has its imprint.
Her insistence on sustainable purpose runs through every aspect of her practice. She’s self-taught, endlessly experimental and unafraid of failure. rinting with fish is not, by nature, predictable. Papers tear, ink dries too quickly, and scaly surfaces stick or sag in unexpected places. But these are not deterrents; they are opportunities to learn, adjust, and try again. “You don’t
Though she no longer teaches full-time, Stevie continues to run hands-on school workshops across Cornwall, where children are invited to interact with real fish, ink, te ture and form. want them to be curious, she says, to feel it and ask questions. t’s a joy she still carries, and one she shares freely with future generations and with any potential client intrigued enough to step through the door.
seamoorcornwall.co.uk
INSET
he first imprint
ABOVE Elements in the cycle
Step INSIDE
roka nteriors o ers an ins irin esca e into the wor d o odern interior desi n and refined i in
With beautifully appointed showrooms in Hayle and Wadebridge, Iroka brings together the very best in furniture, homewares, design services, and more – all under one roof. For homeowners, developers, and design enthusiasts alike, Iroka has something for everyone. As Luke Weller, managing director, says, “We work hard to make sure our portfolio offers a fresh and exciting range of products. It’s about bringing the best in European design to our home, here in Cornwall.”
Iroka Interiors doesn’t simply sell furniture; they curate entire living environments tailored to your space. Whether you’re furnishing a single room or embarking on a whole-home redesign, Iroka has everything you need to bring your vision to life.
Step inside their showrooms and discover an expansive collection of designer furniture sourced from some of Europe’s most luxurious brands. The range spans from contemporary dining tables and sculptural chairs to smart storage solutions like sleek sideboards and modular shelving units. Whether you’re drawn to the clean Scandinavian style of Normann Copenhagen, the timeless quality of thnicraft, or the talian flair of Calligaris and Mastrella, you’re sure to find a piece that speaks to your design needs.
Iroka also boasts a carefully curated homewares and gifts department – ideal for those finishing touches that elevate a room from the ordinary to the extraordinary. From artful lighting and ceramics to statement cushions and decorative accessories, it’s these small
details that turn a house into a home. The Hayle showroom is a design lover’s dream. In addition to furniture, it houses an e tensive fabric library offering countless samples for curtains, blinds and custom soft furnishings. ere, customers can also e plore a dedicated flooring showroom and a fully styled kitchen display – spaces that not only showcase product options but also provide design inspiration.
Appointments with in-house specialists are highly encouraged, offering clients the opportunity to receive personalised advice from expert designers and consultants. Whether you’re selecting the perfect solid wood floor or trying to envision your dream kitchen, the guidance from the Iroka team will ensure a satisfying experience.
Their in-house interior design studio, also based in ayle, offers a scalable and fully managed design service that caters to projects of every size. Whether you’re looking to refresh a single room or completely redesign your home, Iroka Interiors’ design team is there to guide you from initial concept through to final, fully managed installation.
surprises when it comes to budget. The sooner Iroka is involved in your project, the more value they can bring – be it through smart spatial planning, product sourcing, or turnkey project management.
Window dressings are a crucial element of any interior design, and Iroka Interiors’ bespoke curtains and blinds service is second to none in Cornwall. Whether you’re looking for Roman blinds, rollers, or motorised options, Iroka delivers made-to-measure solutions.
Each pair of curtains and blinds is handcrafted, colour-matched, and e pertly fitted – creating a harmonious balance of light, privacy and style in your home. he offering spans both hard-wired and battery-operated systems, ideal for modern living and increasingly smart homes.
The kitchen is the heart of the home, and at Iroka, it’s also a showcase of design ingenuity and exceptional craftsmanship. heir kitchens are designed in-house and manufactured in Germany with precision engineering and modern design.
The process is clear, collaborative and fle ible. lients begin with a conversation, by phone, email, or in person, to define the scope of work. From there, the design team develops a tailored proposal that is fully transparent, ensuring there are no hidden
Iroka kitchens combine a sleek look with maximum functionality. Whether you’re drawn to the minimalist charm of handleless cabinets or the classic detail of Shaker or in-frame styles, each kitchen is tailored to meet your personal needs and
CREATE
design goals. With expert design guidance, your dream kitchen is only a showroom visit away.
From layout planning to materials and finishes, roka nteriors’ e perienced kitchen designer will work with you to create a space that’s as beautiful as it is practical. Whether you’re renovating your existing kitchen or starting from scratch in a new build, they’ll guide you on the journey from concept to completion.
oo often overlooked, the right flooring choice can tie a room together and define its atmosphere, and as such, roka flooring isn’t an afterthought – it’s a vital design element. Their extensive selection includes solid wood, luxury vinyl, natural fibres, premium carpets and bespoke rugs, each chosen for both durability and aesthetic appeal.
wardrobe systems manufactured in Italy, with a range of contemporary finishes and elegant handle options. Whether you need wall systems, modular configurations, or easy-to-adapt layouts, each installation is bespoke and made to maximise both style and utility.
These solutions are ideal for bedrooms, walk-in closets, or any space that needs intelligent storage without compromising on design. With meticulous attention to detail and high-quality materials, Iroka fitted furniture brings an elevated feel to everyday living.
Whether you’re seeking supply-only options or a full design-supply-fit service, their flooring e pert is available to help you navigate materials, measure your space, and coordinate the perfect fit for your home.
Storage is no longer just a practical concern, it’s part of the design. roka nteriors fitted furniture department showcases stunning
rom furniture to flooring, kitchens to curtains, Iroka nteriors offers a fullservice design experience with exceptional value.
Ready to begin your interiors journey?
Visit Iroka Interiors’ showrooms in Hayle or Wadebridge. Browse furniture, fabric selections, walk through curated room setups, and speak with their furniture experts face-to-face.
hether o ’re ndertakin a new i d re r ishin a ho ida ho e or si radin a roo roka nteriors ro ides the too s know ed e and ins iration to he o do it ea ti
iroka co
Grounded in LANDSCAPE the
WORDS BY JAMIE CROCKER
A Cornish tile studio captures European traditions through local hands and eyes.
Relocating your family can be fraught with angst. Relocating your business takes things to a whole different level. his is what ecorum iles did. Originally established in O fordshire, the company relocated to orth ornwall si years ago, trading scale for soul. What began as a tile distribution company evolved into a creative studio rooted in the artistic possibilities of ceramics. It is in Wadebridge that Decorum iles found its rhythm.
he move was more than geographical. ornwall, with its changing skies, tidal light and elemental beauty, has become a constant source of inspiration. here’s a sense of space here, says ess, who returned from Australia to help lead the family business. he environment is powerful but quiet – it asks something of you creatively.
At the heart of ecorum’s process is a deep respect for tradition. he studio works with select suppliers in pain and taly, places where small factories continue to use slower, older methods such as double-firing. hese base tiles arrive as blank canvases, ready to be reimagined in Cornwall. From there, everything is done by hand. n a purpose-built studio filled with natural light, a close-knit team of artists applies each design individually, using techniques that
take months, sometimes years, to master. he studio’s output is both wide-ranging and precise. ome clients commission statement murals for restaurants, others request gentle, repeating motifs that reference seaweed, sand, and the lines of the tide. Collections such as Harbour and eaweed speak clearly of place, echoes of the coast captured in gla es of pink, blue and moss green.
he creative team is central to every success. Each artist brings a distinct skill: fine brushwork, colour sensitivity, mural composition. What unites them is a shared fluency in ceramic language and the patience required for work that cannot be rushed. t’s not just decorative, ess e plains. here’s thought behind every line. ach tile goes through multiple firings, each one setting a layer of detail.
his is certainly not a business built on volume. nstead, the focus is on creating something unrepeatable, tiles that carry the mark of the individual, infused with the influence of the ornish land and the sea that holds it. From the materials to the method, ecorum is a celebration of uropean heritage, of human creativity and of a landscape that continues to inspire.
decorumtiles.co.uk
ABOVE iff and on in the studio
MIDDLE arbour elft range
TOP LEFT eaweed collection
TOP RIGHT eet the team - olly
RepurposedPURPOSE for a
WORDS BY JAMIE CROCKER
air d craft m n ran orm a in o raordinar r ac ro
r ol ionar c ni .
Running fingers across what appears to be a solid surface knowing that it isn t searching for that seam that speaks of the process brings a wry smile to the faces of an and avi. t is smooth. Only the knowledge that it is an amalgam of disparate materials tells you otherwise. he embedded pattern stripes of repurposed material sandwiched between reclaimed plywood set within a layer of oak offers a visual clue. or this is modern mar uetry and it represents something entirely new in ritish cra smanship.
ts genesis occurred when their paths crossed. an s ourney from international trekking guide to Cornwall based carpenter intersected with avi s transition from university arts educator to maker during a camping expedition
near endeen. oth had found themselves drawn back to Cornwall a er university an for the surfing avi for the creative possibilities. heir conversation that evening fuelled by mutual admiration for each other s work planted seeds that took a year to germinate into a business partnership that melded their skill sets to create tratum ar uetry.
raditional mar uetry with its wafer thin veneers depicting pastoral scenes or geometric puzzles belongs to another era. hat tratum ar uetry creates bears little resemblance to those ictorian sewing boxes or delicate inlay work. nstead an and avi have developed a techni ue that treats waste materials like seasonal vegetables working with whatever Cornwall s industries discard transforming unwanted offcuts into robust customisable surfaces
that ag up their tones and textures whilst withstanding the demands of modern interiors.
he process begins not with design but with materials. riangular plywood offcuts from boat builders sheets of recycled C s that shimmer like mother of pearl strips of reclaimed timber salvaged from roadside finds all become ingredients in what the pair describe as a manufacturing process akin to printing. ather than following fixed patterns they allow forms to develop through a process of accumulation and discovery to reveal the embedded design.
he revelation comes when understanding the scale. here traditional mar uetry might use veneers measured in microns in depth for one off pieces these blocks once sliced can yield hundreds of panels that are measured in millimetres and beyond. he pattern exists throughout the entire structure meaning each slice reveals a uni ue version of the design while maintaining the mechanical stability that allows for practical applications ooring that can be sanded and refinished tabletops that won t li or separate wall panels that celebrate rather than hide their composite nature.
principle. Every surface that involves their modern mar uetry contains repurposed materials. he engineered ooring is manufactured in the k helping address the air miles conundrum faced by many today. heir relationships with suppliers read like a network of creative collaboration rather than commercial transactions a company in ristol that transforms waste C s into usable sheets urface atter who rescue high end materials from post industrial pro ects and pply works who generate more offcuts than the duo can currently process.
his approach challenges conventional manufacturing logic. hile most businesses scale by increasing raw material consumption tratum ar uetry scales by developing more relationships with waste producers. heir success depends not on extraction but on rescue not on standardisation but on adaptation to whatever materials become available. he aesthetic emerges from this constraint with patterns determined by the materials at hand rather than abstract design concepts.
heir sustainability ethos emerged not as a marketing strategy but as a fundamental
he customisation possibilities ow naturally from this philosophy. Clients can specify tones and colours selecting from darker or lighter palettes while trusting the cra smen to source appropriate
espoke digbo ook Chest with patterned top and drawer fronts
TOP LEFT
espoke table top fully decorated with mar uetry
ABOVE itchen sland with dynamic stripes
TOP RIGHT ar uet ooring patterns using reclaimed ash oak and iroko
BELOW LEFT
espoke table detail roko plywoods recycled plastics and various timbers
materials. recent commission involved matching bathroom tiles and coordinating with walnut kitchen oinery incorporating actual off cuts from the client s other pro ects to ensure perfect tonal harmony. he result transcends mere coordination it becomes integral to the home s entire material story.
he workshop demonstrates their commitment to circular principles. Even their own waste finds purpose. iny offcuts become components for community workshops where young people learn about materials and making. he planned engagement with the Community nterest Company will formalise this educational role channelling some of their commercial success into social benefit. ive per cent of all profits support lant One Cornwall funding habitat regeneration pro ects that customers can oin creating tangible connections between purchase and environmental restoration.
arriving from restaurants interested in bar frontages and table surfaces and residential clients seeking coordinated interior schemes.
he technical challenges they ve mastered extend beyond pattern creation. ifferent materials expand and contract at different rates yet their eight year old test pieces show no separation or movement. he solution lies in scale and integration stability comes from balance.
uture development promises even greater possibilities. Experiments with dowel construction could introduce curved elements adding organic forms to their current linear vocabulary. he terrazzo inspired casting techni ue where tiny off cuts are suspended in esmonite or plaster before slicing opens another avenue for utilising every scrap generated by the processes.
ecognition arrived at ondon Cra eek where interior designers and architects encountered their work for the first time. he response confirmed what an and avi suspected nobody had seen anything comparable. he mechanical properties that allow practical application combined with the infinite pattern possibilities and sustainable credentials created something entirely new in the market. Orders began
he comparison to seasonal produce proves apt. ust as conscientious cooks adapt menus to available ingredients tratum ar uetry designs products around accessible waste streams. heir wall panels celebrate specific material relationships birch ply and purple plastic creating one aesthetic different combinations yielding entirely different results. he patterns cannot be separated from their material origins because the materials define the patterns.
his represents more than sustainable manufacturing it embodies a fundamental shi in how luxury might be conceived. ather than consuming virgin resources to create exclusive ob ects they demonstrate how discarded materials can become more beautiful more interesting more valuable than their original applications. he timber destined for wood burners becomes part of sophisticated interior schemes. he plastic waste heading for landfill gains new life as decorative elements that will outlast many conventional materials.
hey are at the moment striving toward Corp certification a process that re ects their ethos. Environmental impact forms only part of their evaluation criteria community benefit worker welfare and transparent governance all contribute to their assessment. he gradual progress typical of a small business doesn t diminish their commitment to meeting these comprehensive standards.
organisation however re ects a creative process rather than industrial e ciency yet the uality of their output matches any conventional manufacturer.
hey have created something genuinely new surfaces that appear conventional in their production yet embed stories of rescue and transformation products that function as luxury goods while advancing environmental and social goals.
n an industry traditionally focused on extracting maximum value from virgin resources tratum ar uetry demonstrates an alternative approach. hey extract maximum value from discarded resources proving that constraint can foster rather than limit creativity. heir blocks of layered waste materials yield surfaces of beauty challenging assumptions about luxury sustainability and the relationship between the two.
he workshop itself embodies their philosophy. ools and materials intermingle with completed samples and work in progress. locks await slicing while finished panels lean against walls ready for installation. his careful
uilding towards a future where waste becomes wonder and discarded materials find new purpose in ritain s most thoughtful interiors an and avi are representatives of a grassroots movement that is slowly gaining traction.
ra mmar r .co.
ABOVE ar uetry within drawer and door pulls
Curated SPACES
WORDS BY HANNAH TAPPING
Bespoke, personality-driven interiors with an emphasis on local context and client inspiration.
Founded in 2019 as part of the Cornish Gems holiday home brand, Cornish Gems Interiors is a luxury interior design studio led by Tara Donovan-Soltys, a professional interior designer with over 25 years of experience. Once reserved solely for holiday homeowners, Cornish Gems Interiors is now delighted to offer its services to private homeowners throughout Cornwall and the South West. Comprehensive consultations allow the team to gain a full understanding of each homeowner’s lifestyle and vision, using custom concept boards to develop a tailored design narrative. There s no fi ed aesthetic here, more a focus on authenticity, elegance and comfort.
Clients can choose from a range of services. The full interior design pac age offers initial consultation through to sourcing, procurement, installation and styling for entire homes. There’s also a refresh and restyle option for updating key areas with new furnishings, artwork and accessories. With a background in luxury letting, Cornish Gems Interiors can also tailor designs to maximise rental appeal and boost bookings as well as handling the purchase and delivery of furniture, fabrics and decorative elements for out-of-county owners. If you’re simply looking for design guidance, then their consultation service offers e pert advice on colours, layout or sourcing without a full project.
A recent full turnkey project for a luxurious private residence above the Helford River saw the inclusion of statement features include a teppanyaki kitchen, Venetian plaster finishes, a bespo e bar and rooftop hot tub. The contemporary interior complements the building’s Japaneseinspired architecture, enhancing the illusion of the property levitating above Port Navas Creek. A sensitive restoration honoured the cottage’s heritage while integrating contemporary comforts.
A muted, layered coastal palette with natural textures and botanical patterns evoked tranquillity throughout and the whole design aligned with Cornish Gems Interiors B Corp values, collaborating with local artisans, prioritising longevity and retaining original features where possible.
Creating furniture for the interior spaces they curate was an organic next step for Cornish Gems Interiors. Their exclusive collection of British-made beds, mattresses, sofas and armchairs are handmade in England using responsibly sourced hardwood frames, natural fabrics and traditional techniques. Each piece is custom made to order, built to last, tailored to suit luxury homes and holiday properties and available for delivery nationwide.
cornishgemsinteriors.com
TOP
Bosulla kitchen – before and after MIDDLE
Farrar Cottage
Farrar Cottage – before and after
EverydayLUXURY
WORDS BY HANNAH TAPPING
Cornwall-based interiors brand Uneeka celebrates an inspiring 20 years of crafting soulful, design-led spaces.
Uneeka is known for authentic interiors that reflect both style and comfort, while honouring sustainable values and an ethos of curated global craftsmanship. This year s trending warm and earthy tones reflect the very aesthetic that customers have come to know Uneeka for. tepping into the Truro store, grounding colours and natural materials bring a calming timelessness to suit many homes. Thin terracotta and clay-hued cushions, richly grained wooden furniture and handwoven te tiles in soft, neutral shades, brought together to create a sense of wellbeing and a home that feels truly lived-in.
home projects ali e. hether furnishing a new-build apartment, styling a boutique holiday let, or helping a homeowner reimagine their home, the nee a team brings e pertise, creativity and a strong understanding of how to create a home that enhances lifestyle. ach project is approached with care from layout planning and product sourcing to those all-important finishing touches, creating a home that feels personalised and comfortable.
longside its retail offering, nee a also offers a fully personalised interior design service, wor ing with individual clients, property developers and show
In a recent show home project in collaboration with a developer and tags state gents New omes epartment, in-store designer Charlotte awson brought the nee a style to a new build. successfully designed home is welcoming, soft, and effortless. hilst a design is new, it can be moulded to loo as though it s always been there. n this project we wanted to offer potential buyers
TOP
espo e, teal wa e Chelsea three-seater sofa
ABOVE selection of furniture, lighting and prints from recent nee a projects
an opportunity to visualise themselves living there. They ve maybe aspired to invest in a new property for some time, so we wanted them to feel the lu ury of their new home but remove the maintenance and ma e it feel easy to live in.
ith sustainability at the fore, nee a wor s closely with artisan ma ers and fairtrade partners around the world, offering ethically sourced furniture and homeware with a story. rom reclaimed wood sideboards and hand-thrown ceramics to eco-conscious lighting and te tiles, every piece reflects thoughtful sourcing and longterm value.
standout part of nee a s service is their e clusive partnership with aulus rown, specialists in bespo e ritish-made sofas and upholstered furniture. These made-toorder pieces are tailored to suit the client s home, with endless options for fabrics and fine tuning the comfort. hether it s a contemporary corner sofa in moss green velvet or a compact two-seater in linen, each aulus rown sofa is designed for comfort, quality, and enduring style. nee a is also nown for providing one-of-
a- ind furniture, such as their stri ing tea root tables. ach is sculptural and unique, turning natural form into a statement piece that is a testament to nee a s philosophy. These designs reflect the belief that truly great furniture combines quality craftsmanship with individuality, resulting in pieces that are not only beautifully made, but are distinctive and personal.
Now celebrating two decades in business, nee a continues to evolve, balancing craftsmanship and creativity while meeting the needs of both residential and commercial clients. Their showroom in Truro, Cornwall, offers a sensory e perience for those wanting to see and feel the products in person, while their online store, unee a.com, ma es it easy to browse their full range and arrange nationwide delivery.
nee a offers lu ury rooted in natural beauty, honest materials and meaningful design. n a world of fast trends and throwaway interiors, nee a helps clients create homes that are not only beautiful, but crafted to last.
uneeka.com
The spirit TRANSFORMATION of
WORDS BY JAMIE CROCKER
Experience contemporary Cornish work in a warm, welcoming and thoughtfully curated gallery space.
Set back in one of Cornwall’s most historic market towns, The ummerhouse allery benefits from its proximity to St Michael’s Mount, which draws visitors from across the globe and all walks of life. The gallery has found passionate champions in Lord and Lady St Leven, longstanding supporters of contemporary art whose collection graces both their home and the gallery and museum on the Mount itself.
Marazion’s distinctive landscape, rich wildlife and sweeping sandy bay continue to attract creative talent, establishing the town as a key destination for those interested in Cornish art. This remarkable setting creates consistent demand for paintings that capture the unique character of Marazion and St Michael’s Mount. In response, the gallery curates contemporary impressionist works that convey atmosphere and emotion rather than offering mere photographic representations of the view.
Founded in 2011 by Jayne Elliott, The Summerhouse Gallery emerged from the former Praed Gallery, once owned by the prolific artist ichael raed. Elliott sought to retain the artistic heritage while building something that felt
PREVIOUS
John Piper’s iconic Cornish cottages, alongside Nick Praed and Kate Richardson.
open, bright and joyful. The name itself, ummerhouse was chosen to re ect this spirit a light filled haven where art was not confined by exclusivity but celebrated for its ability to elevate daily life.
In 2023, the gallery entered its next chapter under the stewardship of Rhiannon Cottam. Having worked closely with Elliott for several years, Rhiannon brought with her a profound love for Cornwall, contemporary art, and the act of curation as storytelling. Her vision was clear: to build a gallery that serves not just as a place to view art, but as a vibrant hub where artists and visitors can gather, talk and recharge. It’s a place where people feel welcome and relaxed, where even a brief visit offers a pause in the daily rush.
At the heart of the gallery’s evolving success is the careful selection of artists. While over 30 are represented at any time, new additions are rare and intentional. What matters most is not medium or style, but energy – the intangible sense that a work belongs. The Summerhouse Gallery doesn’t aim to please every possible taste. Instead, it curates from the heart. Each piece in the gallery is there because the team believes in it, because it sparks something personal.
CREATE
This emotional curatorial approach gives The Summerhouse Gallery its distinctive voice. isitors won t find a rigid theme or a didactic structure. Instead, they encounter works that speak so ly but insistently a conversation of colours, textures and emotional tones. Representational and abstract paintings hang side by side, united by a sense of place and passion.
That connection to Cornwall’s artistic heritage is neither heavy-handed nor nostalgic. The Summerhouse Gallery represents celebrated names – John Piper, Michael Praed and Michael Strang among them – whose works anchor the gallery in a strong lineage. But it also champions the new wave: artists like Iona Sanders, Imogen Bone, Maggie O’Brien and Kit Johns, many of whom teach at respected institutions such as Newlyn School of Art and the St Ives School of Painting. Their presence ensures the space remains dynamic and forward-facing.
The exhibition calendar at The Summerhouse Gallery is equally ambitious. Around seven shows are curated annually, accompanied by events designed to welcome both locals and visitors. From
TOP
‘Inner Feelings’ by Kit Johns, painted on a vintage map of Cornwall
artist Q&As and charity auctions to hands on workshops these moments offer more than just visual stimulation – they build community. Some workshops now focus specifically on art for wellbeing helping people to explore their emotional responses to works in a small group setting, which inspires them to create their own.
One notable collaboration this year sees students from Marazion School invited to view Kit Johns’ solo exhibition, with the experience feeding directly into their classroom work. It’s just one example of how the gallery connects art with education and experience, always looking to extend the reach of its in uence beyond the white walls.
The work itself speaks volumes. Cornwall’s light, weather, and terrain manifest in countless subtle ways: in John Piper’s granite cottages layered thick with oil and memory, or in the dynamic forms and lines of artists interpreting seascapes through contemporary palettes. It’s not about literal representation but evocation. Viewers o en find themselves unexpectedly drawn to a piece, an emotional resonance rather than a rational choice. “The work chooses the buyer,” as Rhiannon observes.
ABOVE
Tom Leaper’s ‘Book of Circles’ compliments abstract paintings by Helen Leaver
CREATE
The gallery has also noticed a quiet shi in its audience. Online sales are increasing. More buyers are under 40, many drawn by the accessibility offered through Own rt a finance scheme backed by Arts Council England. This younger demographic brings fresh energy to the gallery, proving that original art can be within reach and deeply valued across generations.
Balancing the traditional with the contemporary remains a curatorial dance. O en it s the interaction between different styles – an abstract piece hung beside a
still life, linked by colour or emotional tone – that gives a show its shape. Rhiannon admits that her original plans o en change once the works are in the space. But that’s part of the thrill: watching how energy ows between pieces how a room transforms in response.
hether someone stays for five minutes or an a ernoon the aim is the same that they leave a little lighter, a little more inspired, perhaps carrying with them not just a piece of art, but a renewed way of seeing.
summerhousegallery.co.uk
TOP LEFT
Works on display by Sophie Harding, Neil Pinkett, Sophie Velzian and John Piper
TOP RIGHT Rhiannon, pictured during ‘Alchemy’, a show featuring Sophie Capron and Jake Boex
Coastal EVOLUTION property
WORDS BY JAMIE CROCKER
Jackson
Stops adapts traditional estate agency values for modern buyers.
Mark Price speaks with the measured cadence of someone who has watched an industry transform. He represents a generation that bridges the analogue certainties of established property practice with the digital imperatives of contemporary marketing. His employer, Jackson Stops, has been navigating similar territory since 1910, when the company first established itself as a purveyor of country estates to the discerning classes.
The Cornwall o ce operates from a different landscape now. Where once the firm concentrated solely on grand rural properties, Mark explains how the business has expanded to embrace coastal properties across the million-pound threshold. “We’ve maintained our traditional, high-quality service while adapting to modern buyer expectations,” he says, describing an evolution that mirrors the broader changes affecting Cornwall s property mar et.
modest bedrooms can command seven figures purely due to its pro imity to the Atlantic. Mark acknowledges this reality without sentiment. “The coastal aspect drives significant value, he observes. ou could have a family home one street back from a multi-million-pound waterfront property. It’s really interesting how these two markets run parallel.”
This duality extends beyond pricing into distinct buyer demographics. Second home purchasers and investors operate alongside locals seeking permanent residence, creating what Mark describes as “slight rivalry between the two parties.” The tension is real but incomplete. Local businesses depend heavily on the income generated by temporary residents and holiday rentals, creating an economic interdependence that complicates simple narratives about gentrification.
The county presents a curious paradox. Here, a post-war bungalow with three
Jackson Stops has adapted its marketing approach to accommodate shortened attention spans that would have horrified previous generations of estate agents.
“25 years ago, the average attention span was something like 25 seconds,” Mark notes. “Now it’s about three seconds.” This compression demands precision in initial property presentation, where agents have perhaps two or three photographs and a brief text description to capture interest on platforms like Rightmove.
The challenge has pushed the company toward more sophisticated visual marketing. Drone photography now features in approximately ninety per cent of their listings, particularly valuable for coastal properties and estates with significant land holdings. ocial media channels receive increasing attention, though Mark maintains a pragmatic view of these developments. “Unless you want to pay for advertising, you need to be on there,” he explains, echoing the resignation of many who recognise the commercial necessity while questioning the broader cultural implications.
Remote working has fundamentally altered buyer requirements in ways that extend beyond simple home o ce provision. lot of buyers are saying they want either a five-bedroom house or four bedrooms plus a study,” Mark reports. “Even people who don’t necessarily work from home want the option of having a study.” This shift has influenced how ac son tops markets existing properties, with small rooms near driveways now routinely described as potential studies, recognising their appeal to contemporary purchasers. Sustainability considerations have gained prominence, though not always for environmental reasons. Solar panel
installations and battery storage systems attract buyers primarily because they reduce operating costs rather than carbon footprints. Mark cites one property where comprehensive renewable energy systems resulted in monthly electricity bills of just £17 pounds despite heating, lighting, and powering a hot tub in a substantial family home. “When buyers see that, they’re very pleasantly surprised,” he observes.
The company has developed expertise in marketing what he terms ‘lifestyle’ rather than merely property. This approach recognises that purchasers invest emotionally in the experiences a location might offer rather than focusing solely on architectural features or room dimensions. “Whether that’s on the north coast with surf and sunsets, or down south with waterfront access, we try to convey the lifestyle that property can enable someone to have,” he explains.
The sophistication of this approach becomes apparent when examining Jackson tops treatment of different coastal environments. A waterfront property near owey offers entirely different recreational possibilities than one positioned on the Atlantic-facing coastline around Newquay. The former might emphasise sheltered creek moorings and gentle river walks, while the latter focuses on surfing culture and dramatic cli op perspectives. ar speaks of “selling that lifestyle where kids can crab down in the creek while parents sit on the quay with a drink, watching the sun go down.”
This philosophy extends to understanding regional variations within Cornwall itself.
TOP LEFT
Architectural splendour
Contemporary home
TOP RIGHT
By the creek
TOP LEFT
Stylised living
ABOVE Country abode
TOP RIGHT Near the river
The lifestyle offered in adstow differs significantly from that available in nearby villages, despite both locations sharing coastal positions. Jackson Stops positions itself as capable of articulating these distinctions to potential buyers, many of whom arrive from London or the home counties with limited knowledge of local variations.
The agency s database of pre-qualified buyers enables targeted marketing that matches specific properties with appropriate purchasers. This system reflects decades of accumulated nowledge about buyer preferences and price points, allowing agents to identify potential matches before properties reach general marketing. Such an approach reduces time on market while ensuring that vendors receive offers from genuinely interested parties rather than casual browsers.
Cultural concerns often arise among relocating buyers accustomed to metropolitan amenities. Mark addresses these practically, noting that nowhere in Cornwall requires more than an hour’s travel to reach alternative destinations.
The Hall for Cornwall in Truro provides theatrical productions, while restaurants in locations like Rock, Padstow, and owey offer sophisticated dining options. However, he suggests that most purchasers relocate specifically to escape urban complexity rather than replicate it. Improved connectivity has reduced Cornwall’s historical isolation. Regular flights from Newquay to ondon airports enable residents to maintain professional and social connections with the capital while enjoying rural lifestyles. ou can finish in the o ce at pm and be in
central London by 10pm,” Mark explains, describing weekend trips that were impractical when road travel constituted the only viable option.
The agency maintains discretion as a core principle, protecting both vendor and purchaser identities until formal offers are accepted. This approach serves multiple purposes, from preventing prejudicial negotiations to protecting holiday rental businesses that might suffer if ownership changes became public knowledge prematurely. “We naturally give buyers discretion,” he states. “By doing that, you’re only going to create fair negotiation.”
Professional discretion has become increasingly valuable in Cornwall’s property mar et, where high-profile purchasers might otherwise face prejudicial treatment or unwanted publicity. The county’s appeal to celebrities and business leaders requires agents capable of managing transactions without attracting media attention or creating local resentment. Jackson Stops’ established reputation for confidentiality attracts clients seeking privacy alongside professional competence.
The firm s approach to property mar eting reflects broader changes in how premium real estate is presented to potential buyers. Where previous generations might have relied on classified advertisements and wordof-mouth recommendations, contemporary marketing requires sophisticated brochures, professional photography and strategic placement across multiple platforms. The company produces both PDF and printed marketing materials, recognising that different buyer demographics prefer different information formats.
Mark observes that the property market has become increasingly competitive, requiring agents to differentiate themselves through service quality rather than simply property access. “Part of our USP is being able to differentiate the areas and actually sell those lifestyles,” he explains, suggesting that success depends on understanding local markets at granular levels rather than treating Cornwall as a homogeneous region.
The evolution of buyer expectations has required Jackson Stops to expand its service offerings beyond traditional estate agency functions. Clients increasingly expect agents to provide guidance on everything from local schools and medical facilities to recreational opportunities and community activities. This e panded brief reflects the reality that property purchases often represent complete lifestyle changes rather than simple accommodation upgrades.
Jackson Stops has expanded beyond its traditional country estate focus while preserving the service standards that established its reputation. The company now maintains dedicated staff in Wadebridge, developing what Mark describes as an ‘organically evolving’ homes department targeting properties at various price points. This diversification acknowledges market realities while maintaining the firm s association with premium properties.
The expansion into more accessible price ranges reflects recognition that Cornwall s property market extends beyond the ultrapremium sector. Family homes between established price brackets represent
significant business opportunities, particularly as the county attracts younger professionals and families seeking alternative lifestyles. This demographic shift has influenced both the types of properties Jackson Stops markets and the services it provides to support them.
Technology adoption has accelerated throughout the industry, but Jackson Stops maintains focus on personal relationships and local nowledge as differentiating factors. While drone photography and social media presence are now essential marketing tools, Mark emphasises that these technologies supplement rather than replace traditional client service. The firm s success depends on understanding individual client requirements and matching them with appropriate properties through personal consultation rather than algorithmic recommendation systems.
The challenge of maintaining service quality across different mar et segments requires careful resource allocation and staff training. gents wor ing on million-pound coastal properties develop different s ills from those handling family homes in market towns, yet both require an understanding of local conditions and buyer motivations. Jackson Stops’ ability to serve diverse markets while maintaining consistent professional standards reflects the adaptability that has sustained the company through more than a century of market evolution.
Cornwall’s property market continues attracting buyers from across the United Kingdom, drawn by natural beauty and improved connectivity. Jackson Stops has
positioned itself to serve these purchasers while maintaining relationships with local buyers operating at different price points. The company’s adaptation demonstrates how traditional estate agency principles can accommodate contemporary market conditions without abandoning the discretion and service quality that established its reputation over more than a century of operation.
Economic uncertainty continues to influence buyer behaviour and mar et conditions, though Mark suggests that Cornwall’s appeal transcends short-term financial concerns. The county offers
tangible lifestyle benefits that justify premium pricing for many purchasers, particularly those relocating from highcost urban areas where equivalent amenities are unavailable.
Mark Price represents a generation comfortable with technological marketing tools while maintaining appreciation for personal service and professional standards. His presence within the organisation suggests continuity between traditional values and modern methods of marketing properties in the 21st century.
jackson-stops.co.uk
Creative SPIRIT
WOW Cornwall’s new range captures the spirit of coastal living with nautical striped cushions and quilts, driftwood doorstops, sea-scented candles and delicately embroidered napkins. Inspired by the tide and the shoreline, this collection evokes beachcombing days and salty breezes. Thoughtfully curated to bring coastal chic indoors, each piece invites stillness and connection. hether styling a cli op hideaway or a harbourside home, WOW’s latest edit is your invitation to unwind effortless style and lu ury. iscover a world of sea- issed design anchored in the heart of Cornwall.
wowcornwall.co.uk
1. FISH PLATTER FROM £8.99
3. RANGE OF LINEN QUILTS AND CUSHIONS 4. LINEN NAPKIN £7.99 5. FISH CUTTING BOARD £29.99
2. WOODEN HOUSE £46.99
7. STRIPED CUSHION £31.99
6. STONEWARE PITCHER £29.99
9. WILLOW BASKET HOUSE £59.99
8. WOODEN BIRD FROM £14.99
FlightsFANCY of
WORDS BY HANNAH TAPPING
Established in 1985, Spiral UK has evolved into one of Britain’s foremost specialists in bespoke staircase design and manufacture.
An impressive staircase, whether spiral or straight, can help to create a breathta ing first impression in any space, domestic or commercial. Based in the South West of England, with a dedicated production facility in Cornwall and a technical o ce in Cambridgeshire, Spiral UK operates on a national scale, delivering projects across the country and beyond for residential, commercial and public sector clients. Its approach is defined by a synthesis of engineering precision, architectural fluency and design-led thinking. Every staircase is custommade, developed in close collaboration with architects, interior designers, contractors and private clients. The company offers a comprehensive, in-house service, from
conceptual design and structural detailing to fabrication and on-site installation. This end-to-end model ensures both creative control and technical continuity throughout the process, providing a streamlined process from start to finish.
The company’s portfolio demonstrates a striking versatility. Projects range from sculptural helical staircases in flagship commercial developments to floating, cantilevered stairs in refined private residences.
eadrift, evon, is a contemporary coastal home. The installation of a helical staircase here balances structural fluidity with minimal intervention. The staircase’s open oak treads appear to float within a slender steel structure, while curved glass balustrades
allow uninterrupted light flow, echoing the transparency and openness of the home’s design. The stair forms a continuous sculptural line, its rhythm complementing the natural textures of the surrounding materials and the panoramic views beyond.
Park Gwyn, Cornwall is a place where bold architectural language meets countryside serenity. A bespoke staircase sits as the central sculptural element in the home’s open interior. Composed of a powdercoated steel spine with gently twisting lines, the stair supports solid oak treads and a bespoke curved handrail, all designed to enhance the continuity between floors. The structure is both a spatial connector and a subtle piece of engineering theatre, carefully designed to work with the building’s exposed material palette and strong natural light.
finishes spea s to a distinctly modern craftsmanship. t s a dramatic insertion that feels at once respectful and confident.
For Le Petit Fort, Jersey is a luxury residence integrated into a former fortress, Spiral UK designed a staircase that reflected the duality of old-world solidity and contemporary elegance. A curved steel structure wrapped with handcrafted oa treads offers a sense of permanence while remaining visually light. The stair’s materiality references the rugged stone of the original fort, while its detailing –such as the concealed supports and flush
Within a high-end riverside apartment in One Tower Bridge, London, Spiral UK delivered a precision-engineered cantilever staircase that appears to hover weightlessly. Anchored directly into the wall with no visible support structure, the steel frame is clad in timber and complemented by ultraclear glass balustrades. This clean, linear composition creates a sculptural dialogue with the apartment’s interior architecture light-filled, geometric and high-spec. It’s an object of functional beauty that transforms vertical movement into a design experience. Spiral UK’s work is characterised by clean lines, material sensitivity, and an acute understanding of how a staircase can function as both circulation and centrepiece acting as an integral element within the architectural narrative of a space.
At 450 South Oak Way in a bespoke helical staircase, comprising a mild steel core wrapped in stone-clad treads and capped by polished stainlesssteel handrails, unfurls over an impressive 4.2m. The juxtaposition of robust industrial materials – radiused glass balustrades
TOP LEFT
450 Green Park
ABOVE
Carbis Bay spine beam staircase
TOP RIGHT
Seagrass, Polzeath
TOP LEFT Carbis Bay concrete spiral stairs.
ABOVE
One Tower Bridge
TOP RIGHT 18 Belle Vue
TOP
Le Petit Fort
ABOVE Park Gwyn helical with herringbone effect floor
and fabricformed channel stringers –with the natural stone treads creates a dialogue between solidity and lightness. This staircase doesn t just connect floors, it choreographs the first impression of the entire o ce, where the functional is elevated to an artful axis of movement and style.
Materials are selected for both their aesthetic and structural potential. The company wor s confidently with steel, stainless steel, hardwoods, concrete, glass, and stone, with bespo e finishes that include powder coating, polishing, lacquering, and custom sprays. As open plan living spaces have become more and more popular, Spiral UK have been faced with the design dilemma of how to introduce a staircase without encroaching on the space? The solution is a bespoke spiral stair, tucked into a corner providing all the function of a straight stair without taking up too much of the room. A staircase in point was installed into a holiday let in
Carbis Bay. Light white-faced concrete was used as it’s suitably heavy in structure but light in form, with open risers and glass balustrade. This fitted will with the subtle seaside theme and became an interior feature in itself, all without distracting from that view.
Certified to and a liated with Constructionline, Spiral UK balances craftsmanship with regulatory rigour. et their true distinction lies in their ability to elevate an architectural necessity into a statement of design. Every project is a chapter in a broader architectural story, clarifying circulation and amplifying spatial intent. A trusted industry leader with an impressive portfolio of work, Spiral UK turns a staircase into a manifesto: engineered, expressive and unobtrusively indispensable.
spiralukstairs spiraluk spiral.uk.com
Designer LIVING inspired
WORDS BY JAMIE CROCKER | IMAGES BY JACK HOPKINS PHOTOGRAPHY
Award-winning Now Kitchens, bringing bespoke kitchen design to Cornwall.
Now Kitchens, based in Helston, has been designing kitchens and interior spaces since 2008, blending visionary design with e ceptional craftsmanship to deliver timeless, elegant spaces tailored to modern living.
Their latest project, a collaboration with R Sincock & Son Builders, recently earned them the iemens studio ine itchen esign of the ear award. his kitchen, situated within a newly remodelled open-plan home, is a masterclass in balance – dark and light, form and function, boldness and restraint.
Tell us how you got involved with this project
We were brought into the project by incock on uilders, with whom we collaborated closely. he client had a very clear vision of a lu urious, contemporary kitchen that would be both highly functional and beautifully complement the newly remodelled open-plan space. With a legacy of innovation and individuality, Now Kitchens was tasked with bringing that
vision to life, creating a kitchen that would make a bold statement while delivering a cohesive and harmonious feel within the home’s new design.
How did the design come about?
he design was shaped by the client’s desire for a sophisticated, minimalist space that prioritised functionality, elegance, and social interaction. hey wanted to blend moody, matt black tones with warm, natural te tures and brass accents. We worked with erman kitchen manufacturer Hacker to source bespoke black wood grain doors, integrated brass handle rails and beautiful oak ‘reeded’ cabinetry for the sink and island areas. he kitchen layout was carefully oned to accommodate cooking, entertaining, and dining, all while ma imising the stunning coastal views.
What Siemens appliances was the homeowner most keen on?
The client was especially excited about the iemens’ e clusive studio ine range. hey loved the combination of smart
ABOVE rom inspiration into tangible living spaces
connectivity, cooking precision, and sleek aesthetics. he standout features included the iemens induction hob paired with the lass raft Air e tractor, two studio ine ovens- one with full steam capability, and an integrated bean-to-cup coffee station. pacious refrigeration, ample free er capacity, and a whisper-quiet dishwasher all contributed to a kitchen thoughtfully designed for effortless entertaining.
ell us a out the chosen finishes
he finishes were carefully curated to deliver a lu urious yet timeless look. We combined custom black wood grain, with reeded oak doors to introduce te ture and depth. rass handle rails added a touch of warmth and glamour, beautifully contrasting against the matt black surfaces. A dramatic polished worktop provided durability while enhancing the overall elegance of the space. etails like the black uooker tap, composite sink, and integrated waste disposal system completed the design with a seamless, modern aesthetic.
living space but also made full use of the stunning coastal view, required careful planning. We had to ensure that the flow between kitchen, dining, and living areas felt natural while also delivering on the client’s high standards for practicality, storage, and design impact.
What does it mean to win?
Winning the iemens studio ine itchen Design of the Year 2024 is an incredible honour for both Now Kitchens and R incock on uilders. t recognises the hard work, creativity, and collaboration that went into this project. or ow itchens, it’s a proud moment that showcases our commitment to delivering exceptional, bespoke kitchens that truly transform our clients’ homes. t also highlights the importance of strong partnerships – working alongside R Sincock & Son Builders and listening closely to the homeowner’s vision was key to creating a space that’s both breathtaking and beautifully functional.
What was the biggest challenge?
Thanks to the expertise of R Sincock on uilders, there were minimal construction challenges. owever, designing a kitchen that not only moved to the opposite end of the open-plan
While this award-winning kitchen stands as a testament to ow itchens’ design prowess, it is just one e ample of their broader commitment to e cellence. ince their founding in 2008, Now Kitchens has been dedicated to creating inspirational living spaces that marry functionality with aesthetic appeal.
Their two-storey kitchen, furniture and bedroom showroom in elston offers a tangible insight into their design philosophy. Visitors are invited to explore a carefully curated selection of ritish and erman kitchens, talian bedroom furniture and timeless living spaces – all designed with precision, elegance and an intuitive sense of space. rom utility and boot rooms to home offices, media walls and home bars, the showroom serves as both inspiration and a testament to their versatility.
Beyond the kitchen, their expertise extends to every corner of the home. rom fitted bedroom furniture tailored to personal tastes, to thoughtfully designed living areas that adapt to modern lifestyles, each space is approached with the same design-led precision and attention to detail. his holistic approach to interior design underscores their belief that every space in a home should be both functional and reflective of its inhabitants.
dedication to quality and innovation, positions Now Kitchens as a leader in bespoke interior design in ornwall.
he recent accolade from iemens not only celebrates a singular project but also highlights ow itchens’ consistent dedication to e cellence.
heir ability to harmoniously blend cutting-edge technology with timeless design principles ensures that each project is both innovative and enduring.
n a region where the landscape inspires creativity, Now Kitchens stands out for their ability to translate that inspiration into tangible living spaces. Their award-winning work is a reminder that true design excellence lies in the details – in the careful selection of materials, thoughtful layout, and the seamless integration of form and function.
entral to their service is a commitment to collaboration. rom the initial consultation to the final installation, clients are guided through each step, ensuring that the final design aligns with their vision. his collaborative ethos, combined with their
or those looking to transform their homes into reflections of their style, ow itchens offers not only designs but e periences, crafted with care, precision and an unwavering commitment to quality.
now-kitchens.co.uk
ABOVE rgonomics and craftsmanship meets beautiful design
Crafted LAST to
BY JAMIE CROCKER
WORDS
Cornwall’s Rozen Furniture transforms timber into treasures for discerning clients across Britain.
Four decades ago, when their employer announced he was abandoning cabinetmaking to pilot Cornwall s first air ambulance Alan (19) and Ian (28) faced a crossroads that would reshape their lives. With limited options in rural Cornwall and no desire to leave their beloved part of the world, they made a decision that seemed equal parts surreal and inevitable: they would start their own furniture company.
The story of Rozen Furniture begins not with grand ambition but with necessity. Working for a small outfit that employed ust three cra smen lan and Ian found themselves at a crossroads. “There wasn’t really much work around here for joiners,” Alan recalls, his voice carrying the authority and knowledge shaped by years of experience. “The area wasn’t known for this kind of trade.”
However, what began as an act of survival has evolved into something far more substantial. Today, Rozen Furniture employs twelve people alongside the same number of self employed fitters finishers and designers all housed in one location at its Lizard Peninsula workshop. The transformation from two young men “having a laugh and a bit of fun for the first few years to a respected name in bespoke furniture re ects both the durability of their determination and the enduring appeal of what they produce.
The company’s early years were marked by the kind of pragmatism that is the hallmark of small businesses. Alan and Ian divided responsibilities naturally: Ian handled sales while Alan remained workshop-bound, developing the technical expertise that would become the company s foundation. heir first significant
TOP
idden coffee bar beautifully revealed
ABOVE Cra smanship in progress detail by hand
breakthrough came through serendipity when a company in Penzance, struggling with their own commitments offered ozen a contract with Heal’s of London.
This partnership with the prestigious furniture retailer marked a pivotal moment. From being one of thirty UK suppliers to Heal’s, Rozen watched as competition dwindled to just three companies, with most manufacturers relocating production to the Far East. The experience taught them valuable lessons about both opportunity and vulnerability in global markets.
The trade work that sustained them through the 1990s and into the new millennium provided more than financial stability. t offered what lan describes as a finishing school” arrangement with Cornwall College, where recent graduates would join Rozen to develop their skills on production work before progressing to commission pieces. This system created a pipeline of talent that continues to benefit the company today with several employees now marking over twenty years of service.
it lan remembers. hat was our first proper joinery package.”
his shi towards comprehensive interior solutions has become Rozen’s signature. They now regularly undertake projects valued between ten thousand and half a million pounds, working on properties that span the spectrum from substantial renovations to multi-million-pound new builds. The scale might have changed, but the fundamentals remain constant: quality cra smanship delivered on time and within budget.
The company’s relationship with architects and interior designers has proved particularly fruitful. Several high-end practices now consider Rozen their preferred supplier, returning project a er pro ect based on proven reliability. This repeat business forms the backbone of their success, creating relationships built on mutual trust and professional respect.
Yet it was the transition from trade work to bespoke commissions that truly defined Rozen’s character. The moment came when a client from Devon walked into their workshop seeking not individual pieces but a complete house package. “He came down here, looked around, and said ‘Yeah, we’ll get the paperwork sorted and get on with
Alan’s approach to these partnerships demonstrates an understanding of construction dynamics that goes beyond simply making furniture. “We know our job, they know theirs,” he explains. “They know how to build a house but don’t always know how to get fully into the product detail. That’s our strong point.” This collaborative approach has earned them a particular niche in projects where precision is crucial and there is no room for imperfection to hide.
The geographical advantages of their Cornish location have proved unexpectedly beneficial. any ondon clients are charmed by the idea of commissioning work from Cornwall, a factor that Alan acknowledges helps significantly. lot of people love the idea of something being linked with Cornwall,” he notes, though he’s careful not to overstate the case. The county’s reputation for quality cra smanship provides a useful starting point, but the reputation must be earned through consistent delivery.
Sustainability presents ongoing challenges in furniture manufacturing, though Alan observes that supplier evolution has made progress possible. The black walnut that forms a major part of the base material for projects is sustainably grown in Poland, with trees harvested on seven to eighteen-year cycles. The company continuously seeks ways to reduce waste and improve its environmental impact, balancing commercial necessities with responsible practices.
The workforce retention that characterises Rozen speaks to something deeper than mere job satisfaction. Alan attributes this stability partly to luck but acknowledges that creating an environment where skilled cra speople can thrive re uires deliberate effort. he company maintains an apprenticeship programme, ensuring knowledge transfer from experienced makers to newcomers, whether they arrive fresh from college or as career changers in their forties and fi ies.
Looking ahead, with Ian having retired in April 2023, Alan shows no inclination
to step back despite approaching forty years in the business. “We’ve spent a lot of years building this up he re ects. “I want to try and enjoy it a bit and see it grow.” The company continues to evolve, recently expanding into staircase work and exploring new avenues while maintaining its core commitment to bespoke furniture.
The contrast between Rozen’s workshop and the grand homes they furnish is not lost on Alan. Working regularly in properties that cost more than most people will earn in a lifetime, he maintains perspective through Friday evening visits to his local pub, grounded in the community that shaped both him and his business. This connection to place runs deeper than marketing advantage; it represents a choice about how to live and work that prioritises substance over scale.
Rozen Furniture’s story illustrates how traditional skills can adapt and thrive in contemporary markets without compromising fundamental values. From that moment of crisis four decades ago when two young cra smen chose to cut their own groove, they have built something that transcends mere commercial success. They have created work that matters, in a place they love for clients who value the difference between manufactured and made.
In an industry increasingly dominated by mass production and global supply chains, Rozen represents something both traditional and radical: the idea that furniture should be built to last by people who care about their cra .
rozenfurniture.com
ABOVE Contemporary design meets traditional cabinetmaking with precision
Smart PRACTICAL and
WORDS BY JAMIE CROCKER
By design, window shutters are incredibly versatile. he o er ar in e e s o i ht and ri ac that c rtains and inds si cannot atch
Just over ten years ago, Andrew Cook spotted a growing interest in shutters, amongst home furnishers and the general public. Within the home market, he saw that they would only grow in popularity to become an alternative choice for window coverings, competing strongly with the need for blinds and curtains. Curtains it seemed had had their time. For centuries they were the ideal choice – indeed the best – for dressing windows, retaining warmth, maintaining privacy and supporting a whole drapery industry. But times had changed and many 21st century alternatives were starting to leave curtains in the shade. is instinct proved correct, with ensuing business success providing a vehicle for him and the whole family to relocate to ornwall.
Just Shutters prides itself on being a local company. Based in Newquay they are able to offer e cellent customer service across the peninsula, looking after the needs of both long-term residents and for those in the holiday letting market. With the adoption and acceptance of online meetings, locals and non-domicile home owners can utilise Zoom or Facetime meetings to engage with the company, negating the need to be on-site when making a choice. The whole process becomes very streamlined and stress free, with some installations achievable within a two-to-three-hour window – making it a very attractive proposition on changeover days.
What has really helped push shutters to the fore, besides being easy to install, is the number of different designs and materials now available; allowing homeowners to match them with the colour scheme of their interiors. Essentially each set of shutters can be as bespoke as you want it to be, and of course made to measure.
Shutter styles with smaller louvres and a centre tilt rod style would suit a more traditional interior while wide panels with wider louvres lend themselves to a modern and contemporary home. They really can enhance your home’s aesthetics both inside and out, offering a touch of continental chic and a welcome break from the more obvious choices.
In some instances, they might be the more e pensive option, but their built-in versatility means they actually provide better value in the long run than curtains or blinds. f privacy, light control, efficiency and durability are important to you, there is no better window dressing option.
A big advantage they have over curtains comes from the degree of control that you can e ercise over your environment. Window shutters can be set to be partially open which allows the required amount of light into the room whilst simultaneously reducing the impact of full sun on fabrics such as furniture and carpets. A recent study proved that shutters also reduce heat loss more than blinds and curtains – a big plus as we move toward a more sustainable future. ence, they can help maintain a desired room temperature and ultimately reduce your heating bills.
In conclusion, shutters meet all the criteria for practical and stylish window coverings. They don’t date or clash with changing colour schemes, unlike curtains, making them a timeless and versatile option for any home.
o find o t ore isit the st h tters website or get in touch by calling 01637 808397.
justshutters.co.uk
Strength in EVERY BEAM
WORDS BY JAMIE CROCKER
Contemporary timber frame specialists with Devon roots and Cornish craft man i a ar .
On the edge of an estuary or tucked behind the dunes, timber-framed buildings carry a certain integrity, drawn from the materials themselves and the intelligence with which they are used. In the hands of Post and Beam, timber goes beyond being a structural element; it frames a place and gives it a distinctive air that is impossible to replicate with other materials. As such, it is foregrounded, becoming a point of conversation, as it gently ages confident in its grainy splendour.
Founded in Devon but based for over a decade in Cornwall, Post and Beam’s name calls to mind a particular kind of architecture – ancient, load-bearing and beautiful in its simplicity. It’s also a clue to the company s ethos nothing super uous nothing just for show. Every cut of oak, every dowel, every mortice and tenon has a purpose. That ethos has earned them an
enviable reputation, not only in Cornwall where their workshops are based, but across the breadth of Devon, where their reputation has accumulated more respect and commissions.
To describe Post and Beam as oak frame specialists is accurate but incomplete. Yes, they work predominantly in oak – and increasingly in ouglas fir and Glulam for contemporary structures – but it’s the way they work that distinguishes them. There is a precision to everything they do, born not just from technical skill but from relationships: with architects, contractors, and – very importantly – with the land each building must inhabit. Their long-standing partnership with Roderick James Architects in Totnes bears testimony to this. Together, the two practices have delivered some of the South West’s most sensitively considered structures – homes, studios, outbuildings,
TOP
Curved oak frame bridge
Farmhouse kitchen extension
pool houses – that sit in connection and respect with their surroundings rather than in opposition to them.
Post and Beam are not empire builders. heir pro ects are o en low key from the outside, but reveal a layered richness once inhabited. A Glulam boat store and yoga studio in Bantham. A New Englandinspired oak frame house in Thurlestone. ouglas fir extension to a historic home in Totnes. They are tailored responses to people and place. Their approach is generous – an instinct for collaboration that begins with a site visit and extends through design and delivery. They’re happy to work with clients’ existing architects or to recommend trusted professionals they’ve spent years collaborating with. That spirit of cooperation doesn’t just apply to design either. Their knowledge of Devon’s contractors and construction has been carved over a period of time, enabling them to slot into live projects or lead from the start with e ual uency.
mouth, having seen or stayed in one of their previous builds. Each project, in turn, becomes a calling card or an invitation. The result is a slow accumulation of trust, which you can’t buy with ads or slogans.
or clients ost and eam offer the rare blend of rigour and responsiveness. Their knowledge of timber construction means they can push the material to do extraordinary things – vaulted volumes, generous spans, deep overhangs – while retaining the discipline of fine oinery. hey don t over-engineer; they let the inherent properties of the materials that they work with come to the fore. Their work is contemporary in sensibility but rooted in centuries old cra and they have an uncanny ability to judge when to pare back and when to elevate.
While Cornwall remains their base, they are happy to cross the Tamar. It’s a landscape they understand in its particulars, from the wooded folds of the South Hams to the long views over Bideford Bay. Many of their clients arrive via word of
Free site visits across Devon or Cornwall allow the process to begin in the right way: face to face, on foot, on the plot itself. It’s a necessary first step. he land comes first. Light, wind, boundary lines and borrowed views are elements that are absorbed, not imposed upon. From there, the process unfolds with the measured pace and steady hands of a team that knows what it’s doing.
n a market ooded with generic designs and uick builds ost and eam offer something rarer: buildings of integrity. Timber structures that wear in, not out. And a bonus – for every tree used, two oak trees are replanted through a managed woodland scheme based in Cornwall. This ambitious project seeks to restore the Celtic oak forests that once ourished along the western coast. Each tree planted can be directly linked to an individual pro ect offering full traceability. The scheme is delivered in partnership
with Plant One Cornwall, a team of ecologists and specialist landscapers whose expertise ensures each planting site is carefully planned, well managed and ecologically sound.
or anyone taking the first steps toward building in Devon or Cornwall and wanting to create a home that marries tradition with modern cra smanship ost eam should be on your list of potential constructors.
o am.co.
TOP
Devon beach house
ABOVE Cornish beach house
Design beyond SURFACE the
WORDS BY JAMIE CROCKER
Creating characterful kitchens that echo modern life without losing integrity or warmth.
Kitchen Kit’s Design Director speaks with the calm authority of someone who knows a well-designed kitchen is never really about the kitchen. It’s about people – how they move, how they live, how they talk to each other while chopping herbs or waiting for the kettle to boil. Over the course of two conversations, he outlines a vision of kitchen design that is as thoughtful as it is grounded, always led by the client yet shaped by a rich vocabulary of form, finish and function.
What does “design-led and clientfocused” mean to you, and how do you begin the process?
It means really listening. We begin with a conversation – not just about preferences or styles, but about how someone lives, what they cook, where they gather and how they unwind. From there, it’s about translating that into spatial arrangements, materials and features that feel intuitive. very client is different – some cook five nights a week and want deep pan drawers and knife blocks within arm’s reach; others are more concerned with how the space looks from across an open-plan living area. A kitchen should be more than a sum of cabinets and appliances – it
should work beautifully and quietly reflect its owner. When we get that balance right, clients don’t just see their new kitchen. They recognise themselves in it.
How do you tailor designs to suit the rhythm of entertaining and modern living?
Most people want spaces that move effortlessly from day to night – from breakfast bar to dinner party, from quiet coffee to impromptu celebration. We design for that kind of fle ibility. hat might mean a statement island that anchors the room while offering seating and storage, or layered lighting that shifts the mood as the day changes. Materials are important too – tactile but robust, elegant without fuss. The kitchen has become the centre of so many domestic rituals. It’s where people decompress, gather with friends, help with homework, pour a glass of wine, or have the morning news on in the background. So we think carefully about transitions – how one moment slides into another – and how design can support that gently, without ever getting in the way. Ultimately, it’s about designing a space where people want to spend time, whether they’re cooking, rela ing or hosting.
You work with Masterclass, Nobilia and Ballerina. How do you handle their distinct design languages?
ach brand brings different te tures and tones, and that’s a gift rather than a constraint. We use them like an artist uses colour – judiciously, with a clear eye on what the client needs. Some favour a more Germanic aesthetic with strict lines and symmetry others are drawn to softer profiles and muted palettes. he key is not to let the brand dominate, but rather to let the brief steer us toward the right palette of elements.
hese partnerships give us the fle ibility to offer a wide range of styles – from handleless contemporary to traditional Shaker designs – while still guiding each client towards a solution that feels coherent, grounded, and above all, theirs.
et s tal a out o hat does spatial planning mean in a domestic kitchen?
It’s everything. A beautiful kitchen that’s awkward to use will always disappoint. Good planning allows you to cook without doubling back on yourself. It considers how light moves, where guests naturally linger, and how to balance openness with intimacy. Architectural principles –symmetry, repetition, proportion – play a big role, even if subtly. When it’s right, you feel it instantly. It’s not about drama, but quiet confidence. We might place the hob so that someone can still talk to guests while cooking, or frame a window with cabinetry so that the view becomes part of the e perience.
Flow is about encouraging ease – not just in terms of function, but in how people feel when they move through the space.
CUISINE
With the Devon showroom now open, what new possibilities does that space o er?
It gives us the freedom to show ideas in action – not just door samples, but full kitchens you can walk into and imagine yourself using. We’ve curated displays that reflect a range of lifestyles and sensibilities, always with an emphasis on quality and tactility. It’s a space designed to spark conversations and test ideas. For us, it’s not a showroom in the traditional sense –it’s more like a design gallery, somewhere to slow down and e plore what’s possible. lients can interact with different finishes, see how lighting alters atmosphere, and e plore concealed technology. t’s also a place for us to test new ideas, from bold colours to cutting-edge layouts, and get direct feedback. The space speaks to our design ethos – personal, thoughtful, and thoroughly liveable.
How do you keep pace with innovations in materials and technology? We keep an open mind. Durability is high on the list – clients want surfaces that echo natural stone but are easier to live with. We’ve seen big advances in engineered materials that offer both beauty and resilience, especially for families or cooks who really use their kitchens. Technology has become more discreet, and we embrace that –from smart ovens with intelligent food recognition to smart lighting and hidden sound systems. But it’s never about novelty. f tech improves the e perience without imposing on the space, we’ll use it. And if a traditional solution does the job better, we’ll go with that.
The aim is never to overwhelm, but to integrate quietly, so that everything feels intentional and nothing feels forced.
How do you interpret the idea of ‘local’ in an increasingly global design landscape?
For us, being in Cornwall or Devon isn’t a gimmick – it’s part of our vocabulary. We don’t replicate the sea or cliffs in every project, but there’s a sensibility that comes from living and working here. It might be a finish that echoes slate or sand, or a layout that embraces slow living. Local, to us, means rooted thinking – understanding materials, conte t and the emotional cadence of the region. And even when working with international suppliers, that mindset carries through. We consider the view from the window, the quality of daylight, and the materials that feel right in a particular setting. A kitchen designed in adstow should feel different from one in Totnes – not because of style, but because of sensitivity to place.
Clients are increasingly concerned about sustainability. How do you address that responsibly?
Longevity is our starting point. A well-made kitchen that still works and looks good after fifteen years is far more sustainable than one that’s replaced every few. We guide clients towards durable materials, efficient appliances and suppliers with strong environmental credentials. But beyond that, we also design for adaptability – kitchens that can evolve rather than be discarded. Reducing waste isn’t just about recycling, it’s about designing with care from the outset. We only offer manufacturers who state sustainability as a key priority within their company makeup, and we educate clients about the lifecycle of materials. Sustainability, for us, isn’t a checklist – it’s a mindset that runs through the entire design process.
What trends do you anticipate shaping kitchen design over the next decade?
We’re already seeing kitchens take on more roles – workspace, social hub, retreat. That will continue, but with more emphasis on adaptability and atmosphere. Technology will become more invisible, and clients will e pect their spaces to feel grounded without being static. I think the best designs will come from balancing innovation with restraint – using smart features where they help, but never letting the space feel over-engineered. The kitchen will become more human, not less. I also see a continued move toward natural te tures – timber, brushed metals, tactile ceramics –and a deeper focus on emotional comfort. People want spaces that support their lives, not overwhelm them with gimmickry.
What’s the reaction you want when someone al s into a finished itchen it pro ect or the first time?
I want them to stop – not because it’s flashy or imposing, but because it feels instinctively right. Like it belongs to them already. There’s usually a pause, then a smile. That’s when we know we’ve got it right – when the space starts to speak to them before they even touch a handle or switch on the lights. It’s a kind of quiet pride. hey see their life reflected in the design. And that’s the goal – not just to build a kitchen, but to create a place people feel proud to inhabit. We’re not selling lifestyle fantasies; we’re helping people shape the backdrop to their daily rituals – meals, memories, moments. And if they walk in and feel seen, we’ve done our job well.
kitchenkitsw.com
BY JAMIE CROCKER
WORDS
Grounded CORNWALL in
Twenty years on, Cornwall’s surfacing pioneers continue to turn waste into worth.
Oltco was founded on values that come from a deep-seated sense of integrity based upon respect for the environment and people. It grew out of a certain characteristic that is shared by those who are born and bred in Cornwall – a distinct sense of community and a shared responsibility to the place that nurtured them. At its heart is the idea that a product should do more than just look good or be durable – it should contribute to a broader movement toward a future that is both environmentally conscious of and sympathetic to.
to respect what endures. These same qualities underpin Oltco Ltd, a company that began in Newquay and has gone on to reshape surfaces across the UK with one of the construction industry’s most progressive and practical sustainability stories.
Cornwall is a place that tests what things are made of. Its weathered headlands and layered skies have shaped not only the landscape but also the people who live and work here, people who understand durability, resourcefulness and the need
The company made significant progress with the development of Recycle Bound, Oltco’s patented surfacing solution made using waste plastic. Designed to be laid like a standard resin-bound surface, Recycle Bound integrates otherwise unrecyclable plastic waste, particularly the sort often found washed up on beaches, into a solid, attractive and e ceptionally durable finish. Recycle Bound is now in use across the UK, from domestic driveways to commercial projects and civic installations. Yet its beginnings were anything but easy.
TOP LEFT
A Recycle Bound Patio
TOP RIGHT A Recycle Bound Pathway ABOVE
Oltco’s Recycle Bound plaque
Developing Recycle Bound meant confronting the awkward gap between environmental ideals and real-world performance. It had to be more than a nice idea. In the early stages, the team at Oltco spent months refining the right ratios of resin to aggregate, trialling recycled plastics from different sources and adjusting installation methods. It was, by all accounts, painstaking work. Durability and permeability, key selling points for any surfacing product, had to be retained without compromise. Eventually, the right formula was found, and Oltco began to install the UK’s first driveways made with Recycle Bound. Each square metre repurposes the equivalent of 3,000 plastic straws.
The breakthrough didn’t go unnoticed. When the Eden Project approached Oltco to install Recycle Bound at one of its major visitor areas, the sense of alignment was immediate. One of the UK’s best-known champions of conservation, Eden provided the perfect stage for Oltco’s values to be expressed in full view. For the team, it was more than a contract. It was validation, and a moment of pride that still resonates.
materials. From Newquay, the business has expanded nationally through a network of franchises, each one trained, mentored and regularly supported to maintain the same standards as the Cornish headquarters. It’s a transfer of values. Community engagement, environmental stewardship and transparent customer service are expected wherever the Oltco name is used.
In Cornwall, these values manifest daily. Oltco supports a number of charitable initiatives and causes that speak to its ethos. Each of their franchisees, throughout the country, also support local charities close to their hearts. taff involvement goes beyond cheques and logos: the company contributes through direct donations, handson assistance and a respectful commitment to help where it can.
Such recognition is the product of consistency rather than hype. Oltco’s growth has always been built on straightforward outcomes a clear finish, long life and quiet confidence in the
Then there are the Random Acts of Kindness. Launched to mark Oltco’s 15th year in business, the idea was simple –do something useful and unrequested for someone in the community. From delivering pasties to emergency workers to assisting animal charities across the South West, these gestures have become part of the company’s annual rhythm, taken up not only in Cornwall but by teams from Manchester to Milton Keynes.
Environmental work continues too. Beach cleans, like the one at Fistral in partnership
CREATE
with the Clean Breaks initiative, feed directly into Oltco’s materials process.
That doorstep, increasingly, is vulnerable to climate change. In Cornwall and beyond, unpredictable weather patterns and heavier rain are testing existing infrastructure. Oltco’s permeable resinbound systems allow water to pass through the surface and into the ground beneath, reducing the strain on drainage systems and lowering flood ris . or homeowners, it’s a material defence. For councils and commercial properties, it meets both planning requirements and environmental targets. What’s more, it looks good. The modern, natural finish of ltco s surfaces, offered in a wide palette of blends and tones, sits easily in both urban and rural settings. A customer testimonial from a recently completed rugby club development notes not only the finish and durability of the installation, but also the volume of positive comments from members of the public. The site, once just another build, now has a sense of coherence. The surface frames the building.
Such responses are not unusual. Oltco’s customer service, from planning to aftercare, is consistently praised. n an industry sometimes beset by missed deadlines and hurried workmanship, the company’s teams are known for patience, clarity and a well-organised installation
process. At every stage, there’s evidence of a company that takes itself seriously, not in attitude, but in action.
Still, the work is far from done. Over the next five years, ltco s ambition is to see ecycle Bound adopted as the default sustainable choice in resin-bound surfacing. That means ongoing research and development, broader customer education and building on its already significant networ of franchises. The opportunity is large, but so too is the responsibility. For Oltco, scaling the business doesn’t mean diluting the message. It means reinforcing it.
In a part of the world where the elements never let you forget their presence, durability matters. But so does care for the environment, for local families and for the materials that shape everyday life. Oltco’s story is not about disruption or radical change, it’s about staying the course, refining the method, and holding to principles that might otherwise be worn away by time and distance.
From Newquay to Knowsley & Ormskirk, driveways, courtyards, forecourts and footpaths now bear the mark of that approach. It’s a Cornish model of growth: one that understands where it came from, and why that still matters.
oltco.co.uk
TOP Recycle Bound at Hengar Manor
TOP RIGHT A Recycle Bound patio in Kynance ABOVE
custom blend Recycle Bound driveway
It’s all DETAIL in the
WORDS BY HANNAH TAPPING
Combining traditional joinery skills and techniques with modern technology for period and contemporary projects.
Bespoke Timber Joinery’s timeserved craftsmen have the experience and attention to detail to turn any vision into a reality. ased in North evon, the team manufacture products from their own designs and drawings, so each is bespoke. From internal and external doors including timber bi-folds, to mouldings such as s irtings and architrave, as well as countless other joinery items including window shutters, cabinetry and staircases Bespoke Timber Joinery is able to adapt to reflect precise requirements, budget and style.
spo e to or shop anager tephen ec ley to find out more about the business.
What would you say sets bespoke timber craftsmanship apart from mass-produced alternatives, particularly in highend residential or hospitality projects?
The highest standard of wor manship is combined with a professional approach and friendly service. rivate clients, architects, contractors, organisations and business owners alike are welcome to sit down and tal through their requirements in order to find the best solution.
Our attention to detail for sure. We will never compete with companies who produce large scale joinery items of the same il , and neither would we want to. Our joinery items are unique to a project and to our clients with every project being different. That is the appeal to us as a company. e are customer focused and take great pride in the level of service and commitment to a given project. Our satisfaction is derived from the end product and the fact that our work is purely bespoke.
ABOVE detail-oriented approach ta en is evident in every project
Can you walk me through your designto-installation process and how you collaborate with interior designers and contractors at each stage?
e are typically approached with an idea, a vision, of something the client is loo ing to achieve. This usually ta es the form of a plan view together with a s etch. e then chat through this with all parties to get a better understanding of the materials they envisage using, the colours etc. e also li e to get a better understanding of the purpose of the piece, its functionality and how this will be used. wardrobe, for e ample, can simply house a hanging rail or it can be made to serve a multitude of things. The choices are endless from shoe and belt storage to the type of lighting and how this is to wor . The options are limitless.
Once we get a better understanding, we draw up an initial design ta ing all the factors into account. This is then discussed further, twea ed sometimes a few times and finally approved ready for sign off and manufacture. We pride ourselves on producing detailed design which is easily interpreted and clear. This is very important for all parties and helps us ensure that the end results are e actly what the client desired.
Which timber species do you most frequently work with and how do you balance aesthetics, sustainability and durability?
The choice of timbers depends on the purpose of the piece. ometimes the onus is on durability or on aesthetics or both. Typically, we wor with sapele, iro o, accoya, tricoya, oa s, idigbo, tulip but we also wor with tea , mahogany, walnut, cedar, larch, ouglas fir, ash, beech, cherry, maple and meranti the list is endless. e also wor with veneers and many different types of sheet materials, dependent on what it is we are loo ing to produce and the vision of the client. ll timbers and manmade products perform differently in different environments so it is important that the right choice of material prevails otherwise, there can be issues long term. t is through the early design and collaboration process that these inds of decisions are made. ften, we produce finished samples of the product to provide the client with something they can physically touch and see.
What are some of the most ambitious or distinctive projects you’ve completed recently and what made them stand out?
We recently undertook a large-scale replacement of a veranda on a Grade II-listed house in omerset. The e isting veranda had to be ta en down completely and the new one had to be made to mirror the old. The attention to detail was e traordinary and a challenge that we embraced fully. The result was magnificent and the client full of praise, so much so that they commissioned us to refurbish the entire house.
t the other end of the spectrum, we supply and fit cabinetry wor on numerous new builds across evon and Cornwall, ranging from bespoke bedroom furniture such as dressers, changing rooms and wardrobes to media units, boot room fitouts, itchens and utility rooms. e are blessed that we have the s ills to produce all manner of joinery related items and have the confidence and now-how to do it well.
How do you ensure your joinery solutions align with evolving architectural trends and modern construction methods?
thin this a natural progression given the varied type of projects we wor on. hile fashions do change, fundamentally, the process is the same albeit the manufacturing of certain elements may have changed over the years. e are often loo ing ahead and understand the e pectations of clients better than most. s a result, we are always see ing ways to improve our e ciency and service without detracting from our focus to be the best we can. e use the latest C design and estimating software as well as having modern woodwor ing machinery and our own spray shop.
What is your approach to sustainability, both in timber sourcing and in your workshop practices?
e hate waste and loo to utilise as much of our material where we can. ur waste from manufacturing is sensibly discarded and, where we are able, it can be used for
other things. ll our timber is bought in from C certified suppliers, showing our commitment to the environment and forest management. All our paints are water based and we have state of the art e traction to ensure that both manufacturing and painting are carried out sensibly and correctly. We procure locally where we can, and loo to minimise deliveries by buying in bul thus reducing C 2 emissions and packaging disposal.
What advice would you give to designers or architects seeking to incorporate bespoke timber features into their next project?
Call us e are always happy to provide initial feedbac to a proposed scheme and supply some budget costs to start the wheels turning. oinery, whether in natural timber or in man-made form, can and does totally enhance a project. very year the bar is raised in terms of designer and client requirements and vision for a project. rom intricate detailing to the combination of materials and colours, the scope is everchanging. uc ily, we are involved first hand with so many unique projects we can often suggest ideas that are often not thought about.
Working throughout the South West, Bespoke Timber Joinery has completed bespoke projects across Cornwall and other coastal locations such as Saunton and Croyde. Workshop visits are welcomed by appointment.
bespoketimberjc.co.uk
ABOVE esign details elevate the finished product
A dialogueDESIGN with
WORDS BY HANNAH TAPPING
Cornish Interiors’
bespoke approach anc or o r di r n om in personality and place.
Two of Cornish Interiors’ latest projects – Heron Creek in St Mawes and a contemporary new-build in Rock – showcase a masterclass in nuanced design, balancing the poetic with the practical, the heritage-laced with the future-forward. Both are located on Cornwall’s storied coast, yet each tells a distinct tale of modern luxury through the lens of context cra smanship and character.
Heron Creek, a reverent reimagining of an Arts and Cra s home once commissioned by the Bird’s Custard family, is a lesson in subtle storytelling. Eschewing seaside clichés, the design team, led by founder Cathryn and senior designer Lynne, focused on texture and timelessness. Nautical charts, blownback tree illustrations by North Cornwall artist Nicole Heidaripour and a metal wall sculpture harmonise with hand finished local oinery and velvet upholstered classics. The house retains its historic soul while nodding to its waterside setting, without being obviously ‘coastal’.
West-based artisans shaped much of the interior from the so furnishings cra ed in Devon, to the bespoke joinery and bathrooms. Even the artworks and lighting were regionally sourced, rooting the home in its Cornish context while elevating it beyond the familiar.
In contrast, the Rock project, built by a developer and brought to life by Cornish Interiors, plays in a more contemporary register. Originally very much a blank canvas, it was transformed into a warm, textural haven for a young family. Free from architectural legacy, it became a clean slate for experimentation. The team added character and focal points by installing a fireplace curated bespoke shelving and sourced statement pieces.
The team’s collaborative approach – three designers a tight knit o ce and a network of local cra speople ensured a human touch from concept to completion. South
Both homes exemplify Cornish Interiors’ design ethos: user-led, place-sensitive and detail-obsessed. Whether breathing new life into storied walls or conjuring warmth from scratch, their work resonates deeply, anchoring aesthetics in authenticity. For Cornwall’s evolving design language, this studio is writing the next chapter.
cornishinteriors.co.uk
PREVIOUS & INSET Heron Creek
Crafting comfortPURPOSE with
WORDS BY JAMIE CROCKER
Creating interiors that combine sustainability, craft man i and r ci ion.
Caroline Palk’s approach to design is grounded in the belief that true success comes from acknowledging and truly understanding the relationship between client, designer and place. From her Devon-based practice, Ashton House Design, she delivers projects that prioritise sustainability, longevity and collaboration.
Her early career in London, working alongside respected designers like Michael Szell, helped shape a philosophy rooted in quality, detail and respect for materials. It was here that she developed a passion for textiles and learned the value of thoughtful design that connects with its setting. These principles continue to underpin her work.
Caroline’s background re ects a wide cultural sensibility. Raised in Devon, she studied in London before gaining hands-on experience in high-end design studios. The decision to return to the South West and establish her own practice was driven by a desire to create interiors that are not only beautiful but also enduring. Here, she could focus on using local materials and skilled regional makers, re ecting a long standing commitment to sustainable design and economic resilience.
durable materials that age well and cra ing spaces that stand the test of time. Their emphasis on sourcing locally not only reduces carbon emissions but also deepens the connection between home and landscape. This sensibility extends to their work in outdoor living. Whether designing pools, terraces, or garden-facing rooms, priority is placed upon comfort, durability and cohesion with the wider environment. Natural light, resilient fabrics and climateappropriate planting schemes are key, with lighting used to extend usability into the evening. Their preference for architectural extensions over conservatories stems from a belief in building quality spaces that truly belong to the house, places to be lived in.
Throughout, Ashton House Design maintains high professional standards, aligning itself with the British Institute of Interior Design’s code of ethics which the company champions via continuing professional development. ro ects will o en involve mentoring young designers, who bring new perspectives and energy into the team. The result is a practice that blends experience with innovation, supported by long-standing supplier relationships and repeat clients.
That commitment predates current trends. Caroline, along with husband and business partner, Simon and their team have been quietly advocating for environmentally responsible choices for decades, selecting
Listening, both Caroline and Simon believe is at the heart of effective design. Rather than imposing a style, they draw out clients’ aspirations through conversation and shared visual references.
By interpreting these into spatial solutions that suit their day-to-day lives, they ensure each project is genuinely personal. Whether restoring original features or introducing contemporary elements, the goal is always to respect the architecture while enhancing function and character.
The company’s portfolio is broad, ranging from family homes to award-winning spa interiors. In spa design, Simon balances luxury with practicality, considering everything from the ow of staff to how pool tiles look underwater. Every material is scrutinised for durability and ambience, o en tested in real life conditions.
urniture and fittings receive the same care. Caroline frequently works with local cra smen to create bespoke pieces from regionally sourced timber, resulting in furnishings that feel both timeless and
specific to their setting. his attention to provenance and cra smanship is a hallmark of their work.
Looking ahead, they remain focused on designing environments that are both beautiful and purposeful. The company continues to invest in the team’s growth, believing that a shared ethos of care, creativity and curiosity is the key to enduring success.
For Caroline and Simon, great design is not about statement pieces or grand gestures. It’s about listening well, choosing wisely, and creating spaces that quietly enrich the lives of those who inhabit them. At Ashton House Design, the emphasis is always on thoughtful design that re ects its context spaces that endure, support and inspire.
a on o d i n.co.
Eventide
WORDS BY SIMON POOLE
As an estate agent of over 16 years and counting, it’s fair to say I have experienced the highs and lows of the housing market. And the current climate is no different as the ornwall housing story enters a new chapter, one shaped by taxation, regulation, community pushback and the slow grind of supply-side change. We are beginning to glimpse a market reset, yet systemic challenges remain. or long-term resilience, ornwall must diversify supply, safeguard homes for yearround residents and balance its tourismdriven appeal with rooted community needs and infrastructure.
prices are not only achieving faster sales but often secure stronger offers through genuine competition.
ornwall’s housing market is undergoing a subtle but significant shift: properties are returning to the market in increasing numbers, yet buyer interest has softened – especially in the midrange and second-home segments. This imbalance is beginning to reshape the tone of what was, for years, a hyper-competitive seller’s market. With more homes available and buyers taking their time to assess value, properties that are overpriced are often overlooked, sitting on the market while competitively priced homes attract immediate interest. he days of inflated asking prices driven by pandemic-era urgency are behind us. Now, sellers who work closely with knowledgeable local agents to set accurate, market-reflective
With this in mind, it has become more imperative that we focus on client satisfaction backed by an intimate understanding of the region’s unique market dynamics. Leveraging longstanding reputations, built on performance and personal service, helps agents to remain at the forefront of ornwall’s resilient housing market. atering to a broad spectrum of clients –from first-time buyers, retirees and relocators to investors and secondhome seekers – I believe that demonstrating local expertise, combined with bespoke service, is key to achieving standout results in a competitive and challenging market.
In a dynamic and ever-evolving property landscape, few names carry the trust and local gravitas of North Cornwall agency Jackie Stanley Ltd. The agency’s ri e ositioned a side o ce in Padstow provides outstanding visibility and customer service delivery. This location, arguably one of the most prominent in Cornwall, acts as a powerful magnet for prospective buyers. Simon Poole is Manager at Jackie Stanley Ltd.
jackie-stanley.co.uk
ACCOUNTANCYTAX
team of in-house experts here in Cornwall. Get in touch for a meeting – it’s free.
