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The Region’s Premium Publication Late Spring 2018 Issue 25 | £4.50

CULTURE FOOD SPACE ESCAPE SCHOOL 1 PROPERTY

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STUNNING GRADE II LISTED FORMER RECTORY

SOUTH MOLTON, DEVON

Exeter 29 miles; Tiverton 15 miles; Taunton 35 miles; M5 motorway (J27) and Tiverton Parkway railway station 22 miles This classic south-facing Regency residence combines modern day comforts with the numerous original features of its time. 4 bedrooms, self-contained 1 bed annexe, studio and substantial garaging. Beautifully landscaped gardens, grounds and paddock of about 5 acres

Guide ÂŁ1,175,000 Freehold 4

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Savills Exeter Edward Tallack edward.tallack@savills.com

01392 455755


SPECTACULAR FORMER RECTORY

HOCKWORTHY, DEVON

Wellington 7 miles; Tiverton 9 miles; M5 (Junction 27) & Tiverton Parkway Station 4 miles (London Paddington 2 hours); Taunton 14 miles An immaculately refurbished modern day country house. The exquisite setting offers far-reaching views over its own lakes, ponds and parkland. 4 bedroom suites, 5 further bedrooms and beautifully appointed entertaining and living rooms. Separate cottage, double garage, outdoor heated swimming pool and tennis court. In all about 30 acres. EPC: F Guide ÂŁ3,950,000 Freehold

Savills Exeter Chris Clifford cclifford@savills.com

01392 455755

George Nares george.nares@savills.com

020 7016 3822

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ARCHITECTURAL EXCELLENCE AND INTERIOR DESIGN COMBINED PERFECTLY

BUDLEIGH SALTERTON, EAST DEVON

Exeter about 15 miles; Sidmouth about 7 miles; Town centre and sea front about 0.5 mile A beautifully presented 19th century replicated villa, with a twist of contemporary flair just minutes from the beach and golf course. 6 bedrooms (3 en-suite), 2 further shower rooms, extensive attic rooms, 2 reception rooms, garden room/conservatory and kitchen breakfast room with utility room. Enclosed courtyard providing ample parking, integral double garage, extensive terrace and low maintenance gardens. EPC: C Guide £1,250,000 Freehold 6

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Savills Exeter Edward Tallack edward.tallack@savills.com

01392 455755


SUPERB COUNTRY RESIDENCE IN PRIVATE GROUNDS JUST TWO MILES FROM THE COAST

NEAR TREGONY, THE ROSELAND, SOUTH CORNWALL

Portholland beach about 2 miles; Truro about 12 miles; St Mawes about 12.5 miles; Cornwall Airport (Newquay) about 19 miles Impressive country home providing energy-efficient living, set in private grounds. With four bedrooms including master and guest suites, an open plan living space with exposed oak frame enjoying an abundance of light as well as a separate sitting room. Centrally positioned within grounds of about 8.4 acres including formal gardens, paddocks and pasture. A number of outbuildings, including a detached two storey unmodernised cottage with potential for a holiday let or annexe (subject all consents and regulations). EPC rating = B. 3,911 sq ft. Guide ÂŁ1,750,000 Freehold

Savills Cornwall Ben Davies bmdavies@savills.com

01872 243200

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Contents

Late Spring 2018

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78 Regulars 19 TOWN MOUSE, COUNTRY MOUSE What’s hot in the smoke; cool in the country

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AS I SEE IT... Robert Plant on the couch

Style & Beauty 20 TRENDS

Colour burst and bells and whistles

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PREP TIME

Features 30 DESIGN ICON In conversation with Sir Kenneth Grange

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JEAN INGENIOUS Mosevic founder Jack Spencer

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FROM BANDMATES TO BOARDROOM Studio Illicit, Exeter

Get your skin ready for summer

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MY FEEL-GOOD REGIME Sports marketing entrepreneur Jody Ward

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THE STYLE SHOOT Photographed by Simon Powell

Photostory 40 AN ENGLISHMAN IN NEW YORK

Images of the Big Apple captured by Andrew Butler

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74

94 Culture 60 FEATS OF CLAY

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Sculptor Tony Lattimer

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THE ART OF GOOD CONNECTIONS Devon Community Foundation

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SOUTH WEST MUST SEES... What’s on around the region

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THE EXHIBITION SPACE Exhibitions from around the region

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WORTH MAKING THE TRIP FOR... Cultural highlights from the metropolis and beyond

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WORTH STAYING IN FOR... Quality time on your sofa

Food 94 FIRE FOOD Recipes from DJ BBQ

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REFRESHING FIFTEEN A new look for the restaurant

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DELICIOUS ISRAEL A culinary trip to Tel Aviv

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BITES Food news from across the peninsula

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THE TABLE PROWLER ...dines out at The Colonial, Tolcarne Beach, Newquay and St Mawes Hotel, St Mawes

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Space 114 GREEN CREDENTIALS Architectural practice Tate Harmer

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Q&A With Ashton House Design, Ashburton

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COORDINATED TO PERFECTION Mike Martin Associates

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SHOPPING FOR SPACE Moroccan moods


Late Spring 2018 Escape 128 BAY WATCH The Godolphin Arms and Mount Haven, Mount’s Bay, Cornwall

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SPRINGTIME IN BERLIN Exploring the vibrant capital of Germany

MANOR school 137 SCHOOL NEWS IN BRIEF A local tale of smuggling at Shebbear; Kingsley Girls win Bronze at national gymnastics final; Exeter Junior School raises over £2,000; Former MP Tessa Munt judges Millfield debating competition

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Property 147 THE RELOCATOR Focus on North Devon

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PROPERTY OF NOTE

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SNAPSHOT COMPARATIVE

The Boathouse, Dartmouth, Devon

A selection of properties in the South West and London with interesting architectural features

Back Page 162 PRIZE DRAW Win an art and wine-tasting holiday in Cornwall

SCHOOL DESIGN SHOWCASE Design projects from schools across the South West

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Bespoke

To see the story of this design from concept to completion, view the short film ‘The Wardrobe’ in the ‘Media’ section of touchdesigngroup.com or scan the QR code below.

touchdesigngroup.com Telephone: 01392 364269 6 Marsh Green Road North | Exeter | Devon | EX2 8NY Kitchen Interiors | Furniture | Media Rooms | Dressing Rooms | Interior Doors | Staircases MANOR | Late Spring 2018

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is brought to you by PUBLISHING EDITOR

Imogen Clements

imogen@manormagazine.co.uk

COMMISSIONING EDITOR

Jane Fitzgerald

jane@manormagazine.co.uk

FEATURES EDITOR

Fiona McGowan

features@manormagazine.co.uk

ARTS EDITOR

Belinda Dillon belinda@manormagazine.co.uk

FOOD EDITOR

Anna Turns

anna@manormagazine.co.uk

EDITORIAL ASSISTANT

Amy Tidy

amy@manormagazine.co.uk

ADVERTISING SALES

Jeni Smith

jeni@manormagazine.co.uk

CONTRIBUTORS

Ric Allsopp, Kim Devereux, Jess Dunbar DESIGN

Eleanor Cashman, Guy Cracknell

THE COVER Dress, Ted Baker, £249 Photographer: Simon Powell; Stylist: Mimi Stott; Hair and make-up: Maddie Austin; Model: Shannon Brennan at Select © MANOR Publishing Ltd, 2018. MANOR Magazine is published by Manor Publishing Ltd. Registered office: MANOR Publishing Ltd, 12 Mannamead Road, Plymouth, Devon PL4 7AA. Registered in England No. 09264104 info@manormagazine.co.uk. Printed by Wyndeham Roche Ltd.

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MANOR | Late Spring 2018


Welcome to the Design Issue of MANOR. We are immensely proud to feature the UK’s foremost and internationally revered designer, Sir Kenneth Grange. Credited by many for modernizing Britain – the Kodak Instamatic, Kenwood Chef, Anglepoise lamp, and InterCity 125 train being just some of the industrial products he can put his name to – Grange looks back over his 60-year career and reveals the briefs, thinking and boardroom conversations that led him to design products many of us still use happily every day. Robert Plant is considered to be one of the greatest singers in the history of rock and roll. As lead singer of Led Zeppelin, Plant is responsible for such unforgettable, generation-transcending hits as Stairway to Heaven and Whole Lotta Love. Still performing, Plant takes to the MANOR couch between gigs to chat about his music, life and and how it felt to be ‘inside the coal-mine’ as he puts it, as one of the most famous bands in the world, playing at record-breaking venues. Back to design, and many of today’s designers thoughts prioritise sustainability – the use and innovative re-use of materials. Few come more innovative than Mosevic who create sunglasses out of denim. And highly stylish they are too. Tate Harmer, the architects tasked with building the Eden Project’s new hotel, are known for placing the environment at the forefront of their work, insisting that “we have a responsibility to leave the planet in a better state than we found it.” Hence, the hotel will be one of the largest timber-framed hotels in the country, operate grey-water recycling and rely on natural air conditioning and solar energy for warmth. If places were too similar there’d be no reason to visit them. Photographer Andrew Butler’s study of New York takes you right there, inside the diners and subways, amongst the traffic and architecture, to show faces, places and scenes that are unmistakably New York, as opposed to London, Paris or Berlin. By way of further example, we take you also to the latter, on an art and culinary tour of Germany’s capital in our Escape section. We end the book with another fantastic prize draw – this time to win a four-night stay for two in a seaside cottage at Porthgwarra (the heart of Poldark country) during which one of you will take part in an art course at Newlyn School of Art, and both of you will be treated to a tour of Polgoon Vineyard. A delicious cream tea will await your arrival along with a case of Polgoon’s limited-edition Art Bacchus. We start this issue with questions for the Editor. The publishing world is a strategic business, but ultimately it’s all about you, the reader. You are central to what we do and the cornerstone to any magazine business. As such, at MANOR we strive to provide the very best reader experience – our aim being for you to treasure the magazine and enjoy it from cover to cover. I hope you consider this issue a sterling example of how we do just that.

Imogen Clements FOUNDER & PUBLISHING EDITOR @ManorMagazine

@manormagazine

Sign up to the MANOR newsletter to receive special offers and see what’s coming up at manormagazine.co.uk/newsletter Subscribe to MANOR for a year for just £25. Visit manormagazine.co.uk/subscribe

The views of the writers in MANOR Magazine are not necessarily those shared by the publisher. Unsolicited manuscripts, artwork or transparencies are accepted on the understanding that the publishers incur no liability for their storage or return. The contents of MANOR Magazine are fully protected by copyright and may not be reproduced without permission. By submitting material to MANOR Magazine, MANOR Magazine Ltd is automatically granted the royalty-free, perpetual, irrevocable right and license to use, reproduce, edit, distribute and display such material (in whole or part) and/or to incorporate it in other works in any form, media, or technology now known or later developed for the full term of any rights that may exist in such content. The contributor acknowledges that material submitted may

be published in any publication or website produced or published by MANOR Publishing Ltd. The contributor agrees not to submit material where they do not own the copyright and where they have not obtained all necessary licenses and/or approvals from the rightful owner. With respect to any photographs submitted, the contributor confirms that all necessary model and property releases have been obtained from any clearly identifiable person appearing in any image, together with any other relevant consents required. Prices and details of services and products are genuinely believed to be correct at the time of going to press, but may change. Although every effort is made to maintain accuracy we regret we are unable to honour any incorrect prices or other details that may be printed.

MANOR | Late Spring 2018

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property of note

Simple physics

Chapel Point House offers all the wonder and seclusion of living on an island secret paths leading down to private beaches and sea views from every aspect – without all the hullabaloo of getting on and off. Words by Imogen Clements.

Furniture maker Henry Swanzy discusses natural imperfection, functional aesthetics and time well spent. Words by Fiona McGowan.

T photostory

Orinoco bench and detail (opposite)

here can be few smells more universally appealing than the smell of wood. Freshcut wood shavings. This is the scent that accosts you when you walk into Henry Swanzy’s workshop on the docks in Falmouth. The senses are in heaven here – not just this aroma, but above Henry’s workbench is a window overlooking the glittering water and gently swaying yachts of a peaceful marina. And then there are the pieces themselves. In varying stages of creation, there are planks of wood, half-turned legs and completed stools, benches and tables. Eminently tactile, everything invites you to reach out and touch, stroke and rest your hands upon it. This, I realise, after talking to Henry, is what happens when you look at hand-finished work. You are drawn to the character and personality in the wood – it is the natural imperfection, both in the material itself and in the human intervention. Production-line furniture, no matter how exquisitely designed, just doesn’t have that visceral draw… Henry Swanzy first started making furniture 17 years ago, spending many years creating bespoke hand-made pieces for commission in workshops in London before setting up and running his own studio in Wiltshire. This is a man who knows his business. Looking at the sketches littering his desk and printouts of prototypes, it is obvious that there’s a marksman’s precision in the way he creates furniture, too. “I have a real love of simple physics,’

he enthuses, explaining in detail how a small wedge inserted into the top of a table leg can hold the entire thing together with no movement and no need for any other attachment. He turns to the Bareppa coffee table: essentially a glass top slotted into three large wooden pins. The tapered oak legs are tilted outwards at an angle and the glass sits perfectly into the ‘heads’. A black bungee is looped between the legs – giving the table a functional aesthetic. “It is the simplicity which really pleases me,’ says Henry, demonstrating how the table can be assembled in less than a minute. “The angle of slot on the legs is what provides the strength, the bungee cord just holds the legs in place.” The combination of simplicity of form and functionality is evident in all of Henry Swanzy’s work. The handmade element is fundamental, too. “There’s a Japanese philosophy of Wabi-sabi which really explains the way I see my work,” he says. “It’s based around the acceptance of transience and imperfection.” The challenge for artists and craftsmen like Henry is the mass production of pieces – particularly those made in China - driving prices down and making hand-worked furniture more difficult to market. But there is still a vital element which is missing in production-line furniture, Henry explains: “I would like to think that what we produce is fairly readily identifiable as not having the very crisp machine-made manufacturing line aesthetic, and there’s just little subtle elements which give it this

PHOTO: DRONESCOPE

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hapel Point House sits on a rocky peninsular (Chapel Point) on the south Cornish coast near Portmellon, itself just south of the fishing village of Mevagissey and approximately seven miles from St Austell. The house shares the peninsular with two other houses, all spaced sufficiently to offer each privacy without isolation, and the Point is accessible down a long drive from Portmellon. “It is totally private,” reveals Richard Freeth, who has owned the property for 30 years. “When you’re there you can get away from it all, quite literally. Even the famous South West Coastal Path doesn’t venture onto Chapel Point but remains inland, so there is nothing to disturb your peace.” As you’d expect from a small hamlet on a rocky promontory in this part of Cornwall, the place is steeped in history. The hamlet of three houses was designed and built by the renowned Arts and Crafts architect, John Campbell, in the 1930s, using rock quarried from the point. Chapel Point House is the biggest of the three houses and the one he built for his own use. Campbell intended to build many more homes. He bought the site in 1932 and drew up a scheme to build as many as 20 houses, but completed only three before the outbreak of the war put a stop to all building.

photostory

After the war ended, Campbell returned to improved the gardens and terraces such that there is Mevagissey with his wife and son to see through always a quiet place to sit or entertain that’s protected his vision of a village of houses, but given the delay from the sea breeze. I also built The Boathouse.” he was forced to re-submit his plans all over again. The stone-clad Boathouse, with its own power After months of updating and redrawing, he finally and water supplies, is to the north east of the main completed the first set of plans in August 1947 that house, accessible down a flight of steps. It has a were later described by a government official as ‘the private concrete slipway that leads directly into the most beautifully presented and the most painstakingly sea. “I was told by a neighbour, an ex-Colonel, that According toseen’. recent a National Trust number put together of any that I have this wasreport, the only the slipway he knew of that lead directly Campbell walked alone along the coastline back into the sea – most lead into harbours or estuaries.” people visiting the UK coastline has dropped by a third in home having delivered the drawings to the planning There is another smaller boathouse to the south office. Despite being blind inPhotos one eye from a failedAustin. east. This boathouse also has a private slipway, that ten years. by Matt cataract operation and by then aged 70, Campbell was leads onto Chapel Point House’s personal sandy undaunted by the walk along the cliffs having done beach. The beach and boathouse are located at the far only 42% of people the British coast a day out it many times.Now On this day, however, the seaclaim mist to visitsouth-east corner of afor nine-acre field that provides was heavy and he lost his down footing,from slipped off in the2005. cliff perfect coastal grazing. each year, 62% and drowned in the seabiggest below. Campbell’s plans were Therevisiting are many aspectsareas, of the house and its setting The barrier stopping people from coastal subsequently the approved, never out. enough spare to stimulate inspire. Chapel reportbut says, is carried not having time –and this despite the Point fact has featured in The houses he did complete are unmistakably a Daphne du Maurier novel and, judging by a look that the Coastal Connections Survey says the coast remains a “big of his style. Chapel Point House, in particular, has online, has attracted the attention of numerous skilled contributor to quality of life and well-being”. beautifully ornate arts and crafts fireplaces, arches photographers drawn to its beauty. those and of you who’ve not recently, we of a friend that attracted across rooms and For doorways, a magnificent oak made it to “Itthe was,sea in fact, the photo barrel ceilingthought above thewe’d 34-foot LongitRoom the to remind me to Chapel House inand the first place. This led bring to youat here you ofPoint its beauty core of the house. me to enquire about it. It was for sale and I couldn’t therapeutic effect. “I’ve spent a lot on the house over the years,” believe my luck. I leave now thirty years later with a reveals Richard Freeth, “mainly on general heavy heart, but I’m 77 years old and we’re looking maintenance and to the outside grounds. We have to buy a farm I know, sounds mad at my age,

culture

Michael patinating the ram’s head

South West-based photographer Andrew Butler was commissioned to capture the construction of a windfarm near St Eval, Cornwall, between October and November last year. His series of images provide a strikingly fresh perspective on the turbines that have become such a familiar sight around the region. “Attempting to photograph construction and engineering sites in a hard hat, gloves and safety-glasses, often in inclement conditions, isn’t everyone’s idea of fun,” he says. “It’s been suggested that people should ‘embrace engineering’s creative side’ and in my own way I like to think I have something to offer the world of engineering and construction. “I am always fascinated by what we as humans create. Sure, there can be countless discussions and debates about the pros and cons of much of human construction but there is a huge level of endeavour that is wonderful to document. “Whilst the finished items are what generally attracts the most attention I love getting the opportunity to photograph all stages of the process. And there arguably are infinite ways to capture the end result whether as a simple document or as a more abstract view.”

This is how I see the world.

ASK THE EDITOR

vast countryside, surrounded by fields with brimming hedgerows, striking trees and views across to Exmoor. It is completely isolated, presenting the perfect place to paint. His brand-new timber studio is flooded with light and has views across his garden and beyond, presenting the perfect space to work and showcase his paintings. John’s style has often been described as abstract, although he insists he paints the world exactly as he sees it, adding vibrancy and scale. He paints using acrylics, straight onto canvas, often painting the background last. “Seeing a progression of improvement through my work is something that inspires me to create further,” says John, whose latest paintings seem to imbue the beauty of nature with an almost ethereal quality. Many of his recent works will be displayed this July, in a solo exhibition at the Brownston Gallery in Modbury. Aptly titled ‘John Hurford’s Nature Paintings’, the show will feature 20 of his canvases of the natural world, with much of the subject matter being specific to the farm and surrounding area. One of John’s biggest exhibitions to date, the collection will include a recent favourite of his, named The Two Spiders – a colour-pop of pink roses, greenery, Corkscrew Hazel, the eponymous arachnids and a splash of blue background. The show-stopping canvas was painted from photographs John took while in the garden of the Lazy Cow café in Modbury. John chooses to paint on a large scale, with most of his canvases measuring 150cm by 180cm. “My paintings really come to life on a bigger scale,” he says, only producing smaller works for personal requests or commissions. Given the size of the majority of John’s work (which take an average of three months to complete), it’s no surprise that his paintings are popular with buyers looking to adorn large, minimalist living spaces, where white walls allow for the paintings to take centre stage. The size of John’s canvases amplify the images, honing in on specific details, combining green foliage and shooting leaves with, sometimes, decaying plants and flowers, adding to the complexity of the effect. “I’m hoping that my paintings will influence people to view nature in a different way, finding a quality they wouldn’t have previously seen,” says John. John is a member of the South West Academy of Fine Arts and although some of his works can be found

Butterfly Dreaming, acrylic on canvas, 165 x 130cm. Inspired by butterflies on a buddleia in John’s front garden

What makes MANOR different and special? Imogen Clements answers some of the key questions posed by readers and interested observers … MANOR was first published in March 2015 by a handful of people (seven, to be precise) led by Imogen Clements from her kitchen table in Devon. Three years on, it has generated hundreds of reader plaudits and been nominated for no less than five prestigious awards: Best Consumer Magazine and Best Editor in the PPA Independent Publishers Awards 2017; Best Regional Brand, Best Regional Company and Best Editorial Content Team of the Year in Campaign’s British Media Awards 2018 (to be announced). This summer, MANOR will be crowdfunding via the online equity crowdfunding platform crowdcube.com. With that in mind, we thought it worthwhile for the founding editor, Imogen Clements, to answer some frequently asked questions. What made you decide to launch MANOR? The regional market is changing. Broadband and better transport are making it a lot easier to live in beautiful parts of the country and work flexibly, travelling back and forth to the capital as and when required. Many people no longer need to confine themselves to, or gravitate towards, the commuter belt and there is greater inward investment in counties previously considered remote (such as Devon and Cornwall). Regional media hadn’t reflected that change. Today’s regional readers are well informed and worldly – modern individuals who are likely to have worked in various places, before settling in the South West. Rarely do they conform to a rural stereotype, but enjoy what both country and city life have to offer. We felt there was an opportunity to launch a modern magazine that better reflected the interests and lifestyles of these people. Who is more important, the reader or the advertiser? As publishing editor my job is spent ensuring both are happy, but for that to happen the focus needs to be on the reader. The advertiser needs the reader, the kind of person who will be interested in and can afford their product. If we disregard 16

MANOR | Late Spring 2018

the reader, they will desert the title, swiftly followed by advertisers, and the magazine business suffers. If, however, we create a reader experience that has that reader treasure the title and refer to it time and again, seeing those ads by default time and again, then the advertiser gets the very best value for money. Too often, magazines – both regionals and nationals – have disregarded the reader, and, in their endless pursuit of advertising revenue, compromised the reader experience. But you can’t have one without the other. Why isn’t everything in MANOR South West about Devon and Cornwall? MANOR’s mission is to reflect the regional reader’s interests. It is aimed at anyone with a base or interest in the South West. We will champion all that is aspirational, progressive and groundbreaking in the region because we know that this will appeal to our readers, but we also acknowledge that a lot of their interests and what they do are generic, for example beauty and style, or extend beyond the South West – food, travel and the arts. MANOR readers want to know what’s great about the South West but they are not confined to it, travelling frequently, as they do, to London or abroad for leisure or business. Many regional titles only cover what’s happening in the vicinity, but we don’t live like that. Why do you put fashion on the front cover? We need to ensure that MANOR has as wide an appeal as possible and that we maximise ‘pick-up’ from all who see it. Women will pick up a glossy magazine more often than men – that’s an indisputable fact. Of all the sections that we carry in the magazine, fashion probably has the widest appeal – food, architecture or locations would narrow the appeal. Also, for too long – partly due to poor investment, and partly to limited relevance – regional titles have been considered second-class citizens to their national counterparts. We wanted to address that, and fashion was the best way to do it. Fashion allows us to elevate the magazine into the highly


food

Fifteen Cornwall, Jamie Oliver’s five-star restaurant that trains and supports apprentices from deprived backgrounds, is now 10 years old. Fiona McGowan heads to Watergate Bay to discuss the past, the present and the future.

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good restaurant is pure theatre. Everything has to work together to create a performance that pleases an audience of many different tastes. Like the stage set, the decor is designed to draw you in and take you out of the everyday world you inhabit. The stage is your plate and the acting is done on your palate. A restaurant with a view will always have a leg-up in terms of winning over an audience. But of course, like any play, the backdrop is irrelevant if the action doesn’t match up. Fifteen Cornwall is blessed with one of the most distracting views in the region. Perched on the edge of the sandy sweep of Watergate Bay just north of Newquay, one whole side of the restaurant is a giant window. Go there at night, and the restaurant has to compensate for a great big, shiny wall of blackness. Go there in the afternoon or early evening (later in the summer months), and you will not be able to take your eyes off the moving theatre of the waves – and the extras playing out a ‘beach scene’ below you. James Cheadle is a photographer who is regularly calledFifteen on byismedia onoldboth sides ten years this year – and one of those success stories Cornwall loves to shout about. But, of the Atlantic to photograph prominent individuals, be they filmthat stars, pop stars, funnily enough, not everyone knows the nuts and bolts politicians or sport stars. This issue’s photostory presents a selection of theJamie portraits of the business. Founder Oliver, of course, is he’s taken over the years, and James reveals the storyinternationally behind each famous famous. So asitting. restaurant owned by him conjures images of his brand: his revamp of school dinners springs to mind; the many cooking shows; the recipe books that adorn the shelves of half the kitchens in the country. More recently, Jamie’s Italian restaurants have been springing up everywhere – there are more than 30 restaurants in the country (13 in London alone). Perhaps you remember his Jamie’s Kitchen programme from 2002 when Jamie was filmed training 15 disadvantaged youths for a Channel 4 documentary series and where the best trainees were offered jobs at Jamie’s Fifteen restaurant in London? Matthew Thornton is the chief executive of Fifteen Cornwall and clearly warms to telling the story of how that social enterprise concept migrated to the shores of North Cornwall. It was a fusion of two very driven individuals, he explains. Henry Ashworth, the middle son of the hoteliers

photostory Michael Palin

Portrait gallery

PHOTO: BETH DRUCE

Octopus carpaccio with agretti and blood orange

“This portrait of Michael Palin was taken to promote his Sahara book for Waterstones. We set up a small studio in a small back-room of his agent’s office near Chinatown in London. It was a rainy day, so taking the shot outside wasn’t an option. In these situations, you need your subject to perform. If they won’t play ball, you’re not left with much to work with. Michael brought so much energy to the room when he arrived. If I could bottle the positivity and enthusiasm he brought to the shoot, I’d never have a bad day in the office again.”

escape

Red dress, Topshop Unique, £225; ankle wrap sandals, Next, £35

The Grand Velas Riviera Maya resort in Cancún offers all-inclusive luxury on an impressive scale. Imogen Clements reports from the pool-side.

Daniel Day-Lewis

“I shot Daniel at a friend’s breakers yard on a small island in the Thames near Pinewood Studios. It always struck me as an interesting Using light, animation and intricately cut paper, contrast between Daniel’s Hollywood A-list status and the filthy industrial location set up for the shoot by the commissioning client. Davy and Kristin McGuire create intimate It’s amusing when you see a film star sat on an old oily sofa with a cup of builder’s tea, oblivious to the confused members of the public

theatrical experiences and art installations. Words by Belinda Dillon.

wandering by rubbing their eyes like they’re playing tricks on them.”

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The Icebook

rowing up, I loved pop-up books (particularly Jan Pienkowski’s Haunted House – I still have that one and am loathe to pass it onto a child, even though I know I should). As well as the engineering, it was the aesthetics of concealment that fascinated me; aspects of the story hidden by design. So when I saw The Icebook – an animated pop-up book-cum-theatre show created by Bristol-based multimedia artists Davy and Kristin McGuire in 2009 – I was mesmerised. Combining video projection, papercraft and good old-fashioned storytelling without words, it’s a love story in miniature; an animated romance mapped onto scenes – a castle, a forest, a lake – across 11 pages that are turned manually. Lasting only 15 minutes, and performed to an audience of 12, it’s an intimate, beguiling piece that takes the essential magic of theatre – the unspoken deal between the audience and production/performers to believe in the here and now – and glimmers with its own special kind of fairy dust. With backgrounds in dance (Kristin) and devised theatre (Davy), the McGuires have always created multidisciplinary work, usually employing film and video projection to bring objects to life: a noticeboard with animated postcards and photos (Pinboard); the nude statue of a woman given a voice and various items of clothing (Starkers). But it was through their experimentation with paper when making up a set design maquette for a theatre show concept that The Icebook was born. The process was painstaking – hours spent hand-cutting and assembling all the individual pieces of paper, a skill they learnt as they went along – but they enjoyed the control and flexibility it gave them; rather than projecting onto found objects, they were creating the environments themselves. “We thought, actually, what we’ve made here is a hybrid piece of art,” says Kristin. “And while I’m not sure that we enjoyed the process – we do a lot of arguing when we make our work! – the result was enjoyable in the sense that we found a technique that we really like: working with paper, light, projections and storytelling.” The allure of those key ingredients – The Icebook has since toured to more than 60 venues across 15 countries – won them high-profile commissions, including from Courvoisier and Japanese jewellery house Mikimoto to create installations for window displays and elaborately intricate sets for commercials. The necessity to create self-contained units that could come to life without the intervention of a ‘performer’ in turn fed into their process. “That’s when we started to make paperadioramas It’s been busy year for furniture-maker Tom Raffield, what with building a house, appearing that were more three-dimensional and needed no on Grand Designs, and welcoming a new baby into the family, as well as continuing to grow his manpower,” says Kristin.

interiors business. Words by Fiona McGowan. Photos by

T

om Raffield is standing in his kitchen, making a lampshade. Like a wild head of hair, the lampshade is a crazy, complex, chaos of curls. And like a hairdresser, Tom uses clips to hold the loops in place while he bends each strip of oak into place. There is no planned symmetry, yet the thing grows into a spherical shape under his hands,

photostory

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culture

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somehow returning to its plant-like DNA before my eyes. “There’s no pattern,” he explains. “There are only two other people who know how to make it. And they’re too busy right now…” Despite a huge burgeoning of the bespoke lighting and furniture business since its inception in 2008, Tom’s artisanal roots are still clearly visible. In the past year,

space

A Terazza Grand Class Suite

his life has changed dramatically, culminating in the combined whammy of appearing on Channel 4’s Grand Designs and having a third child. Oh, and building a house almost single-handedly. While the homefurnishing products are booming – sold in Heal’s and John Lewis, and bought by interior designers and the odd celebrity (Brad Pitt) – it is the house that has garnered massive interest recently. And not surprisingly: an eye-catching testament to mid-century Danish design, its curvy, treacle-coloured wooden form sits between a quaint flint and stone cottage and acres of mature woodland. It manages to be contemporary, vintage and yet rooted in nature. Clever. The house is a collective effort. Tom’s wife, Danie – who also has a design background – came up with the concept and design; architectural technician Chris

regarded world of the national glossy. It places it, quite literally, alongside big-hitters Vogue, Harper’s and Town & Country on the news-stand. We want to champion the region but are aware that anything overtly regional on the cover would alienate those (SW residents and visitors to the area) who consider a regional title too narrow a read. By putting fashion on the cover we maximise pick-up among both groups. Once picked up and looked inside, people don’t tend to put MANOR down, but rather keep it, refer to it repeatedly and then go on to recommend it (MANOR has a 94% recommendation rate among its readers), which is thanks to our content. Tell us a little about your team … I’m exceptionally proud to have a core stellar editorial and design team at MANOR, all of whom have been on board since the title launched. All are phenomenal writers and designers and fully understand the MANOR remit: to be a highly visual, intelligent and inspiring read whose writing is on a par with that of a quality broadsheet, and whose features are never parochial but of equal interest to a person buying it in Exeter’s Waitrose to someone picking it up in GWR’s firstclass lounge to read on the train from Paddington. We also have a pool of highly talented freelance contributors. When we launched the title, I’d underestimated the degree to which quality attracts quality. Thanks to its standard of journalism and photography, MANOR attracts professionals at the top of their game in both arenas who want to be part of the magazine and are happy to contribute for a fraction of their standard fee. For an independent magazine operating on a minuscule budget, that has been invaluable and something for which I am forever grateful. The commercial team members have always been dedicated and proud of the title they are selling, and I should mention Amy, who, as my multifaceted editorial/ publishing assistant, is a star member of the cast.

never had myself down as a ‘daiquiri on the beach’ kind of girl. But as I sip the rum-infused frozen raspberry crush that’s been handed to me by an attentive waiter while I lie back on a four-poster daybed staring out to a sun-soaked Caribbean sea, I think it rather becomes one. ‘Luxury’ can be an overused term – luxury brands, luxury travel, luxury upholstery, and so forth – but here at the Grand Velas Riviera Maya resort in Cancún, I can now claim to have experienced the real thing. It’s two o’clock in the afternoon, and having handed me my daiquiri, the waiter has just adjusted an adjacent parasol to ensure I’m fully in the shade and can enjoy my book unscorched, while caressed by a gentle breeze. I’m told they’ll happily clean your sunglasses, should you require, but I don’t have the gall to ask. Grand Velas Riviera Maya is everything you imagine the ultimate luxurious holiday to be, and more. Set within 206 acres of jungle lined by a long, white stretch of Caribbean coastline, there are impeccable, smiling staff to cater to your every whim; large spacious suites with views to die for and beds unsurpassed in comfort, along with enormous marble bathrooms with Jacuzzi tubs and walkin showers, stocked throughout with L’Occitane. As well as a personal plunge pool on your ocean-front balcony, there are enormous infinity swimming pools that seem to extend into the sea beyond, and which have a bar at one end that you can swim up to and sup your beverage of choice, half submerged. Then, when you get a little peckish, you can either order snacks poolside from another attentive waiter or visit one of the nine sit-down restaurants that this Grand Velas has to choose from – offering fine Mexican, French, Italian and Asian cuisine, depending on your wont that day, but all of the very highest standard.

“Matteuccia struthiopteris – a green shuttlecock fern just beginning to unfurl but still hard and tight.”

“Prunus mume ‘Beni-chidori’ – the Japanese apricot flowers in February. Looks like Fabergé and is a total joy.”

The house is the perfect showcase for the Tom Raffield brand.

Tell us why you are crowdfunding and what you want to do next with MANOR … We launched MANOR as a quality print title in a digital climate. Its success has proved the sustained appeal of highquality print to readers, and from a business perspective, print has been the most effective way of conveying quality to a select, high-net-worth audience. Launching a premium regional concept via a digital platform would have been a much harder endeavour. With the MANOR brand established, we are now in a position to extend it onto lucrative digital and events platforms in a rather innovative way. As the authority on all that is premium in the region, MANOR is a brand with immense potential for extension in many directions. Tell us what have been the best and the worst aspects of launching a magazine like MANOR … Best: When I get feedback from those thrilled at how they are featured in MANOR. Worst: The relentless deadline! I suppose also when people dismiss MANOR as a regional, therefore parochial, or as elitist, which it’s not – aspirational, yes; premium, yes, but not elitist. There’s a big difference. Both types of commentator tend to be people who’ve never read MANOR. The best comments I’ve had are about how proud the magazine makes them feel about the South West, and all the amazing initiatives, people and work that are happening down here. I’ve often thought of the South West as the California of the UK – progressive and highly creative, its inhabitants inspired by the region’s outstanding natural beauty. Much of what we publish in MANOR underlines the belief that, as a title, if we can make a regional resident proud, and a once-dismissive London-centric type reappraise the UK beyond the M25, then MANOR’s done its job. If you’re interested in receiving updates about MANOR’s forthcoming crowdfunding campaign, email invest@manormagazine.co.uk.

MANOR | Late Spring 2018

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For the time spent together...

...for

one

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Visit brittanyferries.com/manor or call 0330 159 6805 New bookings only. Terms, conditions and exclusions apply. 18 MANOR | Late Spring 2018


TOWN MOUSE, COUNTRY MOUSE Darling... Form follows function, or is it the other way round. These days, of course, we’re style-obsessed so presumably it’s function follows form. I mean, who cares if you can’t walk in those shoes? They look fantastic! Isn’t that the line we’ve lived with forever, sweetheart? I feel, though, that there may be a backlash to form over function. We’re all getting rather tired of endless new ‘upgrades’. Upgrade what?! It’s becoming hipper to stick with the original than forever be chasing the latest version. Makes one look exploited in my mind, and I am absolutely not, in any shape or form, a slave to fashion. Anyhow, as we’re now keeping things pithy and nipped, how are things in the country, sweetie? And keep it snappy.

WHAT’S HOT IN THE SMOKE? The LOEWE Craft Prize 2018 will be exhibited at The Design Museum from 4 May – 17 June 2018. Nominees’ work of the 2018 edition will be showcased, highlighting the importance of craft in contemporary society and recognising the talent, vision and will of artisans that will set a standard for the future. Be inspired at the RHS Chelsea Flower Show, 22-26 May. For the first time, Ranelagh Gardens will be opened to the public on Friday 25 May, with an evening of live music and entertainment. Ticket prices will vary. Recently opened, The Vurger Co. is one burger joint we’re longing to try. Having been a successful pop-up last summer, the now permeant restaurant close to Brick Lane serves a range of delicious plant-based burgers. Renowned for his sublime paintings inspired by nature, Monet also had a hidden love for architecture. The Credit Suisse Exhibition: Monet & Architecture at the National Gallery is the first of its kind, with over 70 artworks showcasing his unseen passion for buildings. 9 April – 29 July. Having been situated on the stylish King’s Road for the last 20 years, popular café Bluebird is now opening a second branch at the Television Centre in White City. Opening April 2018, expect tasty European cuisine and a relaxed ambience. Hamlet and As You Like It will be performed consecutively at Shakespeare’s Globe from 2 May – 26 August. Parallels can be drawn from these sibling plays, both written around 1599 – the year the original Globe was built. Under the new Artistic Direction of Michelle Terry, there will be a troupe of artists that will ensure a sound performance.

Sweetness... Well, as you know, when we first moved down here, away from the frenetic conspicuous consumption of London living, I eschewed the world of throwaway consumerism and endeavoured to be more like my mother and make stuff. There is not quite so much to do with one’s leisure time out here in the sticks, so I baked bread (focaccia) and made cushion covers (Ian Mankin fabric). And do you know, making things is really rather satisfying. Suddenly, one feels self-sufficient, richer, and stylish..! I am all for function over form – if it ain’t broke, etc. Somewhat goes against fashion, of course, but then at our age, darling, it’s all about timeless style, isn’t it? I will fit into those old Levi’s if it kills me, ha ha!

WHAT’S COOL IN THE COUNTRY? Don’t miss the hugely inspirational TED talks at TEDxExeter on 20 April. If you weren’t lucky enough to secure a ticket at the Northcott then you’re still able to livestream the talks on the day! Tregothnan Charity Garden Opening on 21-22 April, where the usually private gates to the largest garden in Cornwall will be open for one weekend only. Tickets are £10 per adult (under 16s go free) and all proceeds will go to this year’s chosen charity, Merlin MS Centre. To celebrate English Wine Week, Wild Wine Club along with Emerging Vines at Boconnoc Estate, Cornwall. On 28 May, there’ll be a special evening taking place at their majestic Bath House and Stable Yard. Tickets are £65 per person and will entitle you to five glasses of hand-selected wine and five courses of delectable local food. The Galley in Topsham has recently undergone a stylish renovation. Under new leadership of Head Chef Lee Harry, it offers mouth-watering menus to be enjoyed with scenic views of the River Exe. Popular wine lounge Le Vignoble already has its flagship in Royal William Yard, Plymouth, but has decided to expand. With a brand-new premise opening in Bath, located on 1213 Milsom Place. St Ives Literature Festival will be taking place 12-19 May and now in its 10th year, expect: a variety of poetry events, free speech performances and open-air productions.

MANOR | Late Spring 2018

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Earrings, Oliver Bonas, £18

Colour burst

Lela Rose SS18

There’s lots of rich colour this season, where the brighter is most definitely the better. Primary colours of pillar box red, sunshine yellow and cobalt blue are key, with emerald green and deep fuchsia also de rigueur. Wear each colour as one block or mix them up with abandon. Compiled by Amy Tidy.

Sunglasses, Oliver Bonas, £24

Dress, Debenhams, £120

Trousers, Marks and Spencer, £55

Dress, Hobbs, £329

Jacket, Whistles, £295

Jeans, Next, £30

Michael Kors Satchel, Orange Tree @ Darts Farm, £315 Shoes, Whistles, £139

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MANOR | Late Spring 2018

Trainers, Dune, £85


trends Jasper Conran SS18

Earrings, Oliver Bonas, £24

Earrings, Marks and Spencer, £15

Dress, Topshop, £32

Blazer, Zara, £49.99

Jeans, Marks and Spencer, £25 Dress, Zara, £17.99

Sandals, Marks and Spencer, £25

Skirt, Zara, £25.99

Bag, Marks and Spencer, £19.50

Shirt, Oliver Bonas, £55 Shoes, Marks and Spencer, £29.50

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Bag, Whistles, £75

Bells and whistles

Roksanda SS18

Layer it on. We’re seeing an abundance of trimmings garnishing outfits. Combine frills and fur with simple, understated garments to add a touch of individuality. Anything tactile works: a fluffy jacket, ruffle shirt, woven bag or feathers. Be creative. Compiled by Amy Tidy.

Jacket, Zara, £79.99

Dress, Zara, £39.99

Jeans, Next,£38

Bag, Marks and Spencer, £32.50 Bag, Whistles, £89 Top, Marks and Spencer, £39.50 Shoes, Topshop, £52

Shoes, Zara, £29.99 22

MANOR | Late Spring 2018


Altuzarra SS18

trends Earrings, Marks and Spencer, £15

Earrings, Marks and Spencer, £9.50 Military cap, Accessorize, £15

Gilet, Topshop, £45

Dress, Hobbs, £159

Jacket, Debenhams, £79 Top, Oliver Bonas, £59.50

Boots, Zara, £69.99

Jacket, OSKA, £289

Bag, Zara, £49.99

Shoes, Zara, £95.99

MANOR | Late Spring 2018

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beauty

Prep time

The clocks have gone back and sunshinesoaked days are around the corner. It’s time to ditch those layers and show some skin, and that goes for your make-up too. Elouise Abbot shares her top summer skin prep picks.

A

fter the long winter, skin can be dull, dry, dehydrated and flaky, and in need of a little TLC to get it prepped and ready to glow for the summer.

CLEANSE Cleanse is the first step in every beauty routine and the key to beautiful refined skin. Team your cleansing routine with hydrating using Hylamide HighEfficiency Face Cleaner. This crystal clear micro emulsion combines sustainably sourced oils with plant-derived esters to create a formula that works like an oil-based cleanser but behaves like a water-based one. Great for normal to dry skin types, but if your skin is more on the oily side try Lancôme Gel Pure Focus for a gentle, refreshing foaming cleanser. EXFOLIATE Exfoliation from top to toe will leave skin renewed, revitalised and ready for hydration. I’ve discovered the Hungarian skincare brand Omorovicza, which has a full range of wonderful exfoliators for face and body. For the face, I use Omorovicza Acid Fix which gently exfoliates and resurfaces the skin. While skin resurfacing acids are incredible at renewing the skin, they do leave it vulnerable to UV so use a full spectrum SPF and avoid them if you know you will be in strong sunshine. For visible flaky patches, there is Omorovicza Refining Facial Polisher to slough away surface skin cells. This is a super-fine blend of natural pumice and Hungarian moor mud combining minerals and fruit acids. Few products come more luxurious than the Omorovizca Gold Sugar Scrub which combines Fairtrade sugar with colloidal gold and floral oils. A wonderfully skinsoftening regenerating spa in a tub, it looks, smells and feels amazing. HYDRATE Hydration and more hydration is the absolute foundation in creating soft, supple, youthful skin. Remember to hydrate from the inside out and drink plenty of water. 24

MANOR | Late Spring 2018

Hyaluronic acid is a powerful humectant that attracts water, to itself holding up to 1,000 times its own weight in water. Choosing a product that contains hyaluronic acid will significantly improve the skin’s hydration levels, leaving it plumper, soothed and comfortable. NARS Restorative Night Cream has the most soothing texture of a gel that simply melts into a silky oil on the skin. You will wake up to soft, smooth, supple skin - amazing for normal to dry skin. Bobbi Brown Extra Illuminating Moisture Balm is a hydrating illuminating moisturiser that gives the skin a burst of luminosity and hydration. Wear under foundation for a radiant completion and team with Hourglass Illusion Hyaluronic Skin Tint for a medium coverage ultra-hydrating sure-fire summer hit. Spritz regularly with cooling, soothing Caudalie Beauty Elixir. This plantbased mist will soothe and boost the skin whilst giving those hyaluronic acid molecules something special to hold onto for powerful hydration. There is nothing like a good mask to revive the skin and provide an all-round feeling of wellbeing. Dry sheet masks took me a while to get used to but I am now converted. Trish McEvoy Instant Solutions Dry Sheet Mask is loaded with 93.9% active ingredients in their most concentrated form, including hyaluronic acid, peptides and antioxidants. This sheet stays dry but you massage the ingredients into your skin and leave on for 15 minutes for great results. Each mask can be used for up to three applications. Finally, to banish any pastiness, Tan Luxe has two tanning oils - Tan Luxe The Body and Tan Luxe The Face. Just add a couple of drops into your usual moisturiser and simply massage into the skin. I love a good multi-tasker so tanning and moisturising at the same time is simply magic, not to mention natural and safe.


To book your style refresh, complete hair makeover or gorgeous new colour call 01392 256999

2 Bampfylde Lane, Princesshay, Exeter, Devon EX1 1GQ Email: exeter@sakshair.co.uk | www.saks.co.uk/exeter

MANOR | Late Spring 2018

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Godrevy Lighthouse seen from Gwithian Beach

My feel-good regime Originally from Dorset, Jody Ward started her career as a junior designer before deciding to take a year out travelling, teaching windsurfing, sailing and surfing. Jody moved to Cornwall ten years ago, started competing in windsurfing and was ranked female number two at wave sailing in the UK, Ireland, and Wales. She now owns and runs a creative design and marketing company for clients in the sports and fitness industry, and lives in Gwithian with her husband and young son. m a fi m el e e a ood o do ome a scares you every day. Surfing was my first passion in life. It

e do ea o e la l a e le o fi d babysitters but when we do we walk to our local pub

was a little piece of escapism after a loss in our family. That soon evolved into windsurfing and kiting, I have towsurfed [getting towed by a motor boat into huge waves] a little, too… it’s so exhilarating. I love the endorphins.

The Red River Inn for dinner and a glass of red wine. It’s a proper country pub with real ales and hearty meals. We had our wedding party there too so it’s full of happy memories and where we sit and talk about our dreams and ambitions.

I see time in the water as meditation. It’s the only time I’m

completely engrossed in what I am doing. It’s a great way to take a step back and just forget about your woes for a while. Running is good for thinking and it’s great for getting rid of any aggression. I achieved a 7.5-minute mile once after an argument with my husband… Silver linings and all that! I love to cook but rarely have the time. My slow cooker

is my best friend. There is nothing that makes you feel more like a domestic goddess than having already made dinner before you’ve even dropped the little one at nursery and started a day’s work! 26

MANOR | Late Spring 2018

Other than being on Gwithian beach (my favourite in the UK, if not the world) I love going to the Seal Sanctuary in Gweek . My little boy likes it, too – and

the entry fee goes back to helping the seals. Tea and cake is also a passion of mine: a walk to Godrevy Café or Birdies at Lelant is always something to look forward to. Grand Designs always inspires me. We have a two-

bedroom property that my husband is currently developing, and we have renovated our home, along with


two offices that we own. I love house-renovating and interior design. Before I had my son, I used to paint. It was another great way to just switch off and relax.

Every now and then, I’ll have a long soak in the bath with a face mask on. I always feel good afterwards and

I love the atmosphere of a good festival, and the fact

pleased that I’ve done something to look after myself. I’d like to do it once a week but it never happens (I tend to shower instead)

that, apart from missing the odd act, there are no time pressures on when you need to be in certain places. (I met my husband at Somersault in Devon).

I have a lot of tattoos and most of them date back to a few months in the Canaries. I wound up in hospital for stitches

I wish I had the time and patience to read books, but I don’t. However, if they are functional, I’ll try to make

after a surf board fin cut and I remember thinking how cool the doctor was: she was wearing a long white doctor’s coat and had the most awesome tattoo up her leg.

time - I’ve recently started the latest edition of The Housebuilder’s Bible.

zephyr-creative.com

LANGUISHING IN MY BATHROOM CABINET YSL waterproof brown mascara: waterproof but washes off easily and makes your lashes look twice as long. Benefit Boi-ing Industrial Strength Concealer: the only thing that makes me look like I’ve had a decent night’s sleep. bareMinerals has a lovely tinted moisturiser: It makes your skin look flawless, doesn’t feel like heaps of make-up and it’s good for your skin. The obligatory bright red lipstick: makes me feel super-confident, but only comes out on special occasions (when I feel brave.) I have super-curly, frizzy hair, which is really dry. I use Moroccan Oil curl cream as it tames and treats my curls without leaving them feeling crunchy or sticky. ESPA 24-Hour Replenishing Moisturiser may not be cheap but it’s like having a spa treatment every time you use it. It smells amazing too. I wear D&G Light Blue - it’s like fresh linen but a tad musky and it makes me feel calm, in a strange way.

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MANOR | Late Spring 2018


As I see it...

Robert Plant, rock idol of Led Zeppelin and one of the most awarded singers of all time, has just released his 11th solo album since Led Zep disbanded 38 years ago, and is playing at The Bath Festival with his band, The Sensational Space Shifters. Interview by Fiona McGowan. It’s always a full circle. Back in 1969, we were at Bath

Blues Festival with Jefferson Airplane, John Mayall & the Bluesbreakers, Fleetwood Mac before Stevie and Christine joined... It was a good scene in the West Country in those days. We played a lot of hippy festivals: we were somewhere in the fields of Avalon – and that seemed to make a lot of sense to us all. We were in great company. Jim Morrison was singing about “cancel my subscription to the resurrection” and we were trying to change the world. Trying to get rid of the apathy and the right-wing corruption that was going on. And here we are now. Everybody tried then, and I’m sure they will keep trying now.

I’m like a reed at the side of the sea. The more I access the information highway, the more I think I’d like to be a crofter in the Outer Hebrides. It seems that there are so many shards of discontent and evidence of malpractice in politics that it just ends up as a huge pile of rancour, but nobody’s using it fortuitously to change regime. There’s such a deluge of information from so many different angles that people are being blanded out.

I don’t think creativity can be inhibited by anything. If you’ve got it, you’ve got it. If you want to float it yourself, I think it’s

a very good thing to do. With the information highway being what it is now, you can have that many hits overnight… Making music is a different thing today. The heavyweight stuff that came out in the late 60s was going for a totally different emotional pull. I guess it was pretty self-indulgent. Songs that went on for 15 or 20 minutes. I can’t say it was necessarily more mature. But there was a lot of playing going on, a lot of instrumentation. The last 18 years has been a revelation. I’d come out of all the

inane classifications that people put upon me, people trying to lead me in a certain musical direction. It was a kind of metamorphosis. Right now, The Sensational Space Shifters are on fire, because everybody can speak through their music with confidence, and it’s like a kind of cosmic psychedelic fraternity. I don’t even realise how old I am. I’m in the middle of this great mêlée, this whirlpool and occasionally I come up for breath, and people say, “Oh, you’re still doing it, then?” I go, “Yeah, don’t talk to me now, I’ve got to go back. Goodbye.” I’m back into the whirlpool. It’s paradise regained, really.

m e o all e me I am in the most magnificent company, make stimulating music – there’s a special kind of joy there. There’s a pulse in entertainment. Providing you keep your foot on the gas and mean it, the payback is incredible. We’re not really concerned about the financial side of things, it’s just about being in the place where the energy is. So crofting might not be a good idea. Well, maybe in August for a couple of weeks…

When Led Zeppelin came to an end, I was no longer moving at other people’s communal tempo. So I started exploring the

When the fame thing went on full boost, I was 21. I didn’t really take it in, because I was busy. There were no information

It seems like all the political decisions are made in the present tense, with little consideration of the ultimate conclusion for the communities they affect. Sometimes I go and make music

streams then – apart from magazines here and there. In those days, the people I kept company with didn’t do any media stuff. So whatever was happening, we didn’t really have any perspective. Occasionally, somebody would say: “this is a big gig. I think it’s the biggest gig that anybody’s played at.” We’d look in the Guinness Book of Records and it was… But then you come home. You’ve got to get the kids to school. Then it’s time to go and watch the soccer team. And then you’re thinking, can you make another record, and can you make it different to the previous one, to stimulate you? That’s been my code of practice right the way through time (except that I don’t have to get the kids to school any more – they’re probably just helping me across the road now). History is a peculiar bedfellow. Because, who knows whether or not it was really like that at the time? We look back now with

the benefit of distance, and it seems like it was a big deal. But at the time, we were right in the middle of it, playing with Janis Joplin and The Doors and John Lee Hooker… playing these big festivals and playing our own gigs, and obviously something was going on, but we had nothing to compare it to. Inside the coal mine, it was another thing altogether. Sometimes simplistic, sometimes charming and naive, and sometimes hell.

world, using music as a kind of passport to do that. I’ve covered more or less every mile of the Atlantic and Pacific coasts of the US. Slowly, in cars. Pulling in to lost towns on the side of mountains. Going into various parts of the spectacular aspects of the United States. The most beautiful places with the most charming people.

on my travels. We went to Mali about 10 years ago, and went up to Timbuktu and further north, where we played at the Festival in the Desert – living under canvas on the top of a huge dune. Just two guitarists, myself and my boy Logan with this amazing gathering of artists. We moved through to Essouira in Morocco and the Gnawa festival, and we played in Rabat... Developing countries are changing fast – everybody knows that the resources and natural materials and the very grist of life are being expended at such a rate that it is beyond challenging. The bottom line of it all is that I was a rock’n’roll singer when I was a kid in bands in the West Midlands, and I was in a band that

was pretty creative and very dramatic and dynamic. And then I ended up, for the last 38 years, doing anything I particularly cared to do. I did everything, and then I got my wings. The very fact of what I do is controversial – by rights, I should be at home with my pipe and slippers. In my croft, probably. Robert Plant and The Sensational Space Shifters are playing at The Bath Festival on Sunday 27 May. His latest album, Carry Fire, is out now. bathfestivals.org.uk

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Sir Kenneth Grange is credited by many as the godfather of British modernism with work spanning six decades and a vast array of sectors, he is renowned for some of the UK’s most iconic industrial products. Imogen Clements interviews Grange and discovers a generosity of spirit and of expertise amassed over a lifetime in his revelation of some of the strategies, hunches and boardroom conversations that led to products many of us use frequently to this day.

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MANOR | Late Spring 2018


feature

S

PHOTO: FROM KENNETH GRANGE: MAKING BRITAIN MODERN

Kodak Instamatic Camera, 1970

PHOTO: FROM KENNETH GRANGE: MAKING BRITAIN MODERN

ir Kenneth Grange laments today’s general apathy towards making things. “To me, it’s part of the human condition, an honourable part of life and something I’m very passionate about. A strange snobbery has arisen in recent years with regard to making things that you use, and there’s a risk that making is increasingly regarded as an art rather than a functional endeavour. Sitting here at home in London, I bet if we covered a radius of 100 yards, we wouldn’t find more than ten people able to make their own curtains.” He cites possible reasons why: “Computers have taken over our lives and they’re so damn clever these days that there’s nothing left to do, plus of course we’ve all got too much money and simply buy things that once upon a time we’d have made ourselves. We don’t know how things work because we don’t have to. Whenever I am in a room full of design students, the first thing I task them with is to tell me how everything within the room was made. Unless we know how things are made, we can’t improve them.” Sir Kenneth has the benefit of hindsight. Now in his late eighties, he has seen design evolve over decades and has himself played a central role in steering much of it. So prolific has Grange been at industrial product design that there are few sectors his work hasn’t impacted. You will have either possessed, travelled on or in, or regularly observed products that were devised or enhanced by Sir Kenneth Grange: a Kenwood Chef, Kodak Instamatic camera, the InterCity 125 train, London taxi, Anglepoise lamp, Parker ballpoint pen, Wilkinson Sword razor, to name but a few. So how does this veteran of design view it today? “One of the biggest problems with design nowadays is the sheer success of it. We’ve got a situation where you can’t move for the thing having been designed, whether or not it actually warrants it.” He refers to regular product upgrades, which provide little in the way of functional improvement, and the commercial pressures placed on designers to prioritise style over function. Design, he states, should primarily be about problemsolving, “Good designers love a problem, and I will exaggerate that problem to make it harder to solve. If you can break up a brief into more intangible little features, the greater the intellectual route to solving it. And the solution is yes about style, shape and colour, but fundamentally and absolutely determinedly, it’s about creating a happier product to use. “I’d always considered the Anglepoise to be a minor miracle of balance. It’s an incredibly clever invention that relies on precise opposing forces of three, occasionally four, springs. The product was devised by a man called Carwardine, back in the 1930s, and has never been bettered. I began working on Anglepoise really by accident, one of the happiest accidents in my career, having met a young man whose family had run a spring

Kenwood Chefette, 1987

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factory called Herbert Terry & Sons. I’d had a fascination with springs since I was a child and Terry had been one of the biggest spring factories in the country. Business though had diminished over the years, such that all that remained of the original Terry’s business was a product called the Anglepoise lamp. This new owner of the firm had read an article in which I’d said that one of the things I most admired was the Anglepoise, and he looked me up. “Now, the engineering could not be bettered and one of my key tasks was to ensure that that wasn’t undermined but, as the wattage of the lamp had increased substantially over the years from when the Anglepoise was first designed, the shade had become hotter and hotter and would burn your fingers when you adjusted it. So, that was the area I focused on – I redesigned the lamp to produce a chimney effect in the design of the shade to keep the outside of it cool. We created a prototype that was taken to the Milan trade fair and it had an extremely good reception. From there, we’ve never looked back. It’s been a very happy little marriage.” Interestingly, he puts much of his success down to luck. “I’ve had a lot of good fortune in that the clients I’ve worked for have all been decent people. Looking back, there isn’t one I don’t think fondly of. That good relationship comes from a respect for what they do, how they make a living and pay the mortgage. Part of my job is to see that they stay in business and that everything prospers. That’s why, I suppose, they keep employing me.” Grange’s roles at Kodak, Kenwood and now Anglepoise have spanned decades and the majority of his signature designs have arisen from briefs to improve upon a product, as opposed to creating it from scratch. “The client will come along and say, ‘Look, we’re going to remake this thing, we need to upgrade it, what can you do to help us make it a success?’ I will then devise a brief that answers two or three masters. The most important master is the user, the second is the maker (the client), and the third is the designer. Put those in the right priority, and you have a chance of everyone benefiting. “You’re looking to make the thing user-friendly, but you’re also looking at the ease of making, the materials used, to ensure that the cost of manufacturing doesn’t squeeze profitability.” Given the level of success and demand that Grange has enjoyed throughout his career, he’s had little time to spot and act proactively on new product opportunities, although there was one, he recalls. “I’ve always had plenty to do, but when you get close to a firm, you can’t help but take some responsibility for them. I’d been working for Kenwood for some years when I was asked to design a vending machine for General Foods. It meant understanding their manufacturing process and, as I was walking around the factory amongst great tubs of cake mix, the director told me how what they made - the ingredients they combined - is entirely related to the kitchen fork, because it is the fork that everybody 32

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uses to mix. He admitted that because it needed to be done with a kitchen fork, product development for them was somewhat limited. I realised at the time that this revelation was an absolute gift for Kenwood. I went back to them and said, ‘You know, if you could make a very cheap version of the domestic fork with a motor in it, Mr General Foods would be delighted. They took it on board, we went away and researched it, and the result was a very inexpensive, battery-powered whisk.” Ask which design stands out as a favourite throughout his illustrious career and, after a moment’s thought, Grange says the train. He designed the InterCity 125 in


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PHOTO: COURTESY OF ANGLEPOISE

Anglepoise Type 75™, Mini Metallic Collection, Gold Lustre

1976 and its unmistakeable yellow sloping nose still slides in and out of stations today. Asked why he picked the train, he says it’s because it hasn’t been altered much in all that time but, moreover, he feels it did a lot of good for the industry, helping to modernise the railways to an extent. “Its influence was felt far wider than the train itself.” Like many of Grange’s designs, this one went beyond the original brief. Grange had been asked to decorate the exterior of a new train developed by British Rail to incorporate the corporate logo and other signage. “The client who briefed me admitted he felt the train was ugly – its front end blunted off – but he was helpless

The solution is about style, shape and colour, but fundamentally and absolutely determinedly, it’s about creating a happier product to use. MANOR | Late Spring 2018

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The most important master is the user, the second is the maker (the client), and the third is the designer. Put those in the right priority, and you have a chance of everyone benefiting.

PHOTO: FROM KENNETH GRANGE: MAKING BRITAIN MODERN

British Rail HST InterCity 125 in original livery, 1976

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PHOTO: FROM KENNETH GRANGE: MAKING BRITAIN MODERN

PHOTO: FROM KENNETH GRANGE: MAKING BRITAIN MODERN

TX1 taxi, 1997

Wilkinson Sword Kompakt razor, 1979


feature to do anything about this as, in his words, ‘the engineers are gods on the railways’. So, we went about decorating the exterior but, as we had a little time, we also started looking at the shape. I had a good model-making shop and in my office we’d modify the shape of the train according to what we thought were the likely aerodynamics. We didn’t know much about aerodynamics then, so we hired space in a university wind tunnel. We’d go there at night and pay the bloke who looked after the machine a few quid and he’d wire it up. We’d produce smoke trails, take pictures and, bit by bit, we created a shape that aerodynamically was rather good. When the time came to present the new decoration of the train that James Cousins had commissioned from this chap Grange, they got the decoration, which they thought was lovely, and they also got a model of what the train might be like if Grange were allowed to redesign it. To their everlasting credit, they were witty, intelligent and unselfish enough to say, ‘Well, it looks good, and we’ve got these photos to prove it’s aerodynamically good, so why don’t we give it a go?’” The London taxi was almost the reverse response. “That job came about because they just asked for my opinion. The design office in a taxi business is one of the least rewarding jobs in the automotive world because they only change the design once every 20 years or so, but they’d been asked to do it now, I believe from the EU challenging driver positions and passenger conditions, particularly for disabled passengers. As a young designer in the design office of a taxi company, when the oncein-a-lifetime job comes along to significantly redesign the taxi, it’s marvellous. Ego is an important motivator for a designer and, quite rightly, you see this as your opportunity to make your mark on society and get your name recognised amongst your peers. “Then I came along. I’d met the Chairman socially and he’d asked my opinion and I was in the privileged position by then of not needing to make my mark. So I looked at the proposed new taxi from a commercial and social perspective and said to the Chairman, ‘Look, they won’t like me for saying this but to my mind they’ve lost sight of the most important element of the design, which is that the taxi must be recognisable.’ I managed to redirect the product to satisfy this need rather than be radically refashioned.” As a result, today’s black cab retains its familiar exterior while sporting all the required modernised functionality, much to the approval of London’s cabbies. Ask Grange what or who in the world he admires most these days and he nods to the Japanese, particularly with regard to architecture: “Housing design in Japan I find thoroughly uplifting because it shows the variety of ways of looking at a house, mostly to do with its place in the landscape. Japanese architects are world leaders at breaking fresh ground.” Ask him what was the brief that got away, what he would have loved to have designed given the

opportunity, and after a moment’s thought, he responds, “The bus. I’d have loved to have had a go at the London bus.” Kenneth Grange freely admits to a constant compulsion to design: “Can’t stop the thing. Rather annoying for my wife who’ll regularly find me at the drawing board at three in the morning.” Does he ever wish he could relax? “No, never!” In his eighties he may be, but this is a man who found his forte young and whose fervour to make things better has never diminished, much to the benefit of us all. He’s still at it now - working on personal projects (currently renovating his house), independent commissions, or the latest model for Anglepoise, and I wouldn’t be in the least surprised if Sir Kenneth Grange doesn’t go on to add the bus to his long list of British design icons.

BIOGRAPHY Sir Kenneth Grange was born in London in 1929. He attended Willesden School of Arts and Crafts, and soon after graduating landed a job at an architect’s firm, which he credits as the most formative period of his life. “I’d come from a very happy and very normal working-class background – brown and cream and tassels –when suddenly I was in this incredibly modern environment, all white, flashes of colour, modern buildings and products. I suddenly understood what architecture meant.” Following National Service, where he worked as a technical illustrator, he then worked in several architectural offices, before setting up his own studio in 1956, building it into a large practice specialising in product design. From there, Grange worked with many well-known names including Kodak, Kenwood, Wilkinson Sword, and Parker before going on to found Pentagram with four partners in 1972. Grange retired from Pentagram in 1997, was made Design Director for Anglepoise in 2003 and continues to work independently for a number of clients. Twice winner of the Prince Philip Designers Prize with a string of Design Council Awards to his name, Sir Kenneth Grange is a Royal Designer for Industry, Gold Medallist of the Chartered Society of Designers, holds six Honorary Doctorates including at the Royal College of Art, where he is a visiting professor, and an FX Lifetime Achievement Award. In 1983, the V&A staged a oneman show of his work. Grange was similarly honoured in Tokyo in 1989 and again at the Design Museum ‘Making Britain Modern’ exhibition in London in 2011. In 1984, Grange was appointed CBE and in 2013 he received a knighthood for services to design.

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PHOTO: COURTESY OF MOSEVIC

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Jack Spencer’s cast-iron determination is the driving force behind Mosevic’s exclusive sunglasses and phone cases made from recycled denim. Words by Fiona McGowan.

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ows of faded blue spectacle frames stare down from the wall as I stride up the bare wooden stairs at the back of a freezing workshop. The cold emanates bitterly from a concrete floor below. Tucked above the big workspace is a spacious office that looks like a techy design business – all big Mac screens, a large table scattered with a few half-finished iPhone cases, and a (not very effective) wood burner. I keep my coat on and cup my coffee in chilly hands. Jack Spencer – or more accurately, Jack Mosevic Spencer – runs his sunglasses and phone-case design business from a small industrial unit in Ponsanooth, north of Falmouth. His products are made from recycled denim. Jack’s diffident attitude belies a young man with a cast-iron determination and an inventiveness that would have made his Viking ancestors proud. I pick up a prototype phone case. It is as hard and rigid as plastic, and smooth to touch. Yet it is still very clearly made from denim – not some graphic mimicking the fabric, but the real thing. Examine the edges and you can see the layers of fabric that make up the structure. It looks sturdy, and Jack tells me he has tested their resilience: “I hit them with hammers. I did try driving my car over them, but that was a bit too much,” he grins wryly. Why did he choose denim, I wonder. Jack speaks of his journey to producing the exclusive shades and classy phone cases like the inventor he is. Every step he took seems agonisingly painstaking to someone with a less single-minded drive. After graduating with a degree in 3D Sustainable Design from Falmouth University, and inspired by his passions of snowboarding and kite surfing, he began designing boards for land-boarding (“Like kite surfing, but on land,” he explains). Learning to use glass fibre inspired him to experiment with different layers of fabric. Luckily, he says, he was living in a shared house with a large garden, so he could tinker to his heart’s desire, when he wasn’t earning a living working freelance in computer-animated product design (CAD). Realising that making land-boards and developing ski bindings was not going to work on a small scale, Jack decided to apply his skills to making sunglasses. “I

thought: there’s no point making sunglasses like all the other sunglasses. There are no new shapes. But what if I could make them out of something else…” Denim was the first material that sprang to mind. “I went to the charity shop and bought some jeans. I cut them up and did a test.” Layering up the denim, he poured resin over the cloth, and when it hardened, it formed a brick-like chunk of material that was rock solid. That was just the beginning. Acquiring a workshop in a corner of a brewery, Jack set about making moulds for sunglasses. It has taken him literally years of trial and error to come up with the prototypes and develop them into the finished products he sells today. He built a computer-controlled cutting machine from pieces he bought online: “It took me well over six months to get it working. It was so frustrating. I didn’t know what I was doing,” and then took months more to learn how to use it (“and I’m still learning” he says, ruefully). He used the machine to cut moulds out of big plywood sheets, and spent many hours getting them just right for the shapes he wanted. He worked out that the optimum number of layers of denim for one pre-cut block of ‘solid denim’ is 15. He discovered that using resin when it is warm is a nightmare: “It starts off as liquid, but as the chemical reaction kicks in, it begins to go gloopy. But when it’s warm, it sets faster,” he explains, recounting summer days spent racing against the clock to make sure the layers were free of air bubbles and packing them into the moulds before they hardened. Trying to create the right finish for the glasses and phone cases has been an ongoing challenge. From building a spinning barrel filled with little beads, using kids’ bicycle wheels, to working out how to make a tougher surface using wax, Jack seems to be addicted to the process of invention. I wonder whether he was ever tempted to give up and go back to the regular income from CAD work. “I do enjoy the experiments,” he insists, “But the whole time, I’m thinking ‘I wish these issues were solved’. I know the process to solve them involves doing something again and again and again. What’s important to realise is that the whole time, I was getting somewhere. There were milestones. It sounds silly, but just getting a lens into a frame was a big result.” MANOR | Late Spring 2018

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I do enjoy the experiments. But the whole time, I’m thinking ‘I wish these issues were solved’. I know the process to solve them involves doing something again and again and again. What’s important to realise is that the whole time, I was getting somewhere.

PHOTOS: REMY WHITING

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PHOTO: COURTESY OF MOSEVIC

Although he didn’t set out to make recycling a factor of his sunglasses, Jack enjoys the fact that he sources the jeans from charity shops. “I reckon I get about three pairs of sunglasses out of one pair of jeans.” He currently makes a few hundred pairs of sunnies in a six-month period, formed into five different styles. Moving into making iPhone cases has taken him back to the drawing board, literally producing cases one-by-one – but now he’s ready to get a production line going, and he’s applying his newfound waxing techniques to the sunglasses. While there are other denim sunglasses on the market, says Jack, he is confident that his put the others in the shade (so to speak). Comparing them to the denim offerings of Diesel and Ray-Ban, he says that Mosevic frames are carefully curved – essentially hand-crafted for the best ergonomic fit: “I’ve put a lot of effort into the inside and the outside finish. Ray-Ban and Diesel haven’t put any effort into rounding off the edges. The sharp bits hurt your ears. With mine, where it touches your ears, they’re completely rounded.” He hesitates, then adds quietly: “Not to be blowing my own trumpet, but my frames are just better.” He describes how he embeds wire in the arms of the glasses to give them strength, then heats them up and bends them so that they have a better shape for the ears. The fronts have to be heated too, to insert the lenses – as they cool, the lenses maintain the shape of the frame. While he knows that ‘recycled’ is the ultimate marketing bon-mot, Jack is wary of bandying the ‘eco’ label around. The lenses are made of plastic, he points out, and the resin he uses is synthetic (a polycarbonate), although he is planning to switch to bio-resins within the next couple of months. In the end, he says, he’s not sure how much people care about sustainability when they are choosing fashion eyewear. His glasses are certainly at the higher end of the market: costing around £150 a pair, they are no throwaway style fad. His sunglasses have caught the eye of a few big brands – he’s done collaborations with Wrangler jeans and with Vicunha, a Brazilian company that makes 100% sustainable denim. Their fabric is recycled and recycled again, and the rest gets fed to animals (yes, really – cotton is, after all, just another plant). Working with brands like this doesn’t just give Mosevic a good name, it encourages him to experiment with other aesthetic ideas, such as inserting a stripe of red denim in the middle of the 15 layers, or adding a metal detail to the frame. As he tosses some battered prototypes onto the work-bench, I witness just some of the “fiddling about” that he has been doing over the months and years. Solid red or green denim arms, striped layers of blue, green, white and red. It seems as if the inventing will never end for the man behind Mosevic.

PHOTO: ARTUR TIXILISKI PHOTO: EILISH COOLING

mosevic.com

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An Englishman in New York “Years ago I used to have a map of Manhattan on the wall in my house. The grid layout of the streets had always fascinated me and at some point in my life I realised that cities were what moved me. I am clearly a city boy at heart. On holiday, I am happiest in a city with a camera; I don’t do mooching on beaches unless I’m about to get into the water.

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Hudson River, Manhattan

“My partner Karin made this trip happen. 2017 had been a difficult year, having lost my younger sister earlier in July. Later in the year Karin asked me: ‘If you found yourself to be unwell, like Lesley had been, and there is one place in the world that you would like to visit, where would you go?’ ‘New York,’ was my answer, which I think even surprised me a little.” Andrew Butler, photographer MANOR | Late Spring 2018

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Empire State Building elevator

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Times Square

Sixth Avenue – Avenue of the Americas

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Paris Blues Jazz Club, Harlem

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NYC Subway, late afternoon

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Wheelie on Sixth Avenue

The Cage, Greenwich Village

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Sixth Avenue (from Central Park)

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Eisenberg’s Sandwich Shop, FIfth Avenue

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Broadway-Lafayette Street subway station

Roosevelt Island Tramway

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Winter’s Eve at Lincoln Square

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W 51st and Fifth

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E 57th and Lexington

ANDREW BUTLER Andrew Butler is a commercial photographer working nationally from the south-west of England, he specialises in headshots – both studio and location based – as well as engineering, construction and motoring commissions. andrewbutler.net instagram.com/andrewbutlerphoto

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PHOTO: JON ROBINSON PRATT

Studio Illicit: Emma Hitchcock, Jake Hitchcock, Amy McGill, Joe Ings

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Career trajectories can be fascinating. Jess Dunbar talks to Studio Illicit, based in Exeter’s Fore Street. Web designers with a difference, they boast quite a history…

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PHOTO: DAVE GOODCHILD

At Exeter’s Cavern: from left Amy, Jake and Alex Maynard on drums

PHOTO: KATIE P

t’s the autumn of 2005 and Exeter College graduate Jake Hitchcock’s on stage at Birmingham’s NEC arena, performing to 25,000. His band Talula is support act to Teignmouth’s greatest export: Muse. By 2008, he’s in a new group, with fellow Devonians Amy McGill and Joe Ings, and signed to indie label LockJaw. What follows is a hectic two-year period of touring and recording throughout the UK. So how is it that, today, I find all three of them installed in seriously sharp Art Deco offices in the heart of fashionable Fore Street, now co-directors of one of Exeter’s most creative digital agencies? Turns out it’s quite a story. Jake, Joe and Amy have been hanging out in Fore Street since they were Exeter College students back in the 90s. McCoy’s Arcade was the venue of choice even then, for its café and indie clothes shops, while nights were spent in the Cavern Club off Queen Street. But it was a chance meeting in the 00s when their bands were under the same management that first brought the three together. After forming a punk rock outfit called Bull See Red in 2008, the rock’n’roll lifestyle really took off. But recording an album and two EPs, followed by an intense touring schedule, was a challenge. “When we were signed, it felt as if the music career was really happening at last,” Jake tells me. “But life on tour was tough. We were sleeping in Travelodges, on friends’ floors, the back of the van – anywhere we could find – and at the same time, playing and partying hard. We were shattered, my first child had just been born and we just all felt it was time to settle down a bit – get a ‘real job’.” On meeting the Studio Illicit guys at their McCoy’s Arcade address today, the transformation is complete. Yet there’s no mistaking a distinct rock’n’roll vibe in their

Supporting Muse at Westpoint

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For a few years we really tried to play the corporate game and project the sort of image we thought people wanted in this business. But over the last year we’ve felt differently.

PHOTO: MATT AUSTIN

From left to right: Amy McGill, Joe Ings, Kevin Ryser, Jake Hitchcock, Dan Whiteland, Rob Lindsey, Luka Stephenson

office, with its black walls, urban art collection, and the ubiquitous table football. So how have they reconciled their music past with corporate life? Jake says it’s all about the approach. “We actually launched the business off the back of our recording studio but fell into design work for bands. Once we realised websites were highest demand, we opened in 2011 as Illicit Web Design, with my wife Emma joining to keep things running smoothly. For a few years, we tried to play the corporate game and project the sort of image we thought people wanted in this business. But over the last year we’ve felt differently.” After a big rebrand, Studio Illicit has gone back to its roots to provide something a little different in the 56

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world of digital services. As Amy says, “We started by getting as far away from our old life as possible, but we’ve realised that just wasn’t us. What’s more, being exactly the same as everyone else in the market is never a great strategy. We’ve been doing this long enough now to have confidence in who we really are. By doing that, we’re offering something unique: an innovative, artistic agency that isn’t afraid to be different.” Studio Illicit’s holistic, whole-package approach has attracted a series of interesting projects in recent months, with the launches of up-and-coming foodie ventures like Roastworks, Little’s Coffee and Hillside Foods, alongside a new strand of London-based clients using Illicit’s creative services to “rise above the noise”.


feature provide workspace for new enterprises to help them get their feet on the ground.” And so Studio Illicit find themselves front and centre of a different stage: a burgeoning creative scene in the indie hub of Exeter. Guitars and amps have moved back in, techno is playing through the offices, and eight hot-desk office spaces are opening shortly. Who knows what new home-grown talent will emerge from Fore Street next? studioillicit.com

PHOTO: JONATHAN TAYLOR-HORNE

As Joe points out, location shouldn’t limit creativity. “We’re excited to be working with film production company Kingdom Creative, media buyers DCT8 and the Earth Booking Agency in London right now. It’s great for us as well as the West Country to be working further afield. Creativity should always be about looking outside your own bubble, so adding big national names to our books challenges us to compete with the main players – which benefits all our clients.” But Studio Illicit aren’t just concerned with their own success. Thanks to some serious landlord investment in developing the rest of their building, Studio Illicit are creating an exciting new hothouse for emerging local talent: Foundry 17 is a creative community – established by Illicit and digital marketing company The Click Hub. Thanks to their vision, the beautiful Art Deco arcade is becoming home to a series of offices and desk spaces ideal for budding creatives. Jake says, “Creating opportunities in this area matters to us because it’s been our home right from the start. When we began working here, Fore Street was in a very different shape, but we’ve always seen past its unrefined edges and into its amazing potential. Thanks to a collective of incredible independent shops and businesses, Fore Street is now thriving again and we wanted to

Tom Brown, Joe Ings, AmyMcGill, Jake Hitchock

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Our cabins will playfully enhance the way you live. Design

The Framing Yard, East Cornworthy, Totnes, Devon, TQ9 7HF 01364 705057 hello@lifespacecabins.co.uk lifespacecabins.co.uk

Planning Project Management Build 58

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Working in partnership with


Culture Tony Lattimer | Devon Community Foundation South West must sees | Worth making the trip for | Staying in

Herring Gulls in Flight – Mounts Bay by Sara Dudman Showing in ‘Coastal Rhythms’ exhibition of paintings and ceramics by four acclaimed artists inspired by Cornwall, until 9 June at Porthminster Gallery, Westcott’s Quay, St Ives TR26 2DY. porthminstergallery.co.uk

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West Penwith-based sculptor Tony Lattimer has won numerous international prizes and exhibited all over the world. Author Kim Devereux is penning a novel about a potter, and has spent many hours in conversation with Tony to help flesh out the art and philosophy of her protagonist.

PHOTO: MICHAEL UVA

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culture

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PHOTO: CATHY MILLER

Tony Lattimer

Good ceramics is about having that swelling, like fruit. All things in nature, by the advent of being alive, are generous. Life is big; it’s not mean and tight.

PHOTO: TONY LATTIMER

pull on an old Victorian bell and peer through the frosted glass and watch Tony Lattimer’s tall silhouette approach. Welcoming me into his home, Tony ushers me into a kitchen filled with an eclectic mix of paintings, handmade pots and reclaimed cupboards that have been transformed into the rarest of things: kitchen units with soul. My mission today is to understand his development as an artist, from a boy growing up in a working-class family to a seasoned and internationally recognized artist whose abstract works can move people to joy and tears. Asked to pinpoint a particular moment from his childhood in the Midlands, he gazes into the distance. “One thing I remember very clearly was finding a bird’s nest. It was a thrush’s nest – a cup of woven grasses. Thrushes line the inside with a mixture of mud and sawdust-like rotten wood,” he explains. “They sit in the nest and wriggle around using their breast and body and it becomes an incredibly pure, smooth cup. And within it there are four sky-blue eggs. It’s a beautiful, beautiful thing. And I remember that it mattered to me far more than Meccano sets or toys.” Tony became interested in what makes a form beautiful by seeing shapes in nature – in the same way that one might walk along the beach and appreciate a particular pebble. He did not dare tell his parents that he wanted to go to art college, so he attended teacher training college, albeit a very progressive, experimental one, in the hope of doing some painting along the way. However, when a potter was appointed to work at the college, he tells me, “I became obsessed, spending all day, every day, making pots. I learned the hand-making processes of coiling, pinching and using molds.” Tony leans back in his chair, recalling his experiments with different glazes, including wood ash. “It takes a lot of trees to make a bucket of wood ash. A friend and I chopped down most of the trees in our area. Eventually, we chopped down the landlady’s privet hedge. We thought it would be helpful to ‘refresh it’.” For some reason, the landlady didn’t appreciate the gesture. Tony smiles at the memory: “Its ashes resulted in a lovely blue-green glaze. We were really pleased with that.” Tony graduated with distinction. When he expressed his doubts about the value of the qualification compared with a distinction from art college, his lecturer replied, “The thing with you, Tony, is that you have a builtin, instinctive understanding of form – and you can’t teach that.” Tony explains that a satisfying shape has an outward, expansive, generous quality: “Good ceramics is about having that swelling, like fruit. All things in nature, by the advent of being alive, are generous. Life is big; it’s not mean and tight. There’s hurt and suffering, but the expansion of flight, the growth of a tree or a butterfly – they’re full of energy and life.” Tony spent the next seven years teaching, without the time or adequate facilities to satisfy

East Meets West Exhibition, Skibbereen Arts Centre, Ireland

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PHOTO: KEVIN O’FARRELL

West Meets West Exhibition, Skibbereen Arts Centre, Ireland

Tony’s sculptures encapsulate something of what it means to be a breathing being in space. And despite being static, they always seem on the cusp of movement.

PHOTO: TONY LATTIMER

Above Sennen Cove

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his unquenchable desire for making pots. After getting married and having children, he and his first wife decided on what was then an unconventional arrangement. His wife would go out to work while he stayed at home, looking after the children and working as a potter. Tony adopted throwing as a working method in order to produce a sufficient output. He had a workshop next to Jane Austen’s house in Chawton. At one point, an advisor for small industries came to watch him make pots. The visit resulted in an unintentional epiphany: “After I made four, I squashed two,” remembers Tony. “The advisor asked, ‘What did you do that for?’ I told him that they were terrible forms. ‘I don’t care what they were,’ he said, ‘they were worth a pound each.’” At that point, Tony realized he wasn’t prepared to compromise on quality, under any circumstances. Tony continued to experience a conflict between his desire to use painstaking hand-crafting methods to make exquisite shapes and his sense of duty to derive a decent income from the hours spent in the workshop. He hands me a photo of himself at the time: the young man in the photo looks troubled. However, the man sitting in front of me has an open and symmetrical face that exudes inner contentment. He shows me photos of the pieces he made then. “I spent ten years making shit.” They are extremely well-thrown pots, but they are a world apart from the six-foot sculptural pieces he has made in the least two decades. I cannot imagine how one could lead to the other. He describes his divorce, and how, years later, he met his wife Cathy – they talked about pottery for most of their first date. It’s a good opportunity to ask him about love. He replies, “Love is not sloppy and it’s not easy. It’s incredibly hard but it has that genuine quality that you feel between yourself and another. When you’re being honest there is not a gap between you. People say you have to work at love, that makes it sound horrible. I think about working at love in the same way as I work towards being articulate with my own work. But there are no guarantees with either.” Tony and Cathy set up a business selling potpourri and fragrance-based ceramics together in Surrey, which enabled Tony to start making sculptures. The pieces were inspired by natural forms which derive from water; the scouringout of mountains and valleys by the flowing form of water or ice. “But,” he adds, “it was Cathy’s cancer scare that changed everything. I was 52 and I realized afterwards that compared with what we’d just been going through, I couldn’t be worrying about whether I was wasting clay. It was a big release. I went from needing to justify my work to just doing it. You just do it!” He describes the process of making both smaller or larger coiled pieces similar to Duchamp’s famous description of drawing as taking a line for a walk. Tony


culture does the same in 3D. A sausage of clay that is coiled, round and round, making the walls of the pot. It is similar to the way plants grow in a spiral, outwards, expanding. “Instead of taking a line for a walk, it’s taking a string of clay for a flight.” I am reminded of the thrush’s circular movement in his nest and the resulting beautiful form. However, there is another dimension to his work. There is a close relationship with the human figure. But his work is not derivative. Tony is deeply interested in us humans as living containers. At a maximum height of six feet, his works are what he describes as “a generous human scale”. When I encounter them, it’s a feeling of communing. It’s as if, despite being abstract, they encapsulate something of what it means to be a breathing being in space. And despite being static, they always seem on the cusp of movement. So perhaps it’s no surprise that his works have started to play a central part in the novel I am writing. It’s as if they have a life of their own. I ask Tony what he would ask a wish-fulfilling fairy: “I just wish for my work to be available to anyone who wants to see it.” tonylattimer.com PHOTO: CATHY MILLER

Tony Lattimer’s works are on permanent display at Tremenheere Sculpture Gardens in Penzance and visitors are always welcome at his studio (please contact tony@tonylattimer.com for directions). Tony at work in his studio near Land’s End

PHOTO: STEVE TANNER

Pregnant Silence

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Devon Community Foundation connects philanthropists with grassroots organisations and charities across the county, and yet it’s something of a best-kept secret. Belinda Dillon meets the team helping donors make the most of their money.

W

hen Sally Wace’s husband sold his business three years ago, they knew they wanted to do more with the money than simply invest it; they wanted to do some good. “My background is in health journalism, so I knew that mental healthcare provision was suffering from the shortcomings in services, particularly for young people,” says Sally. But although she had contacts through her work, Sally had no idea how to find suitable beneficiaries, and the idea of setting up a Trust through the bank felt too hands-off. “Then our accountant

PHOTO: JOE BLATHERWICK PHOTOGRAPHY

Youth Arts and Health

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mentioned Community Foundations – I hadn’t even heard of them – and here we are: they find the deserving causes that match your aims and values, and they manage the administrative and legal side for a much smaller fee than the banks do. Devon Community Foundation (DCF) helped us to create a bespoke fund that focussed on young people, mental health and wellbeing; it’s the perfect vehicle for us.” Community Foundations (CFs) arrived in the UK 40 years ago from the US, where philanthropy has long been a way of life, particularly in the arts. First set up in Cleveland, Ohio in 1914 by banker and lawyer Frederick Goff, whose


culture vision was to pool the charitable resources of Cleveland’s philanthropists into a permanent endowment for the benefit of the city and its residents, the idea has since grown into a national, and international, network. There are now 46 CFs across the UK, donating £77 million in grants every year; in the 22 years DCF has been operating from its base in Tiverton, it’s given away more than £11 million, and grown an endowment fund of nearly £7 million. And yet hardly anyone has heard of it… “We are something of a best-kept secret,” says Scott Walker, DCF’s Development Director, “mainly because we’re the infrastructure that sits behind and manages the giving. Our strengths are word of mouth, and looking at ways of connecting the right people – we help philanthropists achieve maximum impact in their communities. And we’re eager listeners: if a donor comes to us and says they want to do something with £300,000, I won’t convince them to put it all in Devon because that’s where I’m based. We’re the vehicle to distribute the money; we say, give with us or give through us, via family funds or trusts, for instance. If someone wanted to fund arts and culture in Exeter, we can help them do that. If we’re not the right outlet, I’ll use my connections to find it.” That they’re relatively unknown is perhaps due to the fact that they adhere strictly to the ethos set out by Goff, who wanted CFs to be staunchly local, and to make communities more resilient. CFs focus on the small organisations and charities that hold vast expertise about what precise issues affect people in their area, but which often operate under the radar, so to speak. Getting funding can be difficult, as public sector commissioners generally favour larger organisations or partnerships, as these are seen as less complicated and more efficient to communicate and contract with – which is where CFs step in. For Sally and her family, DCF’s expertise proved invaluable in a landscape where there are so many deserving organisations, it could seem overwhelming. With Scott and the team’s advice, the Wace family were introduced to Exeter-based Youth Arts & Health Trust, which provides arts therapy for young people experiencing disadvantage and mental health difficulties, particularly those vulnerably housed and not considered severe enough to access CAMHS (Child and Adolescent Mental Health Services). For Sally, it sat well with their aims; for YAHT, it was a welcome boost. “Our grant from DCF was essential in enabling us to confidently launch our arts therapy service,” says arts therapist Laura Blatherwick, YAHT’s founder. “We opened a new therapy room, and were able to cover vital costs like room rent, clinical supervision and volunteer expenses. Setting up a charity from scratch is daunting, and that’s when the help of funders and supporters really comes into its own. It’s been hard work and it’s so worthwhile now we can see the real benefit we are

Devon & Cornwall Food Action

PLYMOUTHART.AC.UK

OPEN DAYS – 16 JUN / 29 SEP / 20 OCT

RENOVAT MOODY BA (HONS) 3D DESIGN CRAFTS

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Because we custom-build a fund with the donors, it can grow and evolve as their concerns change.

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Moor Trees

LandWorks

PHOTO: JOE BLATHERWICK PHOTOGRAPHY

making to not only young people’s lives but that of the whole family, too.” For 11-year-old Lauren (not her real name), YAHT has helped her to develop coping mechanisms, meaning she no longer needs one-to-one behavioural support. For her parents, it’s resulted in getting their daughter back: “We’re looking at a completely different Lauren. She had very basic support from CAMHS, and was really not well. Lauren’s teacher, who’d worked with her when she was distressed, struggling with friends and being bullied, saw her again and said, ‘It’s like a new Lauren, who’s enthusiastic, interested, clever and funny.’ This fills a vital gap because it’s about saving children before they get to a really bad place. And it’s wonderful to have Lauren back. It’s been clever using the arts. We wouldn’t have been able to access any help if this hadn’t been funded.” DCF isn’t a traditional arts and culture funder, but they regularly fund the use of it at a community level, be that supporting a boxing club that gives young people a focus, thereby helping to reduce local crime, or bringing in choreographers to run street dance classes. Understanding the importance of a creative outlet to wellbeing is why Sally and her family have funded a number of groups that use the arts as part of their projects. “It can act as a distraction from the challenges in life, or as a way of communicating what’s bothering you,” she says. “Shared creative activity can also help to build confidence, and only then can you start to let go and explain what your difficulties are. Talking therapies in a clinical setting are all very well, but they can be very threatening for some people.” As well as connecting donors to projects that fire their passions, DCF also supports grassroots organisations to grow, so they’re in a position to apply for funding. “We’re always open to funding applications – there are no deadlines because that’s important for groups run by volunteers,” says Scott. “Stage one in the process is where we work out if they’re fundable. If they’re not, we talk to them about it and why, and help them get it right. It’s usually a structural thing, the basics that people who start off might not know, such as having a constitution, the right sort of bank account. If they get through that stage, we give them six months to get an application together.” For Sally, going through the applications is an important part of the process: “When DCF presents us with a selection of projects, we already know that they’re worthy recipients, because DCF has done all the work. We look at the applications as a family, my husband and I

Youth Arts and Health


culture

Hikmat

and our three children, and we’ll vote. Most of the time we’ll say yes, but sometimes if it’s slightly outside the box, we might part-fund it. Occasionally we decide it’s not one for us…” “People go on a journey,” says Scott. “They often have fixed ideas to start about what they’ll fund, then life experiences make them think about other causes. Because we custom-build a fund with the donors, it can grow and evolve as their concerns change.” And the small organisations that DCF supports go on a similar journey, growing and evolving in the process. “A success is when a small group comes through us, then goes on to become bigger, and then can apply for larger grants elsewhere,” says Scott. “One project we supported at the beginning trains former service-people to work with troubled kids, and now they’re being funded by Comic Relief. That’s a success to me. It makes us feel like proud parents.” Sally and her family’s relationship to giving has also grown through their relationship with DCF. “Our three kids are in their early 20s, and their involvement launches them on a philanthropic journey, gets them thinking about others, and it’s great that they can start to look at how they can support other people in the community as well,” she says. “And as things progressed, we realised that we’d also like to help care-leavers, and that became part of our fund. I’m now a magistrate, so helping ex-offenders is an area we’re looking at. The parameters of our fund are expanding, and DCF is the perfect vehicle for us to do that. I like them so much I became a trustee.” devoncf.com

Pete’s Dragons

DCF ENABLES ITS DONORS TO SUPPORT MYRIAD CAUSES ACROSS THE COUNTY: LandWorks works with people on day release from HMP Channings Wood and from the local probation services, offering training and work experience in practical skills, life skills and socialisation. £3,500 funds a course of 12 weekly ceramic workshops, helping to improve emotional wellbeing and reduce re-offending – 93% of their dayrelease trainees gain employment. In 2015, after her 24-year-old brother took his own life, Alison set up Pete’s Dragons, a suicide bereavement support service based in East Devon. The Wace Family Fund invested £2,000 to help provide essential support for nearly 100 people suffering from bereavement, helping to build emotional resilience going forward. Moor Trees aims to provide opportunities for local people and communities to bridge that gap between urban and village life and the surrounding countryside. It received £2,000 from the Earth to Earth Fund to help train volunteers in techniques to restore and recreate broadleaf woodland, helping to increase employability skills and prevent isolation.

Hikmat supports people from different minority ethnic backgrounds living in Devon. Funding from the Foundation helped to support unaccompanied young refugees and asylum seekers facing social isolation and lack of peer support to meet with others and empower them to engage in activities within their local community. Devon and Cornwall Food Action rescues surplus food from retailers, growers and producers and then redistributes it to other charities who work with some of the South West’s most vulnerable communities. A grant of £1,524 from the Foot Anstey Foundation has helped to ensure that the project can continue to support people like Chris (not his real name), an ex-serviceman suffering from Post Trauma Stress Disorder (PTSD), who’d recently moved into new accommodation. A food parcel supplied from DCFA enabled him to take the time needed to adjust to his new surroundings without worrying about the availability of supplies.

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culture South West must sees...

Present not absent Finnish artist Jarno Vesala makes installations, which often consist of empathy-inducing, human-like sculpture, sound and projected image; immersive environments that are perplexing, mysterious and unsettling, and which play with the act of perception, memory and illusion. This latest exhibition, ‘Photograph Not Taken’, features work that explores these concepts, as well as Vesala’s recurrent themes relating to isolation, loneliness, exclusion and loss. 11 May – 16 June at Anima-Mundi, Street-An-Pol, Cornwall TR26 2DS. anima-mundi.co.uk COURTESY JARNO VESALA AND ANIMA-MUNDI

New Shoes, projection and sound installation

© BBC BLUE PLANET II

Sounds of the sea If David Attenborough’s Blue Planet II series is one of those telly events that makes you slap your knees and shout, “THIS ALONE makes the licence fee worthwhile”, then get along to hear underwater sound expert Professor Steve Simpson share secrets and audio clips from his experience as series academic advisor. Held in association with Intrepid Explorers and the University of Exeter’s Global Systems Institute, ‘Underwater Sound in Blue Planet II’ will not only provide fascinating information about the making of the show, but is likely to be a completely mesmerising and immersive aural experience. 3 May at Marine Theatre, Church St, Lyme Regis DT7 3QA. £5 advance / £4 advance Theatre Friends / £7 on the door. marinetheatre.com

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Now in its third year, Art Week Exeter brings a plethora of visual treats to the city. There’ll be Open Studios artists exhibiting at various venues, and the Phoenix will be hosting work by digital artist Layla Curtis, Turner Prize-winning photographer Wolfgang Tillmans and political agitators kennardphillips – as part of ‘Another Spring’ curated by Dr Jean Wainwright. New this year is the Contemplation Venue at the tiny St Martin’s Church on Cathedral Green, where you can see sculpture from the Royal Academy’s latest academician, Peter Randall-Page, and hear Jem Finer’s Longplayer sound installation (a 1,000-year-long musical composition, which began playing at midnight on 31 December 1999 and will continue to play without repetition until the last moment of 2999, at which point it will complete its cycle and begin again). Talks and workshops include a University of Exeter-sponsored discussion event on non-human scale, and the opportunity to study with international logo designer Christophe Szpajdel (the ‘Lord of the Logos’), who designed Rihanna’s heavy metal logo in 2016.

TOM JONES L IV E photo: ERICK BUSTAMANTE BELAIR (@THECIRCUSPHOTOROCK)

AWEsome art

22-28 May at various venues across Exeter. See artweekexeter.org.uk for full details.

SUNDAY 15 JULY POWDERHAM CASTLE

BUY ONLINE AT LHGTICKETS.COM r t by kennardphillipps

PRESENTED BY LHG LIVE | TOMJONES.COM MANOR | Late Spring 2018

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IMAGE COURTESY OF LAURE PROUVOST AND GRIZEDALE ARTS

Last chance to catch... ‘The Land We Live In – The Land We Left Behind’ explores the contradictory nature of society’s relationship to the rural. The presentation features more than 100 international artists and creatives, as well as works on loan, by artists working from the 1500s to the present day, including Paul McCarthy, Beatrix Potter, Carsten Höller, Laure Prouvost, William Holman Hunt, Samuel Palmer, Frank Lloyd Wright, Marcus Coates, Fernando García-Dory, Mark Dion, Roni Horn, Aaron Angell and Mark Wallinger. With protagonists ranging from 10th-century anchorites to 21stcentury urban ruralists, the exhibition tells the story of humanity’s evolving connection to the land, our perception of and reliance upon it. Until 7 May at Hauser and Wirth, Durslade Farm, Dropping Lane, Bruton, Somerset BA10 0NL. hauserwirth.com

Fields of dreams Paying homage to the gallery’s rural setting in East Devon, ‘Working the Land’ at Honiton’s Hybrid Gallery revolves around the activity of agriculture. Somerset-based Debbie Lush paints the countryside shaped by farming, and her colourful, bright work evokes a sense of joy in the landscape. Scottish artist Alison Stewart’s work takes its starting point from observational drawings of prosaic subjects such as tools or chairs, which frequently refer to the world of work or making that is primarily physical in nature; her paintings, such as sheep shears, rakes and oil cans found on her family farm, have an impressionistic, dreamy quality. Tony Williams’s gentle views of fields and animals complete the picture. Debbie Lush, Orange Field, 30 x 30cm

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26 May – 16 June at Hybrid Gallery, 51 High Street, Honiton EX14 1PW. hybrid-devon.co.uk


culture

Patrick Heron at The Tate

19 May – 30 September at Tate St Ives, Porthmeor Beach, St Ives TR26 1TG. tate.org.uk.

© ESTATE OF PATRICK HERON. ALL RIGHTS RESERVED, DACS 2018

Tate St Ives’ retrospective exhibition of the work of British artist Patrick Heron will be the first major show of his work for 20 years. The exhibition spans over 50 years of work from 1943 to 1996 and shows not just the scope and scale of Heron’s work, but his attachment to colour. Born in Leeds, Heron spent his early childhood in Cornwall, returning regularly until he moved permanently to Zennor in 1956 at the age of 36. He is credited as one of the most significant and innovative figures in 20th century British art and a core member of the famous St Ives ‘school of artists’ in the 1950s and 60s. The exhibition will feature 45 paintings from public and private collections around the world in the new top-lit gallery at Tate St Ives, and marks the first opportunity that works of such size have been brought together in Cornwall. Big Complex Diagonal with Emerald and Reds : March 1972 - September 1974 Patrick Heron, 1974, oil paint on canvas, Collection of Katharine Heron and Susanna Heron

Porthminster Gallery show celebrates Patrick Heron

The award-winning Porthminster Gallery in St Ives is celebrating the rich abstraction of Patrick Heron’s art with a selling show of ten vibrant rare signed silkscreen prints by this great British modern master of abstract expressionism. The exhibition complements Heron’s retrospective show at Tate St Ives showing from 19 May – 30 September. Patrick Heron (1920–99) was one of the most important British artists of the twentieth century. His rich artistic legacy spanned the 1970s – the period that the artworks showing at the Porthminster Gallery date from. In this phase of his work, Heron was fascinated with contrasting – and complementary – colour associations, which often manifested as ‘jig-sawed’ components of vivid interlocking colour shapes. The ten examples for sale include the gloriously sunny Blues Dovetailed in Yellow: April 1970, and the uplifting ‘jazziness’ of Six in Light Orange with Red in Yellow: April 1970, (both pictured). Works by modern St Ives and British artists are also available, including: Barbara Hepworth, Peter Lanyon, Ben Nicholson and Victor Pasmore. Also showing is a show of Cornish coastal landscapebased paintings by Angela Charles and Sara Dudman, with contemporary ceramics. ‘Patrick Heron: Prints from the 70s’, 12 May – 9 June at Porthminster Gallery, St Ives, Cornwall TR26 2DY. porthminstergallery.co.uk

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Speaking out “I am that mixed race kid, like 50/50, on the fence, lukewarm, in-between maybe. Trust me, around here I’m about as black as it goes…” Jazmin feels different. She doesn’t want to stay in the village. She doesn’t want to have a baby. She doesn’t want to laugh at racist jokes in the local pub. She’s got to get out… Following its world premiere at the Edinburgh Festival Fringe 2017 and a run at London’s Soho Theatre, Half Breed (shortlisted for the Tony Craze Soho Young Writers Award and the Alfred Fagon Award, and nominated for Best New Play in the 2017 UK Theatre Awards) is Natasha Marshall’s semi-autobiographical dark comedy about finding your voice. 5-9 June at The Drum, Theatre Royal Plymouth, Royal Parade, Plymouth PL1 2TR. £15/£11. theatreroyal.com

Hayne raises the roof with a live music, arts and food fundraiser Hayne Devon, the preferred South West venue of Saloon Star, the band that Harper’s Bazaar lists as ‘the top party band’, and House and Garden name ‘the best band in the business’, will be holding a Middle-Eastern Feast cooked up by the award-winning Eran Hovav of Eran’s Kitchen followed by live music from the band themselves, along with much else besides: a silent auction of art, a live auction of escapes and experiences, an illuminated trail of Hayne’s beautiful walled gardens and a fully-stocked cash bar serving cocktails, fine wines and ales. 28 April at Hayne Devon, Hayne, Zeal Monachorum EX17 6DE. Tickets cost £60 per person plus booking fee. To book go to eventbrite.co.uk and input ‘Raising the Roof’ Devon. Overnight camping is available o f a e o oo a d all ofi go to Children and Youth in Crisis in Iraq. haynedevon.co.uk, 01363 82515.

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culture

The Exhibition Space ALCHEMY TILES

WHITEWATER GALLERY

Mel Chambers | 07768 193848 info@melchambers.com alchemytiles.com

1a The Parade, Polzeath PL27 6SR Tel: 01208 869301 whitewatergallery.co.uk

Being Deeply Loved ‘Being deeply loved by someone gives you strength, while loving someone deeply gives you courage.” Loa Tzu

Specialising in painting, print, sculpture, photography and ceramics by Cornwall’s leading contemporary artists. On show from 30 March to 4 May, North Cornwall Textures, an exhibition of ceramics and photography inspired by Cornwall’s dramatic north coast.

Bringing ancient 13th Century inlay techniques into a modern day era Alchemy Tiles individually hand carves, rather than paints, inspiring images, quotes and poetry into beautiful bespoke and unique creations. All held eternal in earth and time. Love Hares

Fissure by Paula Downing, 2018

CORNWALL CONTEMPORARY

THE SUMMERHOUSE GALLERY

1 Parade Street, Queens Square, Penzance, Cornwall TR18 4BU 01736 874749 | cornwallcontemporary.com Janet Lynch ‘JOURNEY Without a Map’ 11 April - 5 May - a solo exhibition of lyrical paintings by one of Cornwall’s best loved figurative artists. Janet has exhibited extensively at venues including The Royal Academy, Hyde Park Gallery and her paintings were recently exhibited in the 2018 influential Lynn Painter-Stainers Prize.

Market Place, Marazion, Cornwall TR17 0AR summerhousegallery.co.uk The Summerhouse Gallery is a beautiful, welcoming space showcasing the very best of Cornish art varying from the extremely established to the up and coming. Located only a stone’s throw away from the wonderful St Michaels Mount, we aim to create the perfect place to discover paintings, jewellery, sculpture and glass in a relaxed manner.

We also have a further two floors of mixed exhibition space. Janet Lynch, Bedroom Triogy III, mixed media, 60 x 50cm

Pottery by Neil Pinkett

THE BROWNSTON GALLERY

COOMBE GALLERY

36 Church Street, Modbury, Devon PL21 0QR 01548 831338 | thebrownstongallery.co.uk

Leading contemporary fine art gallery featuring local and national artists. ‘Human Endeavour’ - a new exhibition by acclaimed Marine Artists Anthony Amos, Tony Williams and Greg Ramsden. 18 May – 2 June Laid Up by Anthony Amos

20 Foss Street, Dartmouth, Devon TQ6 9DR 01803 835820 coombegallery.com

Indian Elephant, oil on board, H:88 x W:122 cms

James Stewart - solo exhibition ‘HERE’S ONE I MADE EARLIER’ An exhibition of new work of James’s favourite themes. Opens on Galleries Night: 25 May 2018, 6.00pm Runs until 18 June 2018

To advertise your gallery, exhibition, show or event here please email advertising@manormagazine.co.uk or call 07887 556447

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Worth making the trip for...

PHOTO: JUSTIN PIPERGER

Hand-painted poster saying ‘Everything for the full achievement of the 1979’s People’s economic plan’, 54 x 78cm, 1979, collection of Nicholas Bonner

Behind the curtain By turns fascinating and terrifying, North Korea hovers at the edge of consciousness like a constantly shiting cloud that we can’t quite get the measure of. As the UK’s first ever exhibition of graphic design from the country, ‘Made in North Korea: Everyday Graphics from the DPRK’ shows common objects such as posters, sweet wrappers and stamps, revealing a style honed over decades in a closed society, and giving an extraordinary and rare insight into the everyday life of North Koreans. Until 13 May at House of Illustration, 2 Granary Square, London N1C 4BH. £8.25. houseofillustration.org.uk

Line of beauty

TRUSTEES OF THE CECIL HIGGINS ART GALLERY (THE HIGGINS BEDFORD) © ESTATE OF EDWARD BAWDE

Edward Bawden (1903-89) was a master printmaker, illustrator, watercolourist and designer and is today recognised as one of the most influential artists of his generation. While he’s perhaps best-known for his commercial work for companies such as Twinings and Fortnum & Mason, and his linocuts depicting everyday England, a significant body of work remains relatively unknown. This new exhibition brings together 170 works to re-introduce Bawden as a hugely versatile artist, who effortlessly pushed the boundaries between fine and commercial art. It’s the first to show the full breadth of Bawden’s artistic output, covering each of the many disciplines he mastered over his 60-year career, as well as exploring his lesser-known achievements as a fine artist. 23 May – 9 September at Dulwich Picture Gallery, Gallery Road, London SE21 7AD. See website for ticket details: dulwichpicturegallery.org.uk.

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Edward Bawden, [Aesop’s Fables] Gnat and Lion, 1970, colour linocut on paper


culture

Show and tell The MA in Multidisciplinary Printmaking at the University of the West of England (UWE) attracts a diversity of artists, illustrators and designers, and its final degree show is a chance to see the students’ impressive talents. Printmaking includes all the traditional techniques such as screen-printing, etching and lithography, but this multidisciplinary course means that students have access to a multitude of facilities, from ceramics and enamelling to 3D print and laser cutting. The final year students include previously featured artist Catherine Cartwright (Issue 7, Winter 2015), whose current work collaborates with service users at Devon Rape Crisis to see how selfportrayal can become part of the healing process; Leonie Bradley, whose contemporary approach to the traditional printmaking form of wood engraving is heralding a new heyday for the medium; Julie Leach’s elemental approach creates new work by harnessing the wind itself, with titles such as Storm Eleanor, 49mph westerly, 215 minutes, she seeks to make the invisible visible; Zoë Power, illustrator and sign writer, uses traditional, hand-crafted techniques in her work, giving her bright and bold style a folky

aesthetic; Lisa Davies is a multi-disciplined visual artist, and combines drawing, printmaking and embroidery to create surreal landscapes, featuring curious characters reminiscent of those found in traditional folk tales. 9-13 June at Bower Ashton Campus, Kennel Lodge Rd, Bristol BS3 2JT. See more at cargocollective.com/uwemaprintshow

Leonie Bradley, Teabags and Consent

Last chance to see... What is it that makes us human? Selfinterest or altruism? The capacity for violence? Our need to tell stories? In his 1973 TV series The Ascent of Man, the scientist Jacob Bronowski took it as a given that we are essentially ‘good’, and unique in our ability to use our interpretation and experience of the past to make the world a better place… Blending fact and fiction, Secret Life of Humans tells the story of Ava (Stella Blue Taylor), who thinks that Bronowski was wrong in his optimism. When she meets Jamie (Andrew Strafford-Baker) online and finds out he’s Bronowski’s grandson and is in town to clear his grandfather’s house, she is compelled to find out more. Inspired by Yuval Harari’s fascinating book Sapiens: A Brief History of Humankind, New Diorama’s smart and emotionally astute show explores how the past informs the present in every way. Thrilling stuff. Until 5 May at New Diorama Theatre,15-16 Triton Street, Regent’s Place, London NW1 3BF. £15 (£13.50). newdiorama.com

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Smile, please From vampires and tooth fairies to barber-surgeons and professional dentists, Wellcome Collection’s summer exhibition traces the evolution of our relationship with our gnashers. Featuring more than 150 objects, including cartoons and caricatures, protective amulets, toothpaste advertisements and a range of chairs, drills and training tools, ‘Teeth’ charts the history of the profession that has shaped the way we live with, or without, our pearly whites. Exploring the origins of dentistry, and the emergence of the smile, the show also includes examples of tooth care for the wealthy (Napoleon’s toothbrush!) and reveals just how different it was for the poor. As the only visible part of the human skeleton, teeth are intrinsically linked to identity, both individual and cultural. From the lengths some will go to for a Hollywood smile, to the providing of vital forensic clues in the aftermath of warfare or natural catastrophe, our teeth say a lot about who we are. The exhibition will consider the language we use around teeth, such as gnashing them, gritting them or lying through them, and will examine the tensions surrounding tooth-care, whether for health, comfort or confidence. 17 May – 16 September at the Wellcome Collection, 183 Euston Rd, Kings Cross, London NW1 2BE. wellcomecollection.org

PHOTO: CHRISTOPHER PAYNE

Patient Toothbrushes, Hudson River State Hospital, Poughkeepsie, NY, 2005

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culture Worth staying in for...

Dark visions There’s always danger lurking when someone makes one of your favourite books into a movie/series, but Netflix has got pretty good chops on that front (take a gander at A Series of Unfortunate Events, for instance – so much more faithful to the books than the Jim Carrey movie, and much funnier), so I’m pitching you towards the new adaption of Caleb Carr’s dazzling thriller, The Alienist. Set amidst the brutal underbelly of New York City (so realistically raised from the pages of the book), the plot follows Laszlo Kreizler (Daniel Brühl), a brilliant ‘Alienist’ in the controversial new field of treating mental pathologies, who holds the key to hunting down a ritualistic killer murdering young boys. The police are clueless, so Kreizler gathers a team (including Luke Evans as newspaper illustrator John Moore and Dakota Fanning as Sara Howard, an ambitious secretary determined to become the city’s first female police detective), and they set about hunting down the killer. With a gloriously sepia-tinged aesthetic, The Alienist could just fill the gap left by the end of Mindhunter… The Alienist

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Luke Evans, Dakota Fanning and Daniel Brühl in The Alienist

Stroll on Walking (including drift, dérive and radical walking) is the principal way for people to engage with the built environment, and artist-walkers, performance artists, urban activists and others have created a new discipline out of perambulating the urban landscape. Committed to this way of interacting with their surroundings, South West-based art collective Wrights & Sites have taken this a step further with their latest book, The Architect-Walker: A Mis-Guide, suggesting ways in which we – using this ‘anti-manifesto’ as a trigger for inspiration – can take a more active role in our environments. With provocations including ‘Un-pave your garden. Make a hedgehog run under the fence… Crawl more… Protect what gaps you can. They aren’t empty. They aren’t yours…’, the book offers tools and tactics for the engaged urban walker, a philosophy of ambulant architecture and countless examples of ways in which the authors and others are already practising architect-walking. With sumptuous collage illustrations across its glossy pages, this is a cracking addition to Wrights & Sites’ catalogue of mis-guides… You can also see an exhibition of illustrations from the book at Boston Tea Party on Queen Street as part of Art Week Exeter (22-28 May). The Architect-Walker: A Mis-Guide, £20, is published by Triarchy Press, triarchypress.net

Turn it up If you like your guitars dirty and your frontmen shouting from underneath cowboy hats, then Warmduscher’s second release, Whale City, should be right up your strasse. A giddy composite of members from Fat White Family, Paranoid London and Insecure Men, Warmduscher is something of a South London super-group, and their sound is as feverish, trashy and unpredictable as you’d hope. If you fancy catching them live, they’re playing End of the Road Festival at Larmer Tree Gardens, Dorset, over the weekend of 30 August – 2 September. Whale City is released on 1 June by The Leaf Label, theleaflabel.com

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The Style Shoot The location was the idyllic Boconnoc Estate. Breathtaking views at every turn, Boconnoc is a firm favourite of film and TV location scouts. Spoilt for choice, we chose the house for this issue’s Style Shoot. Following a complete renovation that took 12 years, Boconnoc House is as elegant as it is comfortable. We’d thought stately and homely couldn’t be done. Until now.

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Cotton striped dress, Marks and Spencer, ÂŁ45; trainers, Marks and Spencer, ÂŁ19.50

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Floral dress, Zara, £39.99

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Floral dress, Zara, ÂŁ39.99; trainers, Marks and Spencer ÂŁ19.50

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Linen blouse, Zara, £25.99; trousers, Marks and Spencer, £45

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Dress, Ted Baker, £249

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Dress, Marks and Spencer, ÂŁ55; trainers, Marks and Spencer, ÂŁ19.50

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Trousers, Ted Baker, £119; blazer, Ted Baker, £199; top, Zara, £29.99; shoes, Ted Baker, £120; earrings, stylists own

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Trousers, Ted Baker, £119; top, Zara, £29.99

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PHOTOGRAPHS BY SIMON POWELL STYLED BY MIMI STOTT HAIR AND MAKE-UP: MADDIE AUSTIN MODEL: SHANNON BRENNAN FROM SELECT Culotte frill jumpsuit, Marks and Spencer, £49.50; earrings, stylists own

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The location The Boconnoc estate dates back thousands of years, since the days of the Domesday Book. It has been in the Fortescue family since the 18th century. Anthony and Elizabeth Fortescue were intent on restoring Boconnoc House to its former glory, and with the help of their daughters, Clare and Sarah, began renovations at the start of the millennium. It took 12 years, but the result is stunning. The estate, with its woodland, deer park, meadows and lake, is one of the most beautiful we’ve seen, and the house has been cleverly renovated (Sarah Fortescue is an interior designer) such that it combines Georgian grandeur with contemporary warmth to make it feel stately yet homely – so unusual in a such a historic house. We were given full access to the house to shoot this issue’s Style Shoot, and frankly we didn’t want to leave. Boconnoc has for some time been a favourite of TV and film location scouts, citing The Three Musketeers, My Cousin Rachel and Poldark as examples. So you can

experience this jewel of a Cornish estate for yourselves Boconnoc is hosting a full calendar of events this summer for the general public. They include: • A Wild Wine Club feast of five courses paired with five fine wines in the 18th century Bath House and Stable Yard on the 28 May • A Royal College of Music recital in Boconnoc House on 17-19 July • A Kamikaze obstacle run on 22 July – a challenging but fun obstacle race that consists of one or two laps, 6km or 12km, depending on how fit you’re feeling. There are also garden open days and guided tours of the estate on dates throughout the season and the full programme of events and where to book can be found at boconnoc.com/whats-on. boconnoc.com

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27th-28th May 2018 | Delicious fun for everyone

Parking £3 all day – come on an empty stomach! The Shops at Dartington, Shinners Bridge, Dartington, Totnes, Devon, TQ9 6TQ. Please see website for details. www.dartington.org/shops/events 92 MANOR | Late Spring 2018


Food

Recipes from DJ BBQ | Delicious Israel Bites, the latest news and events from across the region Signature Dish | Food Pioneer | The Table Prowler

GinGenie, the new sterling silver gin accessory (spoon, stirrer and straw all rolled into one) has just been launched by jeweller Mike Taylor in Instow, North Devon, who says: “GinGenie helps keep your drink cool and ‘atomises’ your gin so the bubbles make the subtle botanicals more aromatic.” gingenie.com

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With a barbecue summer doubtless around the corner, we thought we’d get you prepared with some unique and flavoursome recipes from DJ BBQ himself. In 2012 Christian Stevenson made his passion of cooking over flame a full-time job and launched his ‘catertainment’ company, DJ BBQ, which brings innovative BBQ fare and top tunes to the UK festival circuit. After a successful broadcasting career fronting shows for MTV, Channel 4 and Channel 5 (including award-winning Rad), he now has his own YouTube channel with more than 175,000 subscribers. Here we present a selection of DJ BBQ recipes which are devoid of the typical sausages and T-Bone, but instead a mix of vegetarian, chicken and seafood options, catering to all tastes. Photographs by David Loftus. Prawn tacos with grilled watermelon salsa Serves four to six Who says you can’t grill watermelon? INGREDIENTS

• • • •

12 extra-large tiger prawns, head on, tail shell removed, deveined 1 green or red jalapeño chilli, sliced open lengthways and deseeded Soft tortilla wraps Sea salt

FOR THE SALSA

• • • • •

2 medium-sized watermelon slices 1 red onion, finely chopped Handful of coriander leaves, chopped 1 green jalapeño chilli, deseeded and chopped Juice of 1 lemon

METHOD

Remove the rind from the watermelon and grill the slices over direct heat until the dark char appears on the red fruit flesh. (This can be done with the rinds on too, if you prefer.) Once both sides have a good colour, take them off to cool down. Don’t worry if bits of the fruit go black – it adds to the flavour. Prepare your salsa by mixing the red onion, coriander, chopped chilli and lemon juice in a bowl. When the watermelon has cooled down, give it a chop, add it to the bowl and mix again. Rub the prawns with the opened chilli and salt, 94

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grilling on the direct heat until cooked through, about five minutes or the meat is opaque. When cooked and a little cooled, you can take the heads off the prawns and actually suck the head juice out of the prawn. Toast the tortilla wraps on the grill. Now it’s time to assemble. Fill the wraps with the prawns and top with the salsa.


food Crab cake sandwich with avocado and corn salsa Serves four Inspired by childhood trips crabbing and working in an all-you-can-eat crab house… FOR THE CRAB CAKES

• • • • • • • • • • • • • • •

4 spring onions (scallions), finely chopped 1 red or green chilli, finely chopped Zest of 1 lemon 2 tbsp mayonnaise 2 tbsp plain yoghurt 1 tbsp yellow mustard 1 tsp Old Bay American seafood seasoning, or any seafood seasoning Drizzle of Tabasco sauce Drizzle of Worcestershire sauce 1 egg white 2 slices of day-old bread, finely chopped, or breadcrumbs 450g (1lb) fresh white crabmeat 100g (3½oz) fresh brown crabmeat 1 tbsp olive oil, for frying Sea salt and black pepper

FOR THE SALSA

• • • • • • • •

2 corn on the cobs 1 avocado, flesh diced 1 mango, flesh diced ½ red onion, chopped 1 red chilli, chopped Juice of 1 lime Bunch of flat-leaf parsley, chopped Sea salt and black pepper

TO SERVE

• • •

4 brioche buns 4 lettuce leaves 1 lemon, cut into wedges

METHOD

In a large bowl, mix together all the ingredients for the crab cakes, except the crabmeat. Once it is well mixed, carefully fold in the crab. Do not break up the meat too much. Season with salt and pepper. Divide the mixture into four balls and shape them into patties. Rest them on non-stick paper in the fridge for at least 30 minutes. Meanwhile, make the salsa. You can grill the corn cobs in the husks or without – you get a nice char on the kernals if you do it without. Grill over the direct heat for six to eight minutes, turning regularly. Move to the indirect side if the corn goes too brown. Take the cobs off the grill, stand them vertically and slice the kernels off. Then, mix all the salsa ingredients together in a bowl, season to taste, and set aside. Get a cast-iron frying pan (skillet) on the direct heat

(the target technique basically turns the cooker into a stovetop). Add in the oil, and when it’s hot, carefully fry the crab cakes for about four to five minutes on the first side, until you have a brown crust. Using a fish slice, carefully turn the crab cakes and fry for another four to five minutes on the other side. Remove and rest on paper towel for five minutes. Meanwhile, toast the brioche buns. You can use the direct heat over the target to get a nice char, and then move to the indirect side to keep warm. Assemble the crab cake sandwiches by layering the bun base with lettuce, then a crab cake, then a large dollop of salsa. Follow with the top of the bun and skewer a lemon wedge on the top and dig in! Note: for really fresh crab, roast your own! Nestle it in the coals – it’s naturally protected by its shell. A large crab will take around five minutes on each side. MANOR | Late Spring 2018

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Grilled halloumi burger with smashed avocado Serves four Every good pitmaster needs a solid veggie burger in their arsenal, it is super-simple, quick to make and packed with flavour… FOR THE SEASONING

METHOD

• • •

Put all the seasoning spices in a bowl and mix well. Halve the avocados, remove the pits and, using a large spoon, pull the ripe flesh away from the skin and empty into a bowl. Using the back of a large spoon, smash the avocado to a chunky paste. Pour in the lime juice, give it a light mix and set aside. Lay the halloumi slabs on a plate and drizzle olive oil on both sides. Lightly sprinkle the seasoning mix all over the cheese. Once seasoned, place the slabs over direct heat and grill for a couple of minutes on one side until they have golden grill marks. Flip and repeat. This is now the time to also toast the burger buns on the grill. Time to assemble. Spoon the avocado onto the bun bases. Sprinkle the chopped mint onto the avocado, then place the halloumi steaks on top. Drizzle the pomegranate molasses onto the halloumi. Top with the tomato slices and rocket.

1 tsp sumac Pinch of cayenne pepper 1 tsp paprika

FOR THE SMASHED AVOCADO

• •

2 super-ripe avocados Juice of 1 lime

FOR THE BURGERS

• • • • • • •

4 x halloumi cheese slices, 2cm (¾ inch) thick Olive oil, for drizzling 4 burger buns (brioche or demibrioche work well) Handful of chopped mint leaves Pomegranate molasses, to drizzle 2 ripe tomatoes (preferably beef ), sliced Bunch of rocket

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food Za’atar and honey glazed spatchcock chicken Serves two to four Best served with Babaganoush and some toasted sourdough for an epic feast… INGREDIENTS

• • •

1 chicken, about 1.5kg (3lb 5oz) Olive oil Honey, to glaze

FOR THE ZA’ATAR RUB

• • • •

1 tbsp sesame seeds, toasted 1 tbsp dried thyme 1 tbsp sumac 1 tbsp sea salt

METHOD

Spatchcock the chicken – the butcher can always do this for you if you don’t want to do it yourself. Place the chicken on a chopping board breast side down, legs facing you. Using meat scissors, open the chicken up by cutting on one side of the parson’s nose (tail) and all along the spine to the neck end. Cut all the way along the spine on the other side of the parson’s nose to detach the spine completely. Turn the chicken over and flatten it with the palm of your hand. It is now ready to be rubbed with flavour. Mix all the rub ingredients in a bowl. A thin film of olive oil will be the glue for the rub, this should be a very small amount. The best way is to rub olive oil into your hands, then rub your hands over the chicken until it’s very slightly oily. Then, sprinkle the Za’atar rub all over the chicken. Place the chicken skin side down over a direct heat. Once the chicken has a light char, carefully turn the bird bone side down. If the skin sticks, then use a spatula to gently prise the chicken off without tearing. You’ll need to keep the chicken over the direct heat for around 10 minutes. The fats will render down and you’ll get occasional flare-ups. If they get too intense, move the chicken to the indirect side. Once you have a nice brown crust on the chicken, place it on the indirect side and put the lid on the cooker. Cook for 35 minutes to one hour. Stick a temperature probe into the thickest part of the thigh and once it hits 67-70°C (153-158°F), you can drizzle some honey onto the skin. Once the chicken hits 72°C (162°F), remove it from the heat and let it rest on a board for 10-15 minutes before serving.

FIRE FOOD: The Ultimate BBQ Cookbook by live fire chef Christian Stevenson aka DJ BBQ is published by Quadrille, £15. Available from 19 April 2018. Photography by David Loftus.

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Refreshing Fifteen Fifteen Cornwall has always made the most of its prized position and this spring sees the restaurant undergoing a refresh that will provide diners with an even better experience.

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ocated on the North coast of Cornwall, the restaurant has panoramic views over a wide expanse of sandy beach that is that surfers’ mecca, Watergate Bay. The restaurant, opened by Jamie Oliver in 2006 as the coastal member of the Fifteen family, has always been as popular for its setting as it is for its food. This year however it has gone one

Artist’s impression of the mural wall

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better, with an interior upgrade that complements the relaxed and varied new menu that’s been developed by new head chef Adam Banks. Still boasting the exceptional, high quality food that Fifteen Cornwall is known for, Italian with a Cornish twist, there is now also an all-day menu comprising a range of sharing plates and a variety of choices for breakfast, lunch or dinner, such that whatever time you choose to head in off those waves, you can refuel in style, and in an environment that’s a match with the view. “Renovations at the start of the year were approached more as a refresh than a redesign,” reveals Operations Director Polly Dent. “The ambition for the refresh was to take inspiration from the ethos of the kitchen: working closely with trusted local suppliers and a considered, whole food approach.” Libby Milla, director at design and branding agency Felt, based in Lostwithiel, helped Fifteen to achieve their goal, sourcing natural materials and new furniture to complement the developing menus and tap into the ethos of the food. For those familiar with Fifteen of old, the grey, swivelling chairs have been replaced with wood-framed,


promotional feature

Fifteen’s trademark Italian food with a Cornish twist

classic dining chairs shipped in from contemporary furniture maker Andtradition in Denmark. From the ‘In Between’ range, oiled oak chairs fill the main body of the restaurant, with a darker wood of smoked oak bringing a sense of premium position to the those seats right in front of the window. In keeping with the elements, sustainablysourced American White Ash also lines the wall surrounding the open kitchen as well as the space behind the welcome desk. “It all feels lighter, and more natural and works well in both the wild wide setting that Fifteen enjoys and in complementing the food,” adds Polly. The team worked closely with local furniture makers, Rozen, who shaped, treated and fixed each piece of

wood over two weeks in January. Old cabinets were repurposed to create a welcome desk and dumb-waiters and bathrooms were stripped back and lightened up. One of the main objectives of the refresh was to create a new informal space around the bar, such that those coming to dine or snack could relax and take their time. This has been achieved with low sofas, also from Andtradition, and polished marble tables to gather around, whatever the time of day. Guests have no need to make a reservation and can select from the extended bar menu brunch, cake and coffee, or plates of seasonal antipasti. A good restaurant is never only about the food and wine, but about the environment and ambience. Friendly, young staff has always been Fifteen’s trademark, and the unique setting has forever been a draw. They have further enhanced the quality but casual beachside dining experience with this woodfocussed interior that makes this a restaurant you never want to leave. Furthermore, all profits go to the charity, Cornwall Food Foundation, which inspires and enables people through food. We give you a taster of the new look here, but the full Fifteen Cornwall experience needs to be judged in person for yourself. fifteencornwall.co.uk

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Anna Turns takes a culinary trip around Tel Aviv, the Mediterranean’s capital of cool.

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andering the old streets of Jaffa to the southern edge of Tel Aviv, I’m on the search for a restaurant that’s become something of an institution. I pass through Jaffa’s flea market, a treasure trove of jewellery, antiques, vintage clothing and chintzy knick-knacks – haggling is essential. Up and down the alleyways and covered walkways, past art galleries and boutique lifestyle shops that spill out onto the pavements, and just down from the clocktower I find Beit Eshel Street but the hustle and

PHOTO: ANNA TURNS

Carmel Market

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bustle diminishes and I’ve gone too far. It turns out that Dr Shakshuka’s is so understated, it’s easy to miss altogether. The crowds really only come here for one dish – shakshuka is brunch served in a pan; a hearty mix of chopped tomatoes with garlic, paprika and spices, baked with an egg. Absolutely delicious, rustic and authentic; it’s worth the wait. The chef and owner, Bino Gibso, was born in Jaffa to Libyan parents, and he has cooked these one-dish meals here since 1991. He sticks to what he does best and he’s well and truly on Tel Aviv’s ever-evolving gastromap.


food

Tel Aviv’s thriving food scene reflects a forward-thinking, modern outlook, while also retaining strong traditions and a rich heritage of cuisines from across the Middle East.

PHOTO: ANNA TURNS

Jaffa

PHOTO: ANNA TURNS

Turkish Delight at Carmel Market

PHOTO: CHRIS TURNS

Anna takes a refreshing pomegranate juice pit stop

From the home of Jaffa oranges, beautiful mosaic architecture and colourful fishing boats moored up in the world’s oldest working harbour, it’s a gentle stroll north along the seafront towards the bustling city with its towering skyscrapers. Israel’s largest city is notoriously entrepreneurial. Tel Aviv is second only to Silicon Valley when it comes to start-ups and its booming population is extremely cosmopolitan. A thriving food scene reflects this forward-thinking, modern outlook, while also retaining strong traditions and a rich heritage of cuisines from across the Middle East. “Israel has some of the best produce in the world but a lot of people are surprised by that because we’re such a small country,” says Inbal Baum, founder of culinary tour company Delicious Israel. “Visitors are often wowed by the diversity here – Turkish, Algerian, Persian, Polish, German, South African – it’s a mosaic of the Jewish immigrants who have come here.” Inbal previously worked as an attorney in New York and grew up in the USA – her parents live in Israel so she was always very connected to this place, and nine years ago she upped sticks and moved here permanently. Back then, tourism was in a rut, as she explains: “It used to be all about ‘cut and paste’ itineraries but a lot has changed in the past ten years. We’ve seen a huge shift in how people travel in Israel and there’s now much more of an awareness about our beautiful food scene. Now, people are coming here to discover it as a culinary destination.” For seven years, Inbal has taken holidaymakers and visitors on gourmet safaris around Tel Aviv and beyond. “I love what I do and for me, growing up, I realised Israel wasn’t always represented in a positive light, so I want to show people how we live – the culture and the lifestyle and the food – to give them an insight into who these people are, why the culture is the way it is, and food and the food people are the best aspects for that. I call it Israel advocacy.” Travel anywhere in the world and food offers a glimpse into new cultures and a chance to discover people’s stories and immerse yourself in the flavours of the surrounding landscape. Tel Aviv’s vibrant buzz is reflected in this city’s innovative take on fresh flavours. Tahini sesame paste is a staple, used in savoury dressings or condiments and sweet dishes such as halva. “We love our tahini – we mix it with silan, Israeli’s natural date honey, to get a beautiful, almost peanut butter-like paste,” explains Inbal. “The tangy MANOR | Late Spring 2018

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Spices at Levinsky Market

PHOTO: ANNA TURNS

To arrange a food tour, visit: deliciousisrael.com. Follow @ DeliciousIsrael on Instagram, Facebook and Twitter.

PHOTO: INBAL BAUM

lemony spice, sumac, seen a lot in Persian and Lebanese cuisine, is another favourite and we see chefs using it in really interesting ways.” To get a full-blown experience on the frontline of food culture, head to the markets, or ‘shuk’. A trip to Tel Aviv’s largest open-air produce market is a multisensory experience; Carmel market is noisy, chaotic, and colourful. It’s quite overwhelming and I stop to try some freshly squeezed pomegranate juice while we get our bearings. The walkways are lined with mounds of herbs, spices and huge hauls of fruit and veg – giant radish, starfruit, ugly fruit, the biggest dates you’ve ever seen, piles of fresh olives. After working up an appetite, we search out the hub of vendors in one corner of the market. Street food is fast and fresh – falafel, schawarma, mezze, huge Israeli salads… Inbal introduces me to sabich, which, according to her, is “the most Israeli dish bar none”. This traditional street food dish evolved from a breakfast dish eaten by Iraqi Jews on Shabbat morning: “It’s eggplant, hard-boiled egg, salad and tahini served in pitta bread. It’s a wonderful flavour combination and it’s now as widespread as falafel; that’s a big shift.” Inbal’s grazing tours of the nearby Levinsky market give a chance to experience hipster delis and trendy coffee roasters alongside fourth-generation families selling their wares. Best known for Turkish, Greek and Iranian immigrant heritage that dates back to the 1920s, this corner of the city is a hub of small artisan shops, each specialising in something, from huge towers of halva, pastel-coloured cubes of Turkish delight, dried fruit and nuts to wholesale spices, Turkish antipasti, hummus, and Persian dishes. “Each of these market vendors has a story and there’s so much history here – one fourth-generation Turkish family has been making the same ‘burekas’ [a savoury filo pastry filled with potato or cheese] dish since 1937,” says Inbal, who explains the markets are at an interesting crossroads right now. “This heritage is a beautiful thing but lots of changes are happening right now. Markets give a great access to that.” The drinks scene is testament to this transformation – there’s a new artisan version of gazoz, an iconic fizzy soft drink, now made with soda and natural syrups, plus Tel Aviv is home to Israel’s first whisky distillery, Milk and Honey, and more distilleries are popping up all the time. Of course, there’s plenty of wonderful global food, rooftop bars and fancy restaurants (Inbal recommends Popina, Milgo and Milbar on the trendy Rothschild Boulevard, and Mashya). And the Israeli version of London’s Borough Market is Sorana market – calmer, more sophisticated, very expensive (and has the best iced coffee). But for a real taste of Israel, I loved the unpolished commotion of Carmel market most of all.

The contrast of Sorana market

Inbal Baum


food

PHOTO: MARTYN NORSWORTHY

Cracking crab Salcombe Crabfest returns on Sunday 6 May to celebrate South Devon’s world-class brown crab. Enjoy crab-picking masterclasses, crab pot making, live music and watch cookery demos with celebrity chefs including Mitch Tonks, Matt Tebbutt (BBC’s Saturday Kitchen, ITV’s Save Money: Good Food and Channel 4’s Food Unwrapped), Jane Devonshire (MasterChef Champion 2016) and Bristol Lido’s Freddy Bird (Channel 4’s Hidden Restaurants and BBC’s Saturday Kitchen). 6 May. Free. salcombecrabfest.co.uk

Eat Exmoor Visit Exmoor has launched a new 32-page tourism guide to the best food and drink available on Exmoor, as Jeanette Baxter explains: “Eat Exmoor is a great opportunity to bring together all the wonderful food- and drink-related produce, events and experiences that already exist in and around Exmoor and promote them under one umbrella.” Eat Exmoor includes inspirational local food stories and the guide is available from the Exmoor National Park Centres, participating businesses and online at visit-exmoor.co.uk/eat-exmoor

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Eat your way around North Devon The new North Devon Food Trail app showcases more than 150 of the best independent food and drink businesses the region has to offer, as recommended by locals. Nick White, Chair of the North Devon Marketing Bureau who commissioned the app, says: “A little-known fact is that Devon has more Michelin stars that Cornwall – this new app is the backbone of our regional campaign to put North Devon firmly on the foodie map.” He continues: “As North Devon locals, we all know this area has a fantastic array of independent food and drink heroes, from restaurants, to street food, to artisan producers – but we also know that many visitors and locals want reliable information on how to find the real gems.” Dez Turland, development chef at Saunton Sands

Hotel says: “North Devon is home to some fantastic food and drink and this app is designed to help locals and visitors discover some hidden delights. It’s unique, because locals have nominated their particular favourites – we are very proud to launch the app as it’s been carefully collated by the people who really know what they’re talking about!” And Lyndsay Platt, owner of Glorious Oyster, is thrilled to be part of this new initiative: “We specialise in serving fresh local shellfish and seafood and want to shout about the great food available on our doorstep – this new app is designed to help people find more companies like us and we are proud to be involved.” The North Devon Food Trail app is available on the App Store and Google Play. northdevonfoodtrail.co.uk

Representatives from North Devon Marketing Bureau and local VIPs, along with a range of North Devon independent food & drink businesses, launch the new North Devon Food Trail app.

Master of Thai Punk Thai’s Amy Nixon brings authentic Thai skills and flavours to Philleigh Way Cookery School. The new course features traditional ingredients and cooking methods, giving students the confidence to prepare traditional Thai dishes, such as pad Thai kai and tom yam soup, from scratch at home, as well as demonstrating her fruit-carving skills. Amy explains: “Thai cooking is all about ‘a bit of this and a bit of 104

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that’, using your taste buds and experience to achieve the right flavour. This makes it very hard to learn from a recipe or cook book. I know how much people love eating Thai food and I want to give them the confidence to experiment with cooking authentic Thai food at home.” An Introduction to Thai: 29 June. 10am-2pm. £100. Philleigh Way Cookery School, Truro TR2 5NB. philleighway.co.uk


food

Returning to his (veg) roots Patrick Hanna, the new head chef for Riverford Field Kitchen, started his career at Riverford’s flagship restaurant near Buckfastleigh in 2008 as chef de partie. “When I moved from Belfast to London, I took a job washing dishes in a pubturned-restaurant in Islington, serving organic food. The pub was called the Duke of Cambridge – now Riverford at The Duke of Cambridge. Ten years later I found myself doing a couple of years at the Riverford Field Kitchen. This set me on an amazing journey of fascination with food, life and farming.” Most recently he worked as head chef at L’Entrepôt in Hackney, London. “Another ten years on, I’m back and excited to be cooking these big, heart-warming dishes again, which the Field Kitchen is famous for.” riverford.co.uk

Exeter on a plate The 15th Exeter Festival of South West Food & Drink champions some exciting new producers and start-ups from across the region as part of Fresh at the Festival. This includes Chickies Gourmet Eggs, who make handmade Scotch eggs in exciting flavours; seasonal wild mushrooms from Forest Fungi Devon; award-winning Happy Butter Ghee; delicious and nutritious JEAM Super Mixes; Stannary Brewery Co. from Tavistock; Okehampton-based TORS Vodka; deliciously flavoured Freda’s Peanut Butter; and Littlestone Coffee with sustainably and ethically sourced whole bean and ground coffee. 5-7 May. Northernhay Gardens and Exeter Castle, Exeter. 10am-6pm. £10 adults on the gate, advanced tickets available online: exeterfoodanddrinkfestival.co.uk

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Feast at Porthleven A bumper crop of chefs from the South West and beyond heads to the 10th Porthleven Food Festival this month, bringing a host of Michelin stars and AA rosettes. Festival patron Antony Worrall Thompson opens proceedings on Saturday with his traditional cook-off against local chef and two-time star of the BBC’s Great British Menu Jude Kereama, chef owner at Porthleven’s own Kota and Kota Kai restaurants (pictured). Food Festival Chairman David Turnbull says: “The Chef ’s Theatre showcases a stellar gastronomic line-up across two full days. I’m very excited about witnessing and tasting some of the culinary creations whipped up at the festival this year.” o le e ood e al a e la e a o d e a o a d a d la field o le e l f om oo o Friday. Free to attend (Gourmet Ticket for entry to the After Dark Parties plus a guaranteed seat in the Chef’s Theatre costs £35). Camping is available on site. porthlevenfoodfestival.com

Oyster Revolution

PHOTO: SEAN GEE

Special events take place in more than 25 venues across the capital from 21-29 April for the first London Oyster Week. Newquay-based founder Katy Davidson says she’s ready to incite an oyster revolution by helping people see just how delicious this food can be: “There are so many incredible ways to eat oysters, be it raw, cooked, or even in cocktails. I want to make sure everyone has an opportunity to try oysters, and it’s a joy to be able to do this while raising important funds for The Oyster Academy International.” The Oyster Academy International is a community interest company dedicated to promoting oyster culture around the world, while fundraising to support the oyster industry, education programmes, and restoration efforts. Katy, who runs Amity Seafood, continues: “Farmed rock oysters are a prolific, sustainable, ethical and delicious foodstuff in the UK, yet wild native oyster populations are close to extinction. They need our help, as they are a keystone species and have a positive impact on the environment.” londonoysterweek.co.uk

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food

Signature Dish Steven Lamb’s cheese and onion tart

PHOTO: MATT AUSTIN

In the sixteenth River Cottage Handbook, Steven Lamb offers a comprehensive guide to buying, making and eating cheese and dairy products. “At River Cottage, we have always taken great delight in tapping into the vibrant dairy and cheese community that surrounds us. The West Country, with its mild climate and abundant pasture, has a fine dairying tradition. At River Cottage HQ you can turn 360° and, at any point, be within striking distance of a producer turning out delicious artisan dairy products from a high-welfare herd. We use many of these products, either just as they come, or as ingredients in delicious meals.” Steven’s book is inspired by those people and by the craft and tradition of dairying and cheese-making that they represent. “In this cheese and onion tart, you have to resist the temptation to put in bacon (or indeed potato), and instead champion its simplicity – the addition of bacon would turn the tart into a quiche. Vintage cheddar works very well in this recipe – try Berber’s vintage 1833, one of the oldest, traditionally made cheddars in the world. Pair the dish with a Black Cow Vodka cocktail, which is distilled from the waste whey of Barber’s Cheddar!” River Cottage Handbook No.16 Cheese & Dairy by Steven Lamb (Bloomsbury, £16.99)

Serves six to eight INGREDIENTS For the pastry

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25g butter 2 large onions, peeled and thinly sliced 3 medium eggs 300ml crème fraîche ¼ tsp freshly grated nutmeg 100g hard cheese, grated 150g fresh goat’s curd cheese Sea salt and freshly ground white pepper

Special equipment

• 23cm loose-base tart tin METHOD

To make the pastry, sift the flour and salt into a bowl, then rub in the butter with your fingertips until it resembles fine crumbs. Add the beaten eggs and bring the dough together with your hands, adding a trickle of cold water if necessary. Knead the dough lightly until smooth and silky, then flatten to a disc, wrap in cling film and chill in the fridge for 20 minutes or so. Preheat the oven to 200°C/gas mark 6. Roll out the chilled dough on a lightly floured surface to about a 3mm thickness and use to line the tart tin; press the pastry into the corners and sides of the tin and make sure it extends above the rim by 5mm-1cm. Line the pastry case with a sheet of baking parchment and

PHOTO: GAVIN KINGCOME

• • • • • • • •

200g plain flour, plus extra for dusting A pinch of sea salt 100g butter, diced 2 medium eggs, beaten

add a layer of baking beans or dried pulses. Bake ‘blind’ for 15 minutes. Lift out the paper and beans and return the pastry case to the oven for about five minutes until the pastry is dry and lightly coloured. Remove from the oven and set aside. Lower the oven setting to 180°C/gas mark 4. Once the pastry has cooled a little, trim away the excess pastry from around the rim using a sharp knife. To make the filling, melt the butter in a pan, add the sliced onions and sauté gently for 10-12 minutes until soft and lightly caramelised. In a bowl, mix the beaten eggs with the crème fraîche, nutmeg and some salt and white pepper. Spoon the caramelised onions into the pastry case and scatter the grated cheese and goat’s cheese over them. Carefully pour on the egg mixture. Bake in the oven for 35-40 minutes or until the filling is set, with just a pleasing wobble. Transfer the tart, still in its tin, to a wire rack and leave to cool for about 15 minutes before easing it out of the tin and serving warm. MANOR | Late Spring 2018

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St Ives Food and Drink Festival Dinner Every May, for one eagerly anticipated weekend, the sands of Porthminster beach play host to the St Ives Food and Drink Festival. It’s a unique location for a celebration of the town’s vibrant food culture and brings together talented chefs, eclectic street food, local producers, and entertainment from morning to night. At last year’s event, a new tradition was initiated: a festival dinner at Porthminster Beach Café. This year the theme of the dinner is the bounty of St Ives Bay; chefs based in the town will be cooking with their favourite ingredients, showcasing the amazing variety and quality of produce from land, shoreline and sea. Visiting chefs will be invited to join members of the public lucky enough to scoop a spot at this five-course feast. Once the menu is finalised, each dish will be expertly paired with a wine by Jon Keast of Scarlet Wines. Expect bold and beautiful combinations drawn from Jon’s knowledge of wine regions around the world. Here’s a run-down of who is involved, and a flavour of what to expect… GLENN GATLAND

GRANT NETHERCOTT

Restaurant: Una Kitchen Favourite St Ives Bay ingredient: locally made gin and newseason rhubarb

Restaurant: Alba Favourite St Ives Bay ingredient: wild sea bass

Glenn is a genuinely home-grown hero of the Cornish food scene. He trained at St Austell College and at the end of his course he decided to remain in Cornwall to pursue his career. Glenn worked his way up the ranks at The Well House in St Keyne, ultimately becoming Head Chef and helping the restaurant retain the three AA Rosettes it had held for over 20 years. This was a stepping-stone across the water to the Isles of Scilly, where Glenn worked for Tresco Estate as Head Chef at award-winning island destination, Hell Bay Hotel. Here, he also gained three AA Rosettes, helping him secure the position of Development Chef for Tresco Estate. “After ten years on the Isles of Scilly, I felt it was time to return to the mainland, and Una St Ives seemed like the perfect challenge,” he explains. The newly relaunched restaurant with its wood-fired oven has become a busy dining destination on the outskirts of St Ives. 108

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At college, Grant had a keen interest in art but decided a career in catering would be more beneficial. The attraction lay in the concept that the food on the plate had become an art form in itself. Grant draws a lot of influence from French cuisine, transforming this classical training into the modern British dishes served up at Alba. This stylish restaurant, which enjoys prime position on the harbour-front in St Ives, opened 16 years ago and it has remained a consistently excellent choice for fine dining – followed by cocktails in the A Bar downstairs. “When I think of Cornwall, I see it as a way of life,” says Grant. “St Ives is unique and has a lot to offer, whether it’s the beaches, food, art, culture… I wouldn’t want to live anywhere else (apart from the Côte d’Azur when I retire!)”


food FRASER BRUCE Restaurant: Una Kitchen Favourite St Ives Bay ingredient: foraged salad leaves and edible seaweeds

CAMERON JENNINGS AND LOUIS WARDMAN Restaurant: Porthmeor Beach Café Favourite St Ives Bay ingredient: crab and gurnard

Cam and Louis are a well-loved double act, cooking up colourful, flavour-packed dishes to an appreciative crowd overlooking Porthmeor Beach - directly opposite Tate St Ives. This lively café’s tapas-style menu is designed to be shared – order a bunch of small plates, sit back and enjoy the view (grab a booth if you can for alfresco dining in comfort). Dishes such as polenta-stuffed crispy tortilla with avocado, sour cream and pico de gallo, and tuna poke bowl with brown rice, pickled ginger and nori crisp have been inspired by global travels and café culture in farflung surf spots around the world… MICHAEL SMITH Restaurants: Porthminster Beach Café, Porthminster Kitchen, Porthgwidden Beach Café Favourite St Ives Bay ingredient: freshly-caught mackerel

Australian-born Michael arrived in St Ives 15 years ago. This talented young chef was quickly recruited by the owners of Porthminster Beach Café, and he’s been at the helm ever since. Under Michael’s guiding hand, the acclaimed restaurant has been the subject of a TV series (Beach Café, 2006), published a well-loved cook book, established a coastal kitchen garden, and helped develop the St Ives Food and Drink Festival. This forwardthinking chef was one of the first in Cornwall to introduce foraged produce into his menus, adding a layer of local flavour to his Asian-inspired seafood dishes.

At the helm of the kitchen in the newly expanded Tate St Ives is Fraser Bruce, a chef whose experience gained in France and Spain – and travels further afield – has inspired a love of diverse food styles. After 10 years abroad, Fraser returned to the UK to update his training. He received a distinction in NQF Level 4 Culinary Arts from Leiths School of Food and Wine, whilst gaining hands-on experience at Rick Stein’s Seafood Restaurant in Padstow, Racine in Knightsbridge, and local St Ives haunt Porthmeor Beach Café. At the Tate, Fraser is able to apply his classical French training and extensive range of influences to the finest local produce, creating a modern British menu to match the inspiring setting. JON KEAST Wine expert, owner of Scarlet Wines

Scarlet Wines is a wholesaler and retailer of distinctive wines from around the world. Its shop, café and deli can be found just off the A30 at Lelant. Jon’s lovingly curated list of over 300 wines demonstrates a love for maverick wine makers, off-beat regions and reinvented classics – all united by common threads of creativity and bold flavours.

e ood a d e al e a da a m e o e l d e oo email only: pminster@btconnect.com. For more information on the festival, visit stivesfoodanddrinkfestival.co.uk

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Food Pioneer Rob Wing FISHMONGER, WING OF ST MAWES e ee ol ed fi all m o l fe I grew up in the fishing village of St Mawes, on the south coast of Cornwall, seeing the boats coming in with their catch every morning. And I’ve seen different sides of the industry, first as a seafood chef, then as a fisherman and trawler owner. I was able to put all of that experience to good use. I

started Wing of St Mawes – The Cornish Fishmonger 35 years ago. We buy the best fresh fish and seafood every day from local fishermen and quayside fish markets, and supply top hotels, restaurants and chefs, and households across the UK through our online service. f o o de o l e

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That’s our promise: to deliver fish from quayside to kitchen within 24 hours. On the website, you can choose from more than 30 fish species, all sustainably sourced, as well as browse recipes and a seasonality table. It’s vital that we set an example when it comes to sustainability. We care about our fish and fishermen,

so we do everything we can, as a company, to preserve Cornish fishing communities and improve the health of fish stocks. That means building long-term relationships with fishermen and customers, and promoting sustainable business practices, including buying as much of our seafood as possible from sustainable sources, and from within Cornwall.

Fishing is a way of life that’s centuries old, and it needs protection. I was one of the founders of Seafood

Cornwall, a trade body for fishermen. I was also part of a project funded by the EU to set up a 1,500-squaremile ‘no-fish zone’ off north Cornwall, which has given a big boost to stocks of species like cod and haddock. At Newlyn fishing port, where I’m Chair of the Harbour Commissioners, we’re installing better facilities for fishermen and helping to modernise practices by increasing sustainable fisheries. I’m also a Trustee of the National Lobster Hatchery in Padstow. Lobsters are on the increase here in Cornwall. A lot of

The secret of great seafood cooking is to buy the best fi ea o Fish are like fruit and veg; they go in and

out of season. Seasonal fish is always better quality, and it’s abundant, which means it’s more affordable, and it’s the best way to sustain healthy fish stocks. e a ell o a o o fi We know the name of the fishing boat, where the vessel has been fishing, what was caught and when the catch was landed. We can also tell you who filleted or prepared your fish. T e e a lo

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We have an expert team here in state-of-the-art premises who are able to fillet and prepare fish to the specifications of chefs like Nathan Outlaw, and pass on their skills to others. Everything we supply is processed by hand.

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that is thanks to the National Lobster Hatchery. In the wild, only around one in 10,000 lobster larvae are likely to survive to become juvenile lobsters. Under hatchery conditions, these survival rates are dramatically improved, giving young lobsters a head start, protected from predators and starvation. We worked with the hatchery to set up the ‘Buy One Set One Free’ scheme, and we donate £1 for every lobster bought online. o

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There’s all the other marine life that needs protecting, too. For example, many Cornish vessels now carry electronic sonar emitters that send out a warning sound alerting dolphins of fishing nets in the area, which has been really helpful in keeping them safe. thecornishfishmonger.co.uk


food

The Table Prowler The Colonial, Tolcarne Beach, Newquay It was still winter and we’d taken a chilly but oh-soinvigorating dip in the sea at Harbour Beach and were looking for wholesome culinary reward. Newquay is a mix of a town offering traditional seaside quirks alongside hip surfer hangouts. It is renowned for its surf and long sandy shores, and with its airport, is attracting considerable development interest. Today, however, it felt cold, grey and built up as we struggled against the wind across the town to Tolcarne Beach to a restaurant that had been recommended, The Colonial. I was sceptical: the directions we had been given found us walking along a busy main road until a hole in the fence revealed steps leading down to the beach. However, the mood soon lifted as we descended to sea level and walked into a large airy restaurant and bar that was warm, welcoming and quirky in its choice of decor. There were white walls, high ceilings sporting fans with palm leaves, a lavish oak-topped bar with an inviting rum cocktail list, white wicker furniture, and the odd large elephant her and there. The Colonial plays to its name both inside and out, and seemed a long way from Newquay. It was bright and airy bright with a stunning view of the wide sandy beach and its highly impressive Atlantic surf, but what made the place particularly welcoming was its staff, all of whom were young, friendly and highly accommodating. We were seated by the window, in close proximity to the white glazed wood burner, and served a light lunch of a burger and fish and chips. The menu included lobster

and blackened cod, scallops and a range of vegetarian options, but we’d arrived late, and appetites pricked by winter sea swims (no wetsuits) meant that hearty fried fish, chips and a burger were what was called for. The fish and chips were very good indeed – batter golden, light and perfectly crispy, and chips double-fried to deliver crunch and optimal moreishness. The burger was homemade and succulent, with a slice of cheese, chargrilled bacon and fresh garnish sandwiched in a soft, white, lightly toasted brioche bun. The drinks were very good – dry, crisp, goodquality Sauvignon served ice-cold, a margarita for one member of the party, which proved The Colonial’s highly rated cocktail credentials, and very good craft beer, which you would possibly expect from a high-quality joint that’s frequented by young discerning surfers. The whole experience, possibly down to the nationality of our waiter, had a sunny Aussie feeling about it. There is a wide terrace that has al fresco seating for when the sun’s out and is the place from which to watch the surf or return to after a morning out on the waves. The Colonial – its new owners in place for just over a year – is also offering rather classy rooms to complement the dining and its prime position on what is a jewel of a beach. tolcarnebeach.com Food 8 | Service 10 | Ambience 8 | Location 8 | Value 8

St Mawes Hotel, St Mawes We’d rejected another restaurant for its limited menu and poorly disguised stuffiness towards children, and were looking for somewhere we could enjoy good food and relax as a family without feeling self-conscious. We found it at the St Mawes Hotel. Usually, tables on the upper level of a restaurant are the less ‘second-class’ ones, but not in this case. A little like a refined yacht club, on the upper level you enter a lounge-like environment with inviting sofas and blankets, bookcases and a wood burner; and floor-to-ceiling French windows look out over St Mawes’ prized harbour. The room is lit to enhance the ambience, with lamps strategically placed, and it feels like home (except much more elegant and with an amazing view). The staff were very welcoming, proud of their hotel, efficient but not overbearing. The menu is French bistrot: moules and frites, crab and chilli spaghetti, pea and courgette risotto with ewe’s cheese and, among the starters, hake and salmon fishcakes and twice-baked goat’s cheese soufflé – a good range at a good price, with mains around the £15 mark. I chose the crab spaghetti and he the plaice with new potatoes and caper beurre noisette. The children had burgers and chips, all the main courses being available as smaller portions for children – so refreshing. The spaghetti was good a little heavy on coconut

cream but with decent chunks of crab and a pique of chilli; the pasta was al dente. The plaice was very good – a substantial portion of white flesh perfectly complemented by the tangy noisette and fresh green salad. The children’s burgers were cooked to perfection, with chips tasty enough for the adults to steal. The wine was of a quality to make a good affordable accompaniment and we could have lingered in all night, moving from table to sofa to finish up the evening with a game of Monopoly while supping nightcaps. The children, though, were more entranced by the 25-seater private cinema that leads off the lounge, available to hire at a cost, I was told, of just £250 a night, popcorn included. The hotel regularly runs food and movie nights, and this rather luxurious mini cinema is proving a hit with both locals and visitors to the peninsula. I made a mental note as we left – ‘St Mawes Hotel: good venue for sizeable family/friends gathering; affordable food, good wine, friendly service, topped off with a full cinema experience all to ourselves.’ stmaweshotel.com Food 9 | Service 9 | Ambience 8 | Location 9 | Value 8

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Space Tate Harmer | Q&A with Ashton House Design, Devon | Shopping for space

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Green credentials

Tate Harmer build structures that ‘don’t cost the earth’ – literally and metaphorically. Fiona McGowan talks to Jerry Tate and Rory Harmer about their ethical architecture practice. Images courtesy of Tate Harmer.

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ow energy. Sustainable. Natural materials. Low water usage. Community driven. Diverse. Is this the future of our built environment? The Eden Project, erstwhile wellspring of all things environmental, is about to build a new hotel. It will be one of the largest timber-framed hotels in the country, with every socio-eco-credential you would expect of Eden. There will be grey-water recycling, no air conditioning, big windows for ventilation and natural solar warmth. The 114

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hotel will, of course, be inclusive too – no luxury offerings here. It will be a three-star family hotel, with large family and good-sized standard rooms. The entire hotel is designed to be fully accessible, with turning spaces for wheelchairs and hoists in some of the rooms. The architects behind the designs are Tate Harmer – a London-based company with just the right credentials for such a landmark project. Formed by Jerry Tate and Rory Harmer six years ago, this was a meeting of minds


space

We have a responsibility to leave the planet in a better state than we found it.

‘The Light House’ design for Habitat First’s lakeside development

The plans for the new hotel at the Eden Project

and experience. Jerry’s background could hardly have been more suited to this venture. Having been taught by the now-legendary Robert and Brenda Vale, Jerry was impassioned by their idea of the ‘autonomous house’ – a residential building that required no heating or cooling. Soon after graduating, Jerry secured a job at Grimshaw Architects. His first work with them was to help create the Eden Project. It was an inspiring time, he says – he spent eight years working on the site, and the timber-framed Core building with its petal-like copper roof was his pet project. What visitors might not know is quite how sustainable the Core’s materials are: the flooring is variously made from flax and maize, the green tiles from recycled beer bottles, and the timber is recycled or sourced from sustainable woodland. It is no surprise that, after this formative experience working with such a client, when Jerry began his own practice, his focus was firmly on sustainability and inclusivity. Rory Harmer’s background was no less environmentally driven. Having worked at Farrells architecture firm – known for its large-scale projects aimed at improving the urban environment, both socially and environmentally – he met Jerry while studying for his masters at UCL’s Bartlett College, where Jerry was teaching. Soon afterwards, they formed Tate Harmer, and have taken on a wide range of projects – from oneoff residential designs to visitor attractions, hotels and creating blueprints for houses to be incorporated into larger development schemes. Running through it all is a commitment to their ethics. “No matter what the size of the project, we are keeping the same ethos of low-energy, sustainable buildings – buildings that are easy to use,” says Rory. Their focus is on simplicity – using the landscape and siting to help keep down energy costs. Their plans usually revolve around elements as seemingly obvious as using windows for ventilation and sunlight to warm and light the house. They have built a number of ‘Passivhaus’ buildings – the autonomous house concept much loved by the Vales – most notably Hoo House in Suffolk, which featured in Grand Designs. The house looks the height of luxury, designed to be airy and open, with a sweeping apex of a roof and masses of natural light flooding down from a wide strip of roof light sandwiched between steep gables. The extensive concrete flooring means the house requires no heating or cooling. Thanks to recycling, water use is minimal. Incredibly, the cost of the build was on a par with that of any ‘ordinary’ house (architects’ costs aside, presumably). MANOR | Late Spring 2018

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PHOTO: © RAFFERTY + LOWE

Brunel Museum, Rotherhithe

Museum of Scouting, Chingford

TREExOffice in Hoxton Square, London

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Using Hoo House as a basis, Tate Harmer were approached by Habitat First Group to design a typical detached Passivhaus that could be replicated throughout their developments of lakeside holiday communities (think an upmarket Center Parcs, gone green) in Somerset and Dorset. Named ‘The Light House’ – “because it would bring a light touch to the landscape and because of its energy consumption,” elucidates Rory – it is built using prefabricated, super-insulated timber panels that can be easily erected on-site. “We can normally put these houses up in a few weeks,” he adds. Although working for these clients is serving a very specific market, Jerry believes that this concept could be upscaled to the mass-housing market. “I genuinely think that this could be a model for the future of residential living,” he enthuses. “That market is quite often reasonably conservative – it takes a while for contemporary eco-houses to reach the mass market. The truth is, I could build you a house, right now, with the same cost criteria as the mass-produced houses, and it would be timber-framed, lovely to live in and use less energy – a much better house from a contemporary ecosustainable point of view.” Moving things forward in the housing market can be like running through treacle – and it gets Jerry quite fired up: “I can’t stand the fact that housing hasn’t delivered that yet. But we’re not ready to give up on it.” The practice is designing community-focused ecoflats in Croydon, 69 units in Norfolk, and there are plans for a groundbreaking housing scheme in West Carclaze, not far from the Eden Project in Cornwall. The latter, spearheaded by developers EcoBos, is an ambitious proposal to provide 5,000 affordable homes to a financially depressed part of Cornwall, complete with a biodiverse environment and ultra-low-energy houses. Needless to say, it has been stultified by planning red tape and a complex mix of support and resistance from local councils. Jerry says it is still moving forward, albeit painfully slowly, and some pre-emptive highways infrastructure has been built in readiness. For a practice with only 12 employees, Tate Harmer has an impressive range of projects, all of which feed more knowledge and skills back into the practice. In 2015, they created the rather dinky ‘tree office’ built for Hackney council – a transparent, biome-like office space erected in Hoxton Square to generate enough income to pay for the upkeep of the park. “We experimented with putting water in the transparent roof cushions to create a ‘phase change’ cooling device,” explains Rory. “As the heat of the sun hit the cushion, it would heat up the water, turn it to vapour and the condensation evaporation would help cool the space below.” Building the canopy walkway in the rainforest biome drove more innovative solutions in terms of building close to a natural environment: “We made it out of lots of little bits, so we didn’t affect the


space

There’s a real move to care more about your impact socially and environmentally than about your personal gain.

vegetation as we put it up,” says Rory. “We developed new construction techniques that allow you to do things like inserting houses around trees.” Everything they do is focused on the intersection of the social and physical environment: whether it’s the eye-catching Brunel Museum in Rotherhithe (Isambard’s first building, now converted into a performance space and accessible museum over six levels) or the plans for the new Museum of Scouting in Chingford (combining a museum with a space capable of handling 5,000 active young people). It will feature a glorious multicoloured tent/ awning and a great big wooden tower, says Jerry: “It’s got to be exciting and fun; it has to provide physical activities and access to landscape...” And Rory adds: “But you still have to make them aware of their rich and diverse heritage.”

Architecture, says Jerry Tate, is exciting when there’s a big problem and a big challenge. “The Industrial Revolution provoked massive change, as did the introduction of mass production in the twentieth century. Today, our issue is that we need to treat the Earth with more respect.” Both he and Rory teach architecture at UCL Bartlett, and while they are keen to pass on their understanding to the next generation, they are encouraged to see a positive trend among the students: “There’s a real move to care more about your impact socially and environmentally than about your personal gain,” says Jerry. “Rather than the pure architecture, there’s more talk about the broad environmental or socio-political impact – what buildings can do.” As architects, Rory says, they have to be conscious of their long-term impact. “You also want to make sure that your legacy – the buildings you leave behind as an architect – reflects well on you. You don’t want to have these energy-guzzling buildings. We have a responsibility to leave the planet in a better state than we found it.” tateharmer.com

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Q&A Run by husband and wife team Caroline Palk and Simon Bantock, Ashton House Design are interiors specialists based in Ashburton, Devon. Since they set up the company 25 years ago, it has built a reputation for delivering a broad spectrum of interior design solutions to suit a wide range of projects for both national and international clients. Caroline Palk reveals the raw beginnings of the business and how it has grown to be the success that it is today. How did Ashton House Design come into being?

I founded the company in 1992 and Simon joined a year later. We met working in interior design in London, but, having grown up in Devon, I was keen to return to my Westcountry roots. Ashton House Design started life in a small townhouse in Ashburton and we’ve stayed in the town ever since. I recognised the potential of this lovely town back then – it has great architecture and is now a thriving centre with a plethora of independent, high-quality antique shops, food emporiums, and delicatessens. Why is Ashton House Design the way it is today? Tell us the path you’ve taken with the business.

We set out our stall to offer an exemplary interior design service here in Devon and we haven’t deviated from that path. We started small but now value the skillset of a young talented team. We’ve been lucky enough to work on an enormous range of projects over the last 25 years, perhaps as a result of being based in Devon as opposed to London, where many briefs are quite similar. It’s this varied experience that’s been the key to our success. What has been your most challenging job?

Working at a distance or overseas – Switzerland, Barbados, Spain – may sound glamorous but it is logistically challenging. When you end up being driven by a Colombian blacksmith at breakneck speed around hairpin bends down a mountain in order to resolve a faulty metal curtain pole, then you can feel that you are taking your life into your own hands! What has been your most satisfying job?

The majority of our projects are truly satisfying and the ‘before and after’ effect is enormously rewarding. We never stop learning and discovering 118

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space – it’s all part of the creative process. Stand-out projects aren’t always the largest, most glamorous ones. Sometimes the single transformation of a beloved living room is just as exciting. It’s always a pleasure when a client invites us back time and time again to tackle other aspects of a project, and this happens fairly regularly. I think our longest-standing clients have been with us for some 20 years now! What are you currently working on?

Interestingly, what we’re working on now demonstrates the range of briefs we receive – a variety of locations, design styles, sizes and scale. For example, we’re working on a family home in the Lake District alongside the builder and designing every detail to make the house a unique lakeside retreat. We’re also rejuvenating a pair of cottages on a country estate on Dartmoor. Another live project is a contemporary new build on the estuary near Topsham, focusing on the main living space that will include a bespoke bar and comfortable seating area. There is also the redesign of a Kent family home to include new bathrooms, lighting, interior decoration and furnishings throughout, and then there is another brief to update a dark living/dining room at the heart of a characterful Dartmoor cottage. What trends do you see emerging currently?

Current trends see a move away from an entirely neutral palette (white, linen and grey) towards hues of chalky pink, mint and lavender. Add to this more vibrant patterns and prints, and we have homes with far more to say for themselves. That being said, there’s still plenty of room to include neutral materials such as rattan, sisal, bamboo and cork – we can never fall out of love with those. Keep your eye on a little razzle though – this season’s answer to a glamorous metallic is a shift away from copper to brass or gold. What is your dream job?

It would definitely be one where we are involved in the early days of a project – ideally before it has even come out of the ground. We would also love to design more spas – domestic or commercial ones. We enjoy the whole process and, although we do say so ourselves, we’re pretty good at them, award-winning even! As a husband and wife team, do you ever argue?

Rather boringly, no! We bring different skills to our team and rarely step on each other’s toes. We share similar tastes and both love what we do. I suppose I am more the one with the big ideas while Simon tends to be the details man. ashtonhousedesign.co.uk

Simon Bantock

Caroline Palk

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Mike Martin Associates provides complete end-to-end project management to those looking to renovate but, for reasons of distance or stress, can’t handle it themselves. Photos by Deborah Schenck.

he desire to make your home as you like it is universal, but the headache involved in managing a network of contractors and builders to carry out the renovation puts many of us off. Enter Mike Martin who has built a career and thriving business from providing end-to-end project management services to those who are often renovating at a distance; or who would simply prefer someone better equipped to take the strain. Mike Martin’s business started out as one man’s hobby for building and renovating his own property and, where possible, cutting out the middle-man. “My working life had revolved around managing people,” reveals Mike, “in businesses and latterly,

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building projects. After a 25-year career in the bus and coach industry, I sold my shares, packed my bags and sailed to Norway with my wife on our 40-foot yacht. There, we built a house for my youngest daughter and her husband on a remote island off the northern Norwegian coast. On our return to the UK, my father was suffering from the final stages of Alzheimer’s and, after nursing him until his death a year later, I was without a purpose for the first time in my life. I returned to my hobby of small-scale property development. “My approach had always been to only use designers or architects to obtain planning permission, with the minimum drawings necessary, and then assemble a team of craftsmen to complete the project. I used this approach


promotional feature on several projects of my own before relocating to the South Hams where there was a great deal of development and inward investment. I saw a clear opportunity to start a company developing property for other people using the process from my own projects.” Mike Martin Associates (MMA) met a demand and grew quickly: “As I got to grips with each project, it allowed me to move forward and take on more. Generally, we run one large project and two or three smaller ones at any one time and we’ve always managed everything. Rather than have electricians or plumbers full-time on the team, we have trusted local contractors who work with us on a regular basis. Our typical client demands the best finish possible and, in my experience, this only comes from skilled contractors who aren’t working to a price.” Kicking off the business in the South Hams resulted in a clientèle of mainly high net worth individuals who are either retiring, relocating, or looking to invest in an area. Many are based overseas or the other side of the country and can’t be involved as much as they’d like to be for reasons of geography or time. “Technology helps the process immensely. It’s not unusual for us to do a walk around with a client by using live video feeds to save them travelling to site.” The issue of hidden costs is well-known to anyone who has ever embarked on building work. MMA’s approach to project management is one that in the truest sense of the word is completely ‘transparent’. Mike Martin avoids this major barrier to appointment and trust by charging clients a fixed fee. “We don’t add a mark-up to materials or labour. There are no unexpected ‘extras invoices’ at the end; everything has been paid for as the project progresses. Everyone involved knows where they are throughout the process and, because of our good trade partner relationships, we can obtain very good value.” One of the draws of MMA is its scope when it comes to project management. “We’re able to advise on matters that many rarely consider, such as capital gains tax implications, different ways of marketing building plots that take into account any opportunities for self-building, and selling and financing. If projects are undertaken in specific ways, it can often limit the risk, aid cash flow and reserve areas of land for future development. “Some projects require a top-end architect while others are more suitable for the services of a designer. We engage specialist landscape designers and interior designers; we can recommend alarm engineers, home automation specialists, audio visual companies, drain specialists, swimming pool and hot tub installers, stone and slate suppliers, high-end cabinet makers, bespoke window and door manufacturers, specialist plaster producers to reproduce intricate coving, tilers, and bespoke kitchen and bedroom furniture makers. The demands of our clients are so wide and varied that we’ve built up an excellent network of contractors who can meet them. MANOR | Late Spring 2018

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Our typical client demands the best finish possible and, in my experience, this only comes from skilled contractors who aren’t working to a price. Mike Martin

“A good example is a recent project for a client who was buying an old Corn Mill. He and his wife – both creatives – wished to remodel the property. We were invited to manage the project, which involved the renovation of unconverted barns and out-buildings. We called upon a design company we had worked with before and, while they were redesigning the house interior, we renovated the barn and outhouses to provide quirky ancillary accommodation and an artist’s studio before we turned our attention to the main residence. There was a proposal to remove a steel and oak staircase and replace it with an unusual chunky oak design. This proved to be quite a challenge as it needed to be selfsupporting without any visible steel and, at the same time, turn through 90 degrees. We worked with a bespoke furniture maker and a steel fabricator to produce a staircase with a hidden steel frame within.” The owners had decided to replace the gloss black granite kitchen work surfaces with a subtle oatmeal shade and to hand-paint the existing kitchen. MMA involved a stone specialist from Cornwall, who cut and fitted the new work surfaces while their decorators painted the kitchen and their carpenters altered the units. The old granite and the sink were reworked into the utility room. “New interior and exterior lighting was fitted. We recommended, sourced and fitted old wood panelling to clad new floor-to-ceiling units and cupboards in the barn, fitted a simple internal wooden staircase there, a wood burner and large glass windows behind the original doors and shutters. The electrical system for the barn was separated from the main residence and we arranged a new incoming supply dedicated to the barn and outhouse. “Finally, a new sewage treatment plant threw up a particular challenge as it was alongside the estuary, which filled with every tide. The original mill stream exited in this area so a contained chamber housed a pump to maintain the stream flow over a sluice gate which held the sea at bay. This job was really multi122

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faceted and it went on well beyond completion in that, with the mill renovation being a second home, it made sense for us to manage the property for the owners on a week-by-week basis.” Many of MMA’s projects aren’t major – they vary widely in size and scope, “We were recently asked to build two adjacent tree houses in a wooded valley joined by a rope bridge, while another project involved renovating a large glass panel above a staircase in an old rectory. Within its frame, the panel had small opaque glass rectangles with a distinctive pattern. One had broken and been replaced with clear glass, spoiling the originality of the feature. We involved a sign-making company that photographed the pattern and recreated it with opaque film. When it was stuck to the glass, you couldn’t tell the difference.”

Finding solutions can be fun, and clearly results in much satisfaction for both the client as well as Mike’s team. Mike is a man who clearly loves his job. When one embarks on building works, there is always the worry that, for years down the line, some snag, an element of shabby workmanship, will forever niggle. This, it seems, doesn’t happen with MMA projects. Firstly, the client emerges the other side sane and unscathed but, more importantly, they know that their project is in the hands of a manager who is probably more of a perfectionist than they are, and who knows how to effectively manage a team to successfully deliver it. mma.consulting

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Moroccan moods Escape to the heart of Morocco by fusing shades such as terracotta, brick, tangerine and coral. Muted and sophisticated, this palette oozes warmth and positivity. Add texture through rattan furniture, tribal print rugs and hessian furnishings. Compiled by Amy Tidy.

Pendant, House of Fraser, £80

John Lewis

Cushion, House of Fraser, £25

A by Amara rug, Amara, £140 Baskets, Orange Tree @ Dart’s Farm, small £49, large £85

Broste Copenhagen teapot, Amara, £35

Pols Potten chair, Amara, £268

Rug, Swoon Editions, £229 Planter, Toast, £39

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Side table, Swoon Editions, £129


space John Lewis

Mirror, Oliver Bonas, £145

Pendant light, Cloudberry Living, £340

Jar, Marks and Spencer, £15

Jug, Oliver Bonas, £49

Cushion, Out There Interiors, £48 Chair, MADE.COM, £599 Cushion, House of Fraser, £25

Broste Copenhagen pouf, Amara, £540

Seagrass basket, Jo & Co, £35 Cushion, Orange Tree @ Dart’s Farm, £58 MANOR | Late Spring 2018

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Escape Mount Haven, Cornwall | Berlin, Germany

The Fernsehturm (Television Tower) in Berlin See page 132

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PHOTO: MIKE NEWMAN

Sunset over Mount’s Bay, as seen from the terrace of Mount Haven

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escape

Fiona McGowan waxes lyrical about Cornwall’s multifaceted and beautiful Mount’s Bay.

W

e’re on holiday – a family break. True to form, the children, both complaining of ‘agonising’ sore throats, take hours to get to sleep, having insisted at dinner on bringing their desserts to our suite, where they smothered chocolate all over their faces and zombied out in front of the TV. I’m lying awake at three in the morning, listening to the sea pounding on the beach and the quiet snuffles of the now slumbering children. It is soothing – finally. The Godolphin Arms in Marazion has been owned by St Aubyn Estates for over 200 years, and was refurbished in 2014. It is planted slap-bang in front of one of the most iconic locations in Cornwall, if not the country. St Michael’s Mount is the crowning glory in the giant sweep of Mount’s Bay, with Marazion at one end and Mousehole at the other. In between lie Penzance and Newlyn – each community with its own personality, history and charm. Marazion certainly has the greater tourist influx; its tiny winding streets are rammed with people and cars from Easter to autumn. St Aubyn Estates, owned by Lord and Lady St Levan, has been part of the landscape for 600 years. It comprises 5,000 acres and

PHOTO: MIKE SEARLE

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The Godolphin Arms

PHOTO: MIKE SEARLE

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The Terrace Bar, Mount Haven

PHOTO: MIKE SEARLE

incorporates businesses ranging from land and property management to hospitality, building and farming. In addition to six self-catering cottages and the tenbedroom Godolphin Arms, the St Levans have recently bought Mount Haven, a 19-bedroom hotel overlooking the sea in a quieter part of Marazion. Since they bought it over a year ago, it has been upgraded and renovated, opening to guests in June last year. While the Godolphin Arms is very much an inn, catering for visitors to the Mount and serving modern pub-style fare, Mount Haven is a different kind of offering altogether. As you walk into the carpeted lobby with its low lighting and mid-century modern decor, you feel as though you have stepped into a boutique hotel in Shoreditch. A long corridor leads to the ‘snug’ – something of a misnomer for a lounge bar that opens out to a terrace with a view on to St Michael’s Mount. While the lounge does have a lovely wood burner, which makes it cosy on cold evenings, it is a wide, airy space with a collection of Eames-like chairs clustered around 60s-style round tables. As with the Godolphin, it really is all about the view. Downstairs, the restaurant has been designed with a cool bar vibe – red-flocked banquettes, grey, lowlit walls, wooden flooring, some eye-catching Tom Raffield lamps, and simple tables and chairs. The windows at one end give out to a walled courtyard with subtropical plantings – while you don’t get the view, you do get an almost Mediterranean feel (given the right meteorological conditions). The decor pales into insignificance, however, once the food arrives. The presentation alone is worthy of an award. My friend and I (no kids on this visit) shared a dish of smoked mackerel doughnuts (like exquisite, melt-inthe-mouth croquettes) with crème fraiche and a dollop of caviar, and slow-roasted beetroot with thin wafers of Hereford blue cheese crust. We shared our main courses – hake with mussel fritters (mussel meat coated in a black squid-ink batter) and breaded pigeon, both as exceptional in their presentation as in their mouthwatering taste. The desserts were no less impressive. I can honestly say it was one of the most delicious meals I have ever eaten – and I don’t say that lightly. Chef Ross Sloan – who grew up on Cornwall’s Lizard peninsula – has clearly brought a great deal of experience and passion to the job. His years working as a chef on superyachts evidently taught him a thing or two about high-end nosh – although he is relieved to be back on land and in Cornwall after witnessing all the ‘sleaze and waste’ of the superyacht lifestyle. The two hotels have such different offerings it is hard to talk about them together: Mount Haven is clearly an upmarket retreat of a hotel, and aimed mostly at couples – from urban 30-somethings to retired people looking for a restful stay in stunning surroundings. On sunny days the hotel almost doubles its space, with its al fresco eating and balconies outside every room. The Godolphin

Sea View Room at The Godolphin Arms


escape

When the tide is out, the people surge in.

PHOTO: MIKE SEARLE

PHOTO: JAN O’NEIL

Mount Haven’s smoked mackerel doughnuts

Arms is a big, wide-open, cheerful establishment that welcomes everyone. The staff are friendly and young, and the new general manager, Laura Clerehugh, is looking forward to upscaling their offering, particularly in the restaurant. Having worked for several years as GM at Watergate Bay’s Beach Hut restaurant, she is not only a self-taught sommelier, but also has the know-how to run a beachside hotel restaurant. She’s keen to update the menu – “to make it a bit more streamlined”, as she tactfully puts it – and to oversee a certain amount of revamping and modernising in the hotel. The great thing about both hotels is their seafront location. While Mount Haven is a 10- to 15-minute stroll to the beach, the Godolphin is literally on top of it. The children raced freely down the zigzag walkway from the terrace, and spent time hurtling around and scrambling on rocks. When the tide is out, the people surge in. A steady flow of visitors walk across the exposed cobbled causeway to St Michael’s Mount, the National Trust property that is still home to the St Levan family. The Mount hosts two busy cafes and lush gardens with lawns and subtropical plantings that arc around the island. Steep, winding pathways lead to the castle – part museum, part family home – with its battlements and lookouts, and chapel perched high above the structure. Gazing out from the crenellated towers, the whole of Mount’s Bay is laid out before you. On a nearby hillside is Tremenheere Sculpture Gardens – a great place to wander and marvel at the mix of contemporary art and rare plants. Off to the west are the rooftops and harbour walls of Penzance, with its workaday town centre, its grand architecture and the landscaped gems of Morrab Gardens and Penlee Park. Beyond is Newlyn, still one of the most vibrant fishing ports in the South West, with its seafood being shipped off to restaurants, hotels and supermarkets all over the country. You can eat at the fantastic fish bistro bar Mackerel Sky or Ben Tunnicliffe’s Tolcarne Inn, or just pop to the fish ’n’ chip shop for cod that’s as fresh as you can get. Further to the west is the tiny harbour town of Mousehole, and beyond that, Lamorna. Take the coast path further west and you come to Porthcurno – home to the cliff-clinging Minack Theatre and the Telegraph Museum, which charts the history of modern telecommunications. mounthaven.co.uk

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Ric Allsopp explores art, history and food in the heart of the city.

A

fter the snows of winter, when temperatures can drop to -20°C and easterly winds cut through the warmest of jackets, springtime in Berlin brings people out onto the streets and into the parks and cafés to enjoy the return of warm weather. Beginning in April, and as the temperature rises, streets and parks are shaded with cherry-blossom, and the white asparagus season (known as spargelzeit) starts. Stands selling the fat white spears, cultivated beneath mounds of earth, pop up across the city; traditional restaurants offer menus dedicated to the ‘white gold’ with everything from soup to salad. The season finishes smartly on 24 June (the Nativity of John the Baptist), but this is far from the only reason to visit Berlin in spring.

Berlin’s Hauptbahnhof

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Berlin is a vibrant and cosmopolitan city that has reinvented itself, particularly since the physical and ideological divisions prior to the fall of the Berlin Wall in 1989 and the subsequent 1990 re-unification. As a city it is both accessible and affordable, with green areas infiltrating right into the centre, some very distinctive and separate neighbourhoods, and surrounded by lakes and forests. I’ve been visiting regularly over the last 12 years, mainly centred in the old East Berlin with its distinctive little green and red men pedestrian traffic lights (ampelmännchen), and its tram system. When my daughter Florence wanted ideas of places to go while spending a couple of days working in Prenzlauer Berg, the mainly residential district above Mitte, the historical centre of the city, I came up with


escape suggestions outside the usual ‘must-see’ lists, and which could be reached on foot from the S-Bahn (overground) stations that run from Alexanderplatz to Zoologischer Garten across the centre of the Berlin – Hackescher Markt, Friedrichstrasse, and Hauptbahnhof. PHOTO: JANE FITZGERALD

East Berlin pedestrian crossings feature their distinctive little green men

PHOTO: JANE FITZGERALD

From Hauptbahnhof (Central Station) Berlin is a city of world-class museums reflecting the acquisitive reach of 19th and early 20th century European colonialism. Along Invalidenstrasse is the Hamburgerbahnhof Museum of Contemporary Art in the old Hamburg Station buildings, housing an extensive collection that includes works by Gerhard Richter, Andy Warhol, Cy Twombly, Anselm Kiefer and Joseph Beuys, with his iconic and rather disturbing works in felt and fat. Across the road is the Medical Museum, which has an extraordinary and slightly squeamish array of bodyparts, echoed nearby in the Natural History Museum’s zoological research collection, featuring roughly one million creatures preserved in ethanol and housed inside a massive steel and glass shelving system. Back towards Hauptbahnhof, a cobbled incline just before the Nordhafen Kanal leads towards the Invalidenfriedhof (cemetery), which was divided in 1961 by the first section of the Berlin Wall. The path continues along the canal with plenty of places to sit and eat the brötchen filled with salami, eggs or tuna you bought at a kiosk in Central Station. Filled rolls (rye, sourdough,

Invalidenfriedhof

EATING OUT

PHOTO: JANE FITZGERALD

Bernauerstrasse mural

PHOTO: JANE FITZGERALD

The all-day breakfast, Berlin-style, is a fixture on Saturdays and Sundays – a lazy mid-morning buffet feast while sitting outside in the spring sunshine with a blanket to keep legs warm might precede a walk along the line of the Wall (Mauerweg) on Bernauerstrasse, running down from the junction with Brunnenstrasse to the Berlin Wall Memorial. On Knaackstrasse, opposite the old Watertower, is the Russian Bar Gagarin, dedicated to all things Yuri Gagarin and cosmonautical; it does a great breakfast and an amazing Sunday buffet brunch with more or less everything one can imagine such a meal might need. Likewise, Café Godot on the corner of Kastanienallee and Rykestrasse serves a fine breakfast. Later in the day or in the evenings, Babel (further along Kastanienallee at No.33) serves great Lebanese cookery with fresh ayran – a creamy yoghurty drink. The Lucky Leek restaurant at Kolwitzstrasse 54 has a reputation for gourmet vegan dishes, and Sytu at Prenzlauerallee 226 serves no-nonsense Vietnamese cooking. For coffee and cake, try Albrechts Patisserie at Rykestrasse 29. For inexpensive Turkish food, try the area around Pankstrasse and Badstrasse in Wedding – as Birmingham is to the Balti, so Berlin is to the döner kebab. Particularly good is the Imren Grill on Badstrasse. There are also a couple of good local café/restaurants on Uferstrasse – Uferlos, a e d oldfi , and DuJardin, which might come in handy for a bicycle trip along the Panke that connects some (or all) of the above.

DuJardin

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escape

View of Berlin skyline with Tiergarten in the foreground

white, seeded) are everywhere available in bakeries and kiosks, and in the tradition of German bread-making they are satisfying, nutritious, and good value. Walking south from Central Station, a pedestrian bridge over the River Spree leads into Spreebogenpark and looks down to the neatly arrayed rows of deckchairs on the far bank, which fill with people at the first sign of sunshine. From here it’s a 15-minute walk to the Reichstag and the Brandenburg Gate. South from the bridge is Tiergarten – the 210-hectare park that stretches from the Gate to Charlottenburger Tor. A walk across the park leads to Potsdamer Platz, the Berlin Philharmonic building and the galleries of the Kulturforum, including the Gemäldergalerie (Painting Gallery), which is worth visiting for its remarkable collection of 13th-18th-century European paintings including Hugo van der Goes’ Adoration of the Shepherds and Caravaggio’s Amor Vincit Omnia.

From Friedrichstrasse Station A ten-minute walk from the station, across the river Spree and along Albrechtstrasse will take you to the Sammlung Boros (Boros Collection) on Reinhardtstrasse, housed in a bunker designed and built with a neo-classical exterior by slave-labour in 1943 to accommodate 3,000 railway passengers. Visits are by appointment only, and there is a long waiting list, but it’s worth emailing for any cancellations. The guided tour – by an erudite art historian – is comprehensive, and takes in work by Paulo Nazareth, Martin Boyce and others. Back over the bridge and along Am Weidendamm (with the river to the left) leads to a small bridge connecting to Museuminsel – the world-heritage museum island in the centre of Berlin and home to the main classical, medieval and archaeological collections. While this is certainly tourist-central, the collections – including sculpture at the Bode Museum, the Ancient

TRANSPORT

PHOTO: JANE FITZGERALD

Berlin is extensive – surprisingly bigger than it seems on a map when it comes to walking – so it pays to use the integrated public transport system: U-Bahn (underground), S-Bahn (overground) and the trams. A one-day travel card (tageskarte) – or the five-day option for longer stays – is the most cost-effective. The S-Bahn from Alexanderplatz via Hauptbahnhof to Zoologischer Garten gives a good view of the city. But if the weather permits, rent a bicycle. It’s the best way to see and move around Berlin, particularly riding along the Spree and the canals and through the parks. You couldn’t wish for a more cycle-friendly city. For a start, much of it (other than Prenzlauer Berg) is flat; the streets are wide and most car drivers are absolutely bike aware, and there are bicycle paths and lanes across the city. A pleasant and relatively traffic-free bike ride runs along the banks of the Panke, the small river that runs more or less north to south through the city until it meets the Nordhafen canal near Central Station. River Panke

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The Berliner Dom, River Spree and Hackescher Markt

Egyptian rooms and the wonderful ‘Golden Hat’ and its display in the Neues Museum, as well as the Greek and Roman classical collections in the Altes Museum – are all worth making time for. From Hackescher Markt This is probably the most interesting and diverse shopping area in Mitte. Arriving at the S-Bahn station, walk down the stairs to the outdoor market area full of stalls selling food, produce, jewellery and accessories, and cross over the tram-way, perhaps taking a cursory glance at Uniqlo, Muji or the Moleskine Store, before wandering around the indoor arcade of cafés, restaurants and fashion shops in the Art Nouveau ( Jugendstil) Hackescher Hof and exploring the retro-fashion shops along Neue Schönhauser Strasse. From Hachescher Hof walk up Sophienstrasse, past the fearfully expensive Christmas decoration shop Enzebirgskunst Original, with its exquisitely crafted Bavarian baubles and figurative scenes, along Grosse Hamburger Strasse, and turn left onto Auguststrasse. Here you’ll find numerous cafés and small galleries, including KW (Kunst-Werke) Institute for Contemporary Art. For good local German food and drink, try Altes Europa on nearby Gipstrasse, or the cheap and tasty Yam Yam at the top of Alte Schönhauserstrasse for a Korean kimchi soup with tofu or a shrimp bibimbap. The international magazine and artbook store Do You Read Me? is a must for browsing obscure cultural journals, and art and design theory books from Berlin publishers. A few steps further along Auguststrasse is the Clärchens Ballhaus and its Hall of Mirrors, preserved more or less in its original state. Dating from the 1860s, it’s now a restaurant and nightclub with a garden to the front. With its stucco ceiling, chandelier and giant mirrors, the Hall of Mirrors stills holds the ghosts of Berlin life, love and dancing throughout the turbulent 20th century. MANOR | Late Spring 2018

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For teachers and parents of children studying in the South West Schools news in brief

A local tale of smuggling THE SHEBBEAR COLLEGE Senior School production was a huge hit throughout March, with packed audiences viewing the performances on Thursday, Friday and Saturday evenings. Set in Hartland in the year 1816 and titled The Year Without a Summer, the theme of the play was smuggling on the coast of North Devon. The production had lots of light-hearted comedy moments and some wonderful musical pieces, despite the relatively serious theme. The play was written by English and Drama teacher Julian Pomroy assisted by Music teacher Hannah Bown who wrote and arranged the music.

Kingsley Girls win Bronze at a o al m a fi al KINGSLEY SCHOOL U11 Girls’ Gymnastics Team have become Bronze Medal winners of the British Schools Gymnastics Association National Finals 2018. The winning team were Hannah Self, Jersey Ledger and Lulu Goaman - all in Year 6. The girls won the regional event back in February, qualifying as the U11 team to represent the South West at the National Finals. They prepared for the event with additional gym sessions after school and at weekends with their dedicated coach, Miss Gemma Braunton. Gymnasts from 185 schools had qualified for the Nationals. The girls had to perform a group routine, an individual routine and an individual vault against 21 competing schools in their category.

Hannah, Lulu and Jersey

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Schools news in brief

Exeter Junior School raises over £2,000 YEAR 6 PUPILS at Exeter Junior School are celebrating a record fundraising year through their involvement in Virgin Money’s ‘Make your £5 Grow’ scheme. As part of their Independent Maths Project 2018, the sale of products they created raised an impressive £2,062.26. Maths Coordinator Jacquie Barnes said, “Armed with their pocket money and a personalised bag, pupils from across the school visited stalls during their breaks and very much enjoyed the items and activities available. Whether it was a treasure hunt or traditional skittles, fruit smoothies or bath bombs, trying out lucky dips, apple-bobbing, or picking up Mothers’ Day gifts and cards, there was something for everyone!” The profit will be donated equally between Sport Relief, Cancer Research UK, Dementia UK and The Mardon Centre Exeter, with one fifth also going towards fun maths games to further enhance the pupils’ learning.

Former MP Tessa Munt judges llfield de a om e o PUPILS AND STAFF from Millfield were delighted to welcome local councillor and former MP, Tessa Munt, to this year’s Intermediate House Debating competition. The councillor for the Wells division of Somerset County Council and former Liberal Democrat MP for Wells acted as a judge for the debating challenge, featuring pupils from Year 10 and 11. Two school houses argued for and against the proposal ‘this house has lost faith in charity’, a topical subject which has recently been discussed in the mainstream media. Both teams presented compelling arguments and encouraged audiences to consider alternative charitable models, as well as asking the audience to consider what a world without charity would look like. Judge Tessa Munt, along with teachers Joy Gray and Aimee Coelho, deliberated the results and concluded that Great house, who were proposing the motion, presented the strongest argument and were awarded the Debating Shield. 138

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school

There are a lot of aspiring Kenneth Granges it seems lurking in schools across the South West. Here we explore some of the work from students of all ages within the fields of engineering, design and technology. What follows is a selection of group projects and individual works that display enthusiasm, determination and sheer innovation, and reveal, no doubt, some of the UK designers of tomorrow.

Blundell’s

Building design Designer: Georgie Frankpitt, Year 13 Head of Design Technology: Bruce Wheatley “This architectural model responded extremely well to the architectural briefs selected by the pupils. Georgie’s was to design a building for viewing water-based competition at Plymouth Hoe. It is a creative architectural piece that considers environmental surroundings while using modern and environmentally-friendly materials.”

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THE MANOR SCHOOL DESIGN SHOWCASE

West Buckland

Functional seat Designer: Jade Freeman, Year 11 Head of Design Technology: Darren Minns “Jade designed and made a functional seat using segments of an old teak science bench from Shebbear School and offcuts of European ash. The brief was to ‘utilise materials that were no longer required in their present form and thus reduce the product’s carbon footprint’. Through the processes of computer-aided design, Jade used a 3D printer to model potential ideas. Working closely alongside a potential client enabled her to successfully manufacture this ergonomic and aesthetically pleasing piece.”

Mount Kelly

Modernist sitting room table

Family dining table

Designer: Holly Taylor, Year 12 Head of Product Design: Gary Collard

Designer: Olivia Banks, Year 12 Head of Product Design: Gary Collard

“Influences from the past are a great starting point for design. Holly’s Modernist / 1970s inspired sitting room table was a great design, complete with secret drawer to keep magazines tucked away. The materials used are flexiply over a spruce frame with a white silk emulsion finish.”

“With a clear client and brief in mind, Olivia produced a fabulous, modernist-inspired outdoor four-seater family dining table complete with flush rotating ’lazy Susan’ for easy access to condiments. The table was made from FSC-sourced European oak and has stainless steel legs, it was finished with clear outdoor satin varnish.”

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school THE MANOR SCHOOL DESIGN SHOWCASE

St Peter’s

Sheep clock Designer: Rachel Watson, Year 8 Head of Art & Design Technology: Emma Tyson “Rachel wanted to design a clock that would appeal to farmers and animal lovers (especially those who love sheep!). Her mood board was well thought out and she used it effectively to develop different ideas for her design. Rachel worked hard to create a 3D effect by layering the wood and having a hanging bell around the sheep’s neck.”

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THE MANOR SCHOOL DESIGN SHOWCASE

Trinity School Green car challenge

Designers: Year 9 pupils Director of Learning for the Technology faculty: Ed Donaldson “Pupils were invited to take part in the Green Car Challenge, a competition promoting sustainability and green energy while inspiring young people to excel in Science, Technology, Engineering and Maths (STEM) subjects. The pupils volunteered their time to design and develop an electric car. They had to fundraise for the cost of the car and their many activities – including a sponsored head shave – raised a huge £3,500. The pupils worked on the car throughout the school year before entering a 90-minute race at the end of the year at Newquay Airport. This year, the school will enter two cars in the competition, with fundraising and development well underway!”

Maynard The Maynard Design Project Designers: Year 9 pupils Head of Science: Chris Ridler Every year, as part of National Science Week (and combined with Easter), the science department runs its traditional egg-themed engineering challenge to test the design and build abilities of Year 9 pupils through small teams. This year, the task was to design and build a machine capable of storing energy, which would be able to catapult chocolate eggs into a wall of Jenga bricks. “The standard of engineering was very impressive which made it difficult to judge. The ‘most bricks dislodged’ category speaks for itself but trying to award the ‘best mechanical engineering’ is always a problem, as there is a continually high standard of both design and engineering and, this year, we had to give it to two joint winners.”

Exeter School Mechanical spice rack

Designer: Joe Boddington, Year 13 Head of Design Technology: Martin Rose “The product made was a mechanical spice rack that lifted the spice pots up for easy access and reading of the label. Joe trialled many design variations and completed many models to test a range of solutions, finally settling on a plate cam with each tray running along a channel suspended by bearings to create a smooth movement. The movement was housed within an oak box featuring spline mitre joints.”

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school THE MANOR SCHOOL DESIGN SHOWCASE

Truro High School Greenpower race car – Kernow Kittz

Designers: The team leaders were: Iris Nicholls and Olivia Mills, Year 10 and Isobel Datson, Year 8 Head of STEM: Jon Dean The brief was to design and build a fully electric, aluminium race car, lighter and faster than cars previously created by the team. The pupils designed the chassis using a CAD system and then employed a professional metalwork company to produce the elements required for their bespoke design. Kernow Kittz is one of an eight-strong fleet of Truro High race cars – the largest school team in the UK. “Truro High’s Greenpower race team is a fantastic project which inspires girls of all ages to solve engineering problems and enjoy the challenges of racing. The girls are involved in design, construction and maintenance from start to finish and it’s always a joy to see their hard work rewarded out on the track. Kernow Kittz has had a particularly exciting season and we were delighted to see the car break into the top 100 places in the country this year.”

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Prime Waterfront & Country House

S O U T H H A M S’ L EAD I N G ESTATE AG EN T

Guide price

Wonderful river views - Dartmouth Totnes 13 miles, Kingsbridge 15 miles, A38 Devon Expressway 19 miles

hotel 6 Bedrooms bathtub 3 Bathrooms furniture 2 Reception Rooms

£1,650,000

An elegant period property with beautifully proportioned accommodation and fabulous panoramic views across the River Dart. Level walk to town and 2 garages. EPC Rating E.

Web Ref: DAR18006

Prime Waterfront & Country House department: 01548 855590

DARTMOUTH 01803 839190

KINGSBRIDGE 01548 857588

MILLBROOK 01752 829000

MODBURY 01548 831163

NEWTON FERRERS 01752 873311

marchandpetit.co.uk 144

MANOR | Late Spring 2018

Dartmouth office: 01803 839190

SALCOMBE 01548 844473

TOTNES 01803 847979

PRIME WATERFRONT & COUNTRY HOUSE 01548 855590


Property The Relocator: North Devon Property of note: The Boathouse, Dartmouth, Devon Snapshot comparative

The slipway of The Boathouse, Dartmouth On the market with Savills Guide price: ÂŁ2,500,000. See page 150 savills.com

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Prime Waterfront & Country House

S O U T H H A M S’ L EAD I N G ESTATE AG EN T

Guide price

Land and outbuildings - near Kingsbridge Kingsbridge 9 miles; Dartmouth 14 miles; A38 Devon Expressway 25 miles

hotel 4 Bedrooms bathtub 2 Bathrooms furniture 3 Reception Rooms

£1,550,000

A rare opportunity to purchase a unique farmhouse in one of the most sought after areas in the South Hams close to Start Point, with a one bedroom detached annexe, barns and approximately 20 acres. EPC Rating E.

Web Ref: PWC160052

Prime Waterfront & Country House department: 01548 855590

DARTMOUTH 01803 839190

KINGSBRIDGE 01548 857588

MILLBROOK 01752 829000

MODBURY 01548 831163

NEWTON FERRERS 01752 873311

marchandpetit.co.uk 146

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Kingsbridge office: 01548 857588

SALCOMBE 01548 844473

TOTNES 01803 847979

PRIME WATERFRONT & COUNTRY HOUSE 01548 855590


property

The Relocator tours the South West on your behalf to get an on-the-ground insight on hotspots in the region to analyse their relocation potential. We do our research and talk to residents, businesses and estate agents to get the lowdown on…

NORTH DEVON

As one of only two UK counties to boast north and Woolacoombe south coastlines (Cornwall being the other), Devon is special. For a considerable time, the southern coast – Croyde Salcombe, Dartmouth, South Hams – has commanded Barnstaple A39 the attention of the property world but, more recently, focus has shifted to the north. After Bideford all, North Devon boasts some of the finest A377 beaches in Europe and is renowned for Great Torrington its surfing conditions, open moor and unspoilt old world charm. Villages within A386 the district include Croyde (above), Putsborough and Saunton, while seaside A30 resorts such as Woolacombe are more DEVON populated. Barnstaple, Bideford and Torrington are the key Dartmoor towns in the region, offering a range of amenities, CORNWALL schools and major transport Plymouth links.

M5

SOMERSET A361 A303 M5 A30

DORSET

Crediton

Sidmouth

Exeter

A38

Dartmouth

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AN ESTATE AGENT’S OPINION…

The Sandleigh Tea Room at Baggy Point

PHOTO: DAVE KEIGHTLEY

Associate Director of Savills, Exeter, Chris Clifford reveals how quickly North Devon is evolving, with buyers actively seeking property in the area, particularly in Woolacombe where the main draw is its beach. With its three miles of sandy shore, Woolacombe beach has been consecutively voted the best beach in the UK, and one of the best in Europe. “A few of the older hotels in Woolacombe have been transformed into luxury apartments,” says Chris. “You’ll find that a lot of the chalet bungalows have been replaced with smart, glassy beach houses looking out to sea. People are relocating from London and the South-East to North Devon, many launching lifestyle businesses such as cycling-fitness companies and surf schools.” Chris notes that families tend to buy properties that are slightly further inland, as they offer more space for the money. “If you take the sea view out of the equation, then you can get more for your money and it is still relatively good value compared to South Devon.” Areas of North Devon are also becoming increasingly popular for second home properties. Many of Chris’s clients start as second-home owners in the area, he tells us, before they move to the region on a permanent basis.

WHAT THE SMALL BUSINESS OPERATOR SAYS… Dartington Crystal is a bespoke crystal glass manufacturing business in Torrington. Now the only remaining crystal factory in the UK, it has become a popular attraction in its own right. Commercial Director Richard Halliday explains: “With the business having been situated in North Devon since 1967, things have changed for the better in terms of road access and communication. Being based in such a rural part of Devon is a key part of our brand story as a craft producer. From a social perspective, there is now a more diverse workforce and the region’s population is still growing.” Many employees live locally and originate from North Devon, however a good number of staff have moved to the area to work at Dartington Crystal because the region is a lovely place in which to both live and work. A little further north in the village of Croyde, situated by the National Trust’s majestic Baggy Point, you’ll find the Sandleigh Tea Room and homeware shop The Oyster Catcher. Owner Sarah Hawson reports that running a business in the area is a seven-days-a-week operation. “I remember when peak season used to be from Easter to September but now we’re busy all the time.” With Croyde having recently been certified a plastic-free village, it is important that ingredients are sourced as locally as possible, resulting in little waste. “We have a kitchen-garden so, in the summer, we grow a lot of our own salad. The local suppliers we tend to buy from are all organic and every year I encourage them to offer more products from Devon because that’s what we aim to use.” Croyde may be a small 148

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Dartington Crystal

village in comparison to other places in the area, however it is busy throughout the year, particularly within the hospitality sector, thanks to its location.

WHAT THE RESIDENT SAYS… Hayley and Andrew Gould have lived in Woolacombe for almost nine years, having come from Birmingham. “We enjoyed the city scene for a few years, but after a while we found ourselves pining for sea air,” explains Andrew. As a working professional, Hayley commutes daily: “I work in Bideford, which is about a 45-minute drive. I occasionally use Barnstaple train station to travel to Exeter while Tiverton Parkway is an easy drive on the link road, which is convenient for travelling to London. I have friends who regularly make this journey for work.” Both agree that North Devon offers a lifestyle that is refreshing: “It’s a rejuvenating pace of life here. The beaches and surrounding coastline are stunning - I often feel like I’m on holiday when I have a day off work,” Hayley says. When asked why they have stayed in the area, Andrew responds, “It’s not so much what’s keeping us here but more why would we want to move away.”

SCHOOLS AND EDUCATION… North Devon offers a variety of schooling options: there are good independent schools such as West Buckland


property ten miles from Barnstaple, Kingsley in Bideford, and Blundell’s in Tiverton. There are also a number of primary schools with good Ofsted ratings.

TRAVEL AND GETTING AROUND…

The Old Rectory, Stoke Rivers, near Barnstaple was sold by Savills for £1,000,000

Towns and villages in North Devon are not easy places to reach. The A361 is the main link road to the M5 and the key artery to the region, from which spring a network of more minor winding roads. Barnstaple train station is a 30-minute drive from the coast and to travel to London by train takes around three hours and 45 minutes, changing at Exeter St David’s. Alternatively, Tiverton Parkway is an hour’s drive from the coast and there are direct trains to London (taking around two hours). The closest airport is Exeter, offering flights to London twice a day. Bristol Airport provides more frequent flights to a broader range of destinations both in the UK and internationally. It takes around one hour 45 minutes to reach by car from Barnstaple.

THE AVERAGE PRICE OF PROPERTY…

Woolacombe

People are relocating from London and the South-East to North Devon, many launching lifestyle businesses such as cycling-fitness companies and surf schools.

Chris Clifford from Savills discusses the hotspots for property within North Devon: “Along the sandy stretch of coast, Croyde, Saunton and Putsborough are the highest value spots for property.” With Savills, a detached family home complete with sea view along this golden expanse of coastline would cost somewhere between £1m and £2m, with some properties having sold for in excess of £3m. The cost of a sea-front apartment would vary between £600k and £800k. Neighbouring areas such as Woolacombe and Mortehoe are slightly less expensive to buy property. Looking further inland at larger towns such as Barnstaple, with more space and easier access to transport links, properties are unsurprisingly quite popular and prices can start from £700k and rise to approximately £1m.

The Relocator’s verdict… North Devon is a relatively new discovery for property speculators, but is now drawing a lot of attention from lifestyle buyers looking for great beaches and outstanding natural surroundings in which to raise a family. The relatively low tourist quotient compared to other corners of the South West, and the number and variety of good schools – day, boarding, independent or state – makes the area even more appealing. The drawback to North Devon remains accessibility, with only one major link road, and direct rail services to the capital requiring journeys to Exeter St David’s or Tiverton Parkway. But its relative inaccessibility has kept the region off the radar for a while which means there are still bargains to be had compared to its south coast counterpart. From our research, those setting up businesses in the area clearly aren’t affected by the transport network, and those who do need to commute seem to think that the sheer unspoilt beauty of the location makes it well and truly worth it.

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The Boathouse in Dartmouth has come on the market for the first time in thirty years. The last time it was a dilapidated shack with a hole in the roof and room for one boat. Now it is one of the most desirable properties on the Dart in a most prized location. Imogen Clements discovers the story.

T

he Boathouse in question is one of the more unusual and striking buildings on the River Dart, which is ironic, as its current owners were very keen, when they bought and created this unique and enviably well-positioned home, for it to blend into the background. Rarely for this stretch of water, there is nothing showy about this highly desirable residence, which adds to its appeal. It boasts a history of humble beginnings but wellspotted potential. Mr and Mrs Brown, the current owners, bought what was then, 30 years ago, an old boathouse in considerable disrepair, with a view to making a waterfront home out of it: “We had family connections with the Dart and had been looking to buy in Dartmouth when I saw a small ad announcing the auction of a boathouse. The auction was days away but it caught my eye as this boathouse was on the sunny side of the river, the south-facing side, so we went to take a look. “The boathouse was thoroughly dilapidated. There was room for just one boat and an old Victorian toilet at the back that would discharge into the river. It was a wet day with rain pouring through the roof and doors tied up with string, but I knew immediately that we had to have it. We managed to acquire it at the auction. My husband is an architect, and we then spent the next two years toing and froing in an effort to convince the relevant planning authorities of our intention to turn this boathouse into a discrete little holiday cottage. There was a lot of local resistance, but we persevered, and when we finally completed the renovation as we’d wanted it, those who’d had reservations were very happy with the outcome.” 150

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property of note

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property of note

That fateful auction had been in 1988, and the Browns spent their first Easter in the house in 1991 – “We would camp with the children down there initially during the build.” And it was fully converted into a twobedroom home with an extensive kitchen/living area by 1992. A large part of the build uses Delabole slate and green oak timber framing. “We were lucky in that we found some quite fantastic local boatbuilders in Brian Pommery, Peter Nash and John Holden. We were hesitant initially, they being boat builders, but ended up being so impressed with the quality of their work and how they created exactly the warm, atmospheric home we wanted, tucked discretely into the rock. “We would go there frequently – as much as twice a month out of holiday season, then again during the holidays. We were both working and when the children were young we’d head off on a Friday evening, stopping to grab something to eat en route, and arrive around 10pm. On arrival we’d pour a glass of something and sit on the terrace and just listen to the silence. The moon on the water is something really to be experienced. It was magical.” The land behind the boathouse came up for sale in 2009, which allowed the couple to extend the property to a substantial four-bedroom house set out over four floors.

On the upper floor there is a 24-foot garden room – a reception room with panoramic views of the water that’s perfect for entertaining, particularly as this room leads out onto a large balcony with glass balustrade that has seen many an al fresco family party/dining location. On the lower ground floor is the substantial 32-foot kitchen/ living area, again boasting panoramic views, and has utility and laundry rooms leading off it. “This is possibly my favourite room in the house – I love spending time here. It is warm and oaky and has a lovely aura about it. Music sounds beautiful in it – I think the oak-framed structure must enhance the acoustics. We’ve sat there for hours over meals eating, talking and catching the odd mast gliding by out of the window. In winter, the sun penetrates the room and the rippling water reflects off the back wall, and in the summer it’s cool, quiet and serene there with just the hum of nature busy on the river. It’s a house that changes magically with the seasons.” The Boathouse, as their much frequented holiday home for over three decades, holds a mountain of memories for the Browns: “Our eldest grandson was just 10 days old when we first brought him down here, and the grandchildren have all enjoyed the house growing up. They learned to swim and sail here. We had a little motor boat and we would take it onto the river and out to sea to fish. MANOR | Late Spring 2018

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It would be easy to take it all for granted, but you’re reminded whenever you invite guests down of quite how special this place is. “We didn’t rent it out because we used it so frequently, but now that the youngest grandson is training to be a pilot in Spain, the others dotted around the country pursuing various careers, and my husband and I less mobile than we were, the time has come to let someone else enjoy it.” Asked what aspects of the house she will miss in particular, Mrs Brown replies: “The gardens are lovely: terraced gardens, each with its own charm. Although you can see the facing riverbank, it’s far enough away that you feel secluded and you’re detached from the houses that sit above the house on the bank. As a result, the gardens have this wonderful view yet feel incredibly private, partly because of the inconspicuous nature of the build. “There are so many lovely aspects to this house, and we’ve been here so long, it’s been easy to take it for granted, but you’re reminded whenever you invite guests down of quite how special the place is. They are all bowled over by it, and can’t understand why we don’t stay here all year round. I reply that you can’t live in paradise!” The Boathouse would suit a family looking for a substantial but discreet riverside home. The four bedrooms all have views over the river – a master bedroom and a guest bedroom both with en suite, and two further bedrooms and a family bathroom. The principal and guest bedrooms have French windows and balconies. It’s clear that selling the house is a wrench for Mrs Brown, not least because of its story, but practicalities make it the sensible thing to do. “I realised when we bought that little run-down boathouse that it was a oncein-a-lifetime opportunity. You rarely get the chance to buy something on the water’s edge, south-facing, with sun, water, sand, and a house and slipway for your boat. It was never a commercial venture for us. We bought it for the love of it and the sheer beauty of the place. “Many thought us foolhardy at the time, but we’ve never looked back and not once regretted it. I hope the next family enjoy it as much as we have.”

The Boathouse is on the market with Savills. Guide Price £2,500,000. Tel: 01392 455700. savills.com

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property

Snapshot comparative Properties across the South West and one from London with interesting architectural features. Stuart House, Torquay Guide Price: £1,395,000

Devon

Stuart House enjoys an elevated position on the exclusive Ilsham Marine Drive, with views of Thatcher Rock and Tor Bay. Built in 2007, the property has been designed to reflect the curves of an ocean liner. Boasting an open plan living area with wide expanses of glass opening out onto a south-facing sun terrace. All four bedrooms have an en-suite, with the two principal ones accessing another sun terrace. marchandpetit.co.uk

Cornwall

Rosedale, Lostwithiel Guide Price: £675,000 Originally a cottage and set within 11 acres of private nature reserve, Rosedale has been transformed and rebuilt to form an architect-designed eco home. With a minimalist feel, key features include a double-height open plan living area and a 2017-fitted kitchen. The master bedroom suite has its own terrace overlooking the gardens. This fourbedroom, single-storey home presents sweeping views of the surrounding natural landscape. savills.com

Devon

Birch House, Staverton Guide Price: £675,000 Birch House is a recent Riverwood development, finished in 2017. The four-bedroom house is clad in cedar, which over time will soften into its surroundings. Other notable design features include a bespoke and unique handmade fully fitted kitchen with NEFF appliances, powder-coated aluminium Kawneer double glazing and sliding doors, and bespoke staircases all under zinc roofing. stags.co.uk

Arundel Gardens, Notting Hill Guide price: £11,250,000

London

Built in the early 1860s, this six-bedroom family house offers a fabulous flexibility of living space. This part stucco fronted house has excellent proportions and impressive ceiling heights. The property encompasses an open plan Boffi kitchen on the ground floor and a sitting room with doors leading to a south-facing garden. Arundel Gardens is located in Notting Hill, with the green spaces of Kensington Gardens and Hyde Park close by. struttandparker.com

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PRIME POSITION OVERLOOKING THE BEAUTIFUL RIVER FOWEY

GOLANT, FOWEY, SOUTH EAST CORNWALL

Fowey about 4 miles by road, 2 by river; Lostwithiel about 5 miles; Cornwall Airport (Newquay) about 22 miles Reconfigured and refurbished in 2015, this wonderful property has creek views from most of the rooms including the principal reception room, which is set around a glazed wall and has a vaulted ceiling, creating a wonderful entertaining and living space. There are four bedrooms in total including a spacious master suite. The gardens surround the property and views can be enjoyed from the decked area to the front. There is a newly built triple garage as well as an attached double garage. EPC rating = D. 3,361 sq ft. Guide ÂŁ995,000 Freehold 156

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Savills Cornwall David Jenkin david.jenkin@savills.com

01872 243200


A TRULY WONDERFUL OPPORTUNITY FOR REDEVELOPMENT

SALCOMBE, SOUTH DEVON

Town Centre about ⅓ mile; The beach about ½ mile; A38 Devon Expressway about 15 miles Plantation House is a substantial detached property available to buy for the first time since being built in 1963. The property is currently configured as a 3 bedroomed house, 2 bedroomed annexe & 2 bedroomed flat. A South-facing position with over 1.5 acres of gardens and woodland with spectacular views of the estuary & overlooking the beach at Mill Bay. EPC: E, G & E Guide £2,500,000 Freehold

Savills South Hams Sarah-Jane Bingham-Chick sjchick@savills.com

01548 800462

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Prime Waterfront & Country House

S O U T H H A M S’ L EAD I N G ESTATE AG EN T

Guide price

Panoramic views over Start Bay - near Dartmouth Dartmouth 5 miles, Blackpool Sands 1 mile, Slapton Sands 2 miles

hotel 5 Bedrooms bathtub 4 Bathrooms furniture 3 Reception Rooms

£1,000,000

An exceptional home, with a stunning contemporary extension situated to capitalise on the uninterrupted panoramic sea view. Set within largely level established gardens. Planning Permission in place to continue to modernise and extend. EPC rating D.

Web Ref: DAR170156

Prime Waterfront & Country House department: 01548 855590

DARTMOUTH 01803 839190

KINGSBRIDGE 01548 857588

MILLBROOK 01752 829000

MODBURY 01548 831163

NEWTON FERRERS 01752 873311

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Dartmouth office: 01803 839190

SALCOMBE 01548 844473

TOTNES 01803 847979

PRIME WATERFRONT & COUNTRY HOUSE 01548 855590


Prime Waterfront & Country House

S O U T H H A MS’ LEAD I NG ESTATE AG E NT

Guide price

Beautiful spacious contemporary home - Newton Ferrers

£895,000

Situated within the stunning estuary village of Newton Ferrers, this is an opportunity to purchase a substantial, renovated, 3300 sq ft south facing family home with large front and rear gardens including vegetable garden and herbaceous borders. Ample parking/boat storage and a double garage. EPC Rating C.

A38 9 miles, Plymouth 11 miles, Kingsbridge 17 miles

hotel 6 Bedrooms bathtub 4 Bathrooms furniture 2 Reception Rooms Web Ref: NEW140057

Prime Waterfront & Country House department: 01548 855590

DARTMOUTH 01803 839190

KINGSBRIDGE 01548 857588

MILLBROOK 01752 829000

MODBURY 01548 831163

NEWTON FERRERS 01752 873311

Newton Ferrers office: 01752 873311

SALCOMBE 01548 844473

TOTNES 01803 847979

PRIME WATERFRONT & COUNTRY HOUSE 01548 855590

marchandpetit.co.uk MANOR | Late Spring 2018

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The Region’s Premium Publication Winter 2017 | Issue 23 £4.50

As I see it Gareth Malone

Soak up Bath Christmas city break

Kudhva Cornish hideaways

WHY READERS LOVE MANOR...

“Very impressed. Best magazine I have seen in the South West. Good mixed content and excellent photography” SHEILA T, WIGAN “Brilliant! How nice to find such a glossy, high end feeling magazine that is full of local content!” REBECCA B, MORETONHAMPSTEAD

Phenomenal flora Photographs by Isabel Bannerman

Powderham Devon’s finest castle

CULTURE FOOD SPACE ESCAPE SCHOOL PROPERTY

“Great magazine...stylish and full of interesting articles” KRISTA L, YELVERTON “Lovely magazine to read - it has shown me so much about my homeland! Good mix of articles on food, fashion, eating and homes!” JOHANNA D, PERRANPORTH

The Region’s Premium Publication Spring 2018 | Issue 24 £4.50

WHY ADVERTISERS LOVE MANOR...

“Since we started advertising in MANOR we have found it a highly effective title. It’s a great source of enquiries but has also been widely admired by our vendors who are very impressed with the quality of the publication. The standard of journalism and photography is second to none in the region.”

TEDxExeter

PRUNELLA MARTIN, DIRECTOR, MARCHAND PETIT

Ranked fourth globally

Alex Polizzi As I see it...

“We’ve just received a really strong lead for an exciting project which we know came as a direct result of advertising in MANOR. Very pleased.” CAROLINE SHORTT, BARC ARCHITECTS

‘In the last year we have received a lot of interest, in particular from interior designers, which we know came as a direct result from our advertising in MANOR. We couldn’t be happier.’ ELLIE IXER, ART WORLD GALLERY, FALMOUTH

“Really interesting articles, stunning and utterly beautiful photographs, but, most of all, it makes me so proud of my county.” CHRISTOPHER BAILEY, HEAD OF NATIONAL WATERFRONT, KNIGHT FRANK

MANOR is available throughout the South West and sold on all major routes into the region: road, rail and air including at Paddington, Bristol Station and Airport, and City Airport, London. It is placed in the bedrooms of over 100 of the region’s most premium hotels and present in the most exclusive holiday cottages in the South West. With a readership of approx. 100,000 affluent individuals and a 94% recommendation rate among readers, there is no better or more highly rated publication in the South West. To find out more about advertising in MANOR, please email advertising@manormagazine.co.uk or call 07887 556447 or 01392 690429

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Hotel Tresanton Celebrating 20 years

Cradle to grave Education for life

CULTURE FOOD SPACE ESCAPE SCHOOL PROPERTY


DESIGNER FLOORING

Bespoke, hand-crafted flooring by Aspen and Ash Aspen and Ash produces artisan, hand-crafted floors for those wishing to enhance the beauty of a space with a stunning wooden floor of genuine, lasting quality. Our designer floors use the finest quality, exclusive Tregothan Oak and Olive Ash as well as 90-year-old reclaimed Douglas Fir, engineered using traditional methods to offer unparalleled stability, finish and durability. From the forest to the floor, Aspen and Ash is committed to preserving historic woodland with all flooring cut, kiln dried and finished in Cornwall, delivered to anywhere in the UK.

New for 2018, is our line of handcrafted parquet and chevron flooring, created with both natural form and long-lasting function and laid to stand the test of time.

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www.aspenandash.co.uk / 01209 210753 INTERIOR DESIGN

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TR26 1AB St. Ives

T 01736 797219

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marketplace

To advertise here please email advertising@manormagazine.co.uk or call 07887 556447

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back page prize draw

an art and wine-tasting holiday in Cornwall

PHOTO:MIKE NEWMAN

Newlyn School of Art, Polgoon Vineyard and St Aubyn Estates Holidays have come together to offer one lucky reader an extralong weekend to remember. This rather special ‘art and wine on the coast’ weekend is outdoor-based, and is for all levels of experience, with beginners very welcome. The weekend will comprise: • an art course for one person with Newlyn School of Art: ‘Coast’ with Imogen Bone; • a vineyard tour and wine-tasting to be enjoyed by the winner and their companion at Polgoon Vineyard; • four night stay at Corner Cottage in Porthgwarra, a beautiful coastal retreat in the heart of Poldark country, located on the South West Coast Path. Stay from 6-10 October - where you will be greeted by a Cornish cream tea for two and a case of limited edition Polgoon Art Bacchus 2016 on arrival. Every year, Polgoon Vineyard collaborates with Newlyn School of Art to create an art label with one of their tutors. The painting on the Art Bacchus label is of Veor Cove on the Atlantic coast by Paul Lewin.

HOW TO ENTER To enter to win this wonderful weekend, go to manormagazine.co.uk/artandwinedraw This MANOR Prize Draw closes at midnight on 25 May 2018 and the winner will be informed the next day. TERMS AND CONDITIONS : The stay is for a maximum of four nights at Corner Cottage for up to two people and must be taken from the 6 October 2018 from 4pm -

10 October 2018 at 10am. Corner Cottage is a pet free accommodation. Confirmation of stay must be communicated by 31 July 2018, and the art course and wine tour should also be booked at the same time. St Aubyn Estates Holidays Terms & Conditions apply while residing at the property - staubynestatesholidays.co.uk. All terms and conditions for the draw can be found at manormagazine.co.uk/artandwinedraw

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87 Queen Street, Exeter, EX4 3RP, Tel 01392 279994, Email websales@mortimersjewellers.co.uk 164

MANOR | Late Spring 2018

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MANOR The Design Issue, no 25  

MANOR is The Premium Publication for the South West, general lifestyle, aimed at people with a base or interest in the region and covering a...

MANOR The Design Issue, no 25  

MANOR is The Premium Publication for the South West, general lifestyle, aimed at people with a base or interest in the region and covering a...

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