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A relaxed approach to contemporary coastal style brings a sense of ease to this Palm Beach estate. Cocktail dresses and formally arranged table settings are one way to throw a party, but sometimes entertaining is about inviting your guests to kick their feet up on the ottoman, throwing open the French doors to welcome in the breeze, and sharing wine and conversation while you chop vegetables at the kitchen island.That laidback—yet still elegant—approach to entertaining is exactly what interior designer Jennifer Knowles envisioned when she outfitted the interiors of this waterfront Florida home built by Malasky Homes. “Palm Beach has very classic leanings, and the people here love to entertain,” Knowles says. “We wanted to be in keeping with that classic approach while bridging the gap between casual and formal.” The inviting atmosphere begins at the front entrance, where guests are greeted by a “welcoming arms” staircase, a hallmark of the Bermudan architectural style that defines the home’s exterior. Inside, lengthy rooms, such as the 32-foot-long formal living room, are divided into intimate groupings to facilitate conversation. Generous windows, French doors, and balconies offer remarkable views of the Intracoastal Waterway on three sides and welcome the Florida sunshine into every room. “The entire house truly is awash in light,” Knowles says. “It doesn’t matter what time of day you’re there.” Rich millwork details and intricate ceiling treatments draw the eye upward to visually expand relatively low ceilings, a height requirement set by Palm Beach’s architectural review board. In fact, the first-floor ceilings top off at just a little under 10 feet, but exquisite millwork—such as the Art Deco-inspired pattern on the living room ceiling—stretches the visual height of rooms. Though the details are elaborate, Knowles achieved a crisp, clean look by painting each ceiling white. Walnut herringbone floors and tailored furnishings reinforce the home’s classic sensibility, while dashes of modern flair, supplied by abstract art and polished-nickel accents, prevent the home from feeling too traditional. “Mixing contemporary touches with classic lines keeps it fresh and timeless,” Knowles says. The result is a home that effortlessly toggles between black-tie events and impromptu gatherings with friends. “You’re sitting on the sofa looking out to the pool, then beyond to the water and the beautiful boats,” Knowles says. “You put your feet up on the upholstered ottoman and you just don’t want to leave.  

A thoughtful renovation finds the sweet spot between architectural heritage and modern-day convenience. Ben and Jenna Sietsema’s newly purchased 1921 Dutch Colonial had a lot going for it— especially if you didn’t venture inside. Located on a channel between two lakes and backing up to 12 acres of wooded park, the house with its barnlike gambrel roof and flared eaves turned heads in an East Grand Rapids, Michigan, neighborhood of traditionalstyle homes. “The lines of the home were just terrific, so the goal was to keep the exterior as close to the original as possible while updating the interiors,” says interior designer Jean Stoffer, who teamed with architect Jeff Visser on the project.The directives: Play up the farmhouse feel in a light-filled, modern way and connect the interiors with their nature-rich surrounds. New shutters, copper gutters, asphalt shingles, and a front porch honor the architecture’s roots, while a fresh coat of black paint on the rebuilt sunroom and window muntins provides a subtle modern twist. Determined to minimize additions, Visser bumped out the garage to add a large mudroom, then reconfigured space (including a large 1990s addition) to improve flow. Updating the back exterior with three sets of French doors, a screen porch, and an outdoor kitchen achieved the couple’s desire to better engage the house with the land. Inside, Stoffer balanced requests for welcoming, kid-friendly spaces with Jenna’s modern preferences and Ben’s rustic bent. Reclaimed beams kick-started the design, bringing a warmth that made Ben and Jenna feel at home. Engineered European white-oak floors, worryfree quartz countertops, and fingerprint-disguising navy kitchen cabinetry bolster a stylish yet carefree mood. Throughout the home, design dances between classic and modern. Inset flat-panel kitchen cabinetry, wall moldings, and a limestone fireplace keep one foot in the past; a stunning waterfall countertop, a mix of dazzling light fixtures, and a palette of charcoals, blues, and greens move to a more contemporary beat. “What we really enjoy about the house is that it’s sophisticated in some ways, yet at the end of the day it is warm and practical—not pretentious,” Ben says.

Designer Brian Gluckstein outdoes himself with a must-see showhome that holdsthe promise of life well lived. Like the glamorous lead in a classic Hollywood film,this year’s Princess Margaret Cancer Centre Home Lottery Showhome makes an alluring firstimpression: it greets you in a dramatic fashion and dazzles you with gorgeous looks, butis careful notto give away too much,too fast. From the extratall foyer justinside the front door, a tiger-print rug worthy of Lana Turner can be glimpsed in the home office across the hallway. “It’s similar to a carpet I had in my New York City apartment years ago,” says designer Brian Gluckstein. The scene beckons visitors forward untilthe 6,700-square-foot home’s elegant main floor is revealed through a procession of grey-trimmed archways. “The house is quite open, but I didn’t want you to see everything as soon as you walk in,” says Brian. In design, as in the movies, a little mystery goes a long way. Set on a corner lotin a leafy neighbourhood of south Oakville, Ont.,the five-bedroom,two-storey house is loosely inspired by French Normandy style. In less than eight months, Brian expertly tempered the interior’s open layout by creating defined living spaces with purpose. He pulled in some walls (to create a centre courtyard) and pushed out others (the great room is generously sized and self-contained), varied ceiling heights and balanced bright, lofty spaces with cosy, moodier rooms. Nearly every surface received its own treatment, from washable murals in the kitchen to a grey wall covering on the dining room ceiling to graphic floor tiles in the foyer. Grey-washed white oak floors with a scraped finish quietly tie together the showstopping elements.

Designer Brian Gluckstein outdoes himself with a must-see showhome that holdsthe promise of life well lived. Like the glamorous lead in a classic Hollywood film,this year’s Princess Margaret Cancer Centre Home Lottery Showhome makes an alluring firstimpression: it greets you in a dramatic fashion and dazzles you with gorgeous looks, butis careful notto give away too much,too fast. From the extratall foyer justinside the front door, a tiger-print rug worthy of Lana Turner can be glimpsed in the home office across the hallway. “It’s similar to a carpet I had in my New York City apartment years ago,” says designer Brian Gluckstein. The scene beckons visitors forward untilthe 6,700-square-foot home’s elegant main floor is revealed through a procession of grey-trimmed archways. “The house is quite open, but I didn’t want you to see everything as soon as you walk in,” says Brian. In design, as in the movies, a little mystery goes a long way. Set on a corner lotin a leafy neighbourhood of south Oakville, Ont.,the five-bedroom,two-storey house is loosely inspired by French Normandy style. In less than eight months, Brian expertly tempered the interior’s open layout by creating defined living spaces with purpose. He pulled in some walls (to create a centre courtyard) and pushed out others (the great room is generously sized and self-contained), varied ceiling heights and balanced bright, lofty spaces with cosy, moodier rooms. Nearly every surface received its own treatment, from washable murals in the kitchen to a grey wall covering on the dining room ceiling to graphic floor tiles in the foyer. Grey-washed white oak floors with a scraped finish quietly tie together the showstopping elements.

A large single-storey extension and some careful replanning has unlocked the potential of Lizzy and Ricky Stringer’s terrace. Like many London buyers, Lizzy and Ricky Stringer could only step up the property ladder by taking on a project. Having already moved the bathroom upstairs and created a bigger kitchen in their previous home, they were keen to renovate again on a larger scale when a Victorian villa came up for sale in Dulwich. ‘I looked past the dated decor and noticed the high ceilings, generous room sizes and beautiful wide staircase,’ says Lizzy. ‘I knew we could strip everything back and start again.’ As they wanted to get the work done straight away, the plans were drawn up during the buying process. ‘We submitted them the day after we exchanged contracts,’ says Lizzy, ‘and the builders started upstairs while we waited for planning permission.’ Luckily, the couple were able to rent a friend’s flat nearby for four months, visiting the site three times a week. Work started in summer 2018, with damaged picture and dado rails replaced and reclaimed fireplaces sourced for the bedrooms, while new wood-effect sash windows replicated the originals. ‘Unfortunately, the only thing that is original is the brown stone fire surround in the snug,’ says Lizzy. The rear section of the house has been remodelled by knocking together the kitchen and dining room, demolishing the lean-to and extending into the side return and rear garden to create a 30ft kitchen-diner with a new utility room and downstairs cloakroom. In the master bedroom, the original floorboards were restored and a reclaimed fireplace was installed, along with panelling and bespoke alcove wardrobes. ‘We tried to bring it back to the period,’ says Lizzy. ‘Our builder did a great job with the panelling, which he recreated from Pinterest pictures I showed him.’ Reconfiguring the layout of the bathroom, which had a shower over the bath, proved challenging. ‘We spent a long time in there with the builder and a tape measure but couldn’t work out how to fit in a walk-in shower and a freestanding bath,’ says Lizzy. ‘In the end, we had to move the door.’ When it came to the decor, Lizzy describes her style as classic London chic. ‘I love places like Soho Home, so have bought pieces from its collection, such as its Burleigh pottery,’ she says. ‘The neutral tones at Daylesford’s cottages and spa retreat have also given me ideas for the soft greys and whites in the sitting room. However, I think you can go a bit more dramatic in smaller spaces like I’ve done with the bathroom.’ Although the project was completed on time, there were several issues that pushed the couple over their budget. ‘We had to replace all the rotten joists and flooring in the hallway and sitting room, and it cost extra to reroute the pipework to a new manhole cover in the garden,’ explains Lizzy. ‘We also invested in a new front door as the stained glass fell out of the flimsy original one, and we spent a bit more than initially planned on the kitchen and on good-quality windows.’ Despite the overspend, the couple are pleased with their finished home. ‘I love how quiet and private it is at the back of the house, and the new space is great for New Year’s Eve parties and summer barbecues,’ says Lizzy. ‘We’re lucky enough to have parking, which is unusual for London, so it’s ideal for commuting. The area is lovely with lots going on, so we don’t see ourselves moving anytime soon.

Sam and Guy Dawson have lived a back and forth life together for the past 14 years. Guy’s work as a non-executive director means being based in London, and Sam had ties to Hove where she lived with her children, Holly and Charlie, now 22 and 20. When the couple bought this Victorian London townhouse four years ago, a Bob Dylan print in an art gallery sparked Sam’s decorating ideas. ‘I instantly loved its blend of dusky pinks, deep purples and blues – and these colours became the inspiration for our whole house,’ she says. ‘I’m amused that the print is called Train Tracks, as it aptly portrays my life travelling to and from London to see Guy.’ For a couple of years, the artwork sat in Sam’s Hove home while she and Guy renovated the London property. Although the house had been extended, it was narrow and they wanted to maximise the space. The lower ground floor was a main focus, with no flow between the kitchen, dining room and family room. Sam got in touch with Woodmans Construction, who had worked on the couple’s previous house projects. ‘The team have always been faultless so there was no doubt we’d use them,’ says Sam. The owner suggested contacting Granit Architecture for expert space-planning, and they advised knocking through walls and rotating the staircase to enlarge the kitchen. ‘It was a fantastic solution,’ says Sam. ‘Now we walk down into the family room and see straight into the garden, with a glass balustrade making the space feel open.’ Granit’s architects and interiors team also advised on the configuration and design of the kitchen, a bespoke build by River Woodwork, and enlarged the master en suite with joinery custom designed and built to fit the space. When it came to planning the decoration, Sam and Guy called on Ingrid Parnis of Equilibrio Interiors, a designer they knew from holidays in Portugal. ‘I’ve always been drawn to colour and patterned fabrics, but with so much choice, I’ve played it safe,’ says Sam. ‘I’d seen Ingrid’s approach in friends’ holiday houses and love the way she uses bright tones to bring a space to life – it makes rooms feel fresh and light.’ Straight away, Sam showed the Bob Dylan print to Ingrid, who suggested a selection of contemporary print upholstery fabrics drawing on the purples and pinks in the picture. ‘One of Ingrid’s choices was the same fabric I had used for curtains before, but in a different colourway,’ explains Sam. ‘I was delighted as it was clear that Ingrid was exactly on my wavelength.’ Design talks continued as the house was stripped back, and a friend suggested Sam contact Farrow & Ball colour consultant Joa Studholme to help choose paintshades. ‘Joa has a brilliant eye for the nuance of colours,’ says Sam. ‘She looked at each room, the light and the fabrics and then put together a colour specification for the whole house.’ When Sam and Guy moved back into their home 18 months later, all the work was complete. ‘Ingrid has a fantastic team who do everything, even hanging the curtains – it’s all very seamless,’ says Sam. ‘The colours and furniture make this house feel so much more contemporary and more “like me” than any other place I’ve lived in,’ she adds. ‘Downstairs seems significantly bigger – some of our friends think we extended – but we’re simply using every inch of space we already had.

S am and Guy Dawson have lived a back and forth life together for the past 14 years. Guy’s work as a non-executive director means being based in London, and Sam had ties to Hove where she lived with her children, Holly and Charlie, now 22 and 20. When the couple bought this Victorian London townhouse four years ago, a Bob Dylan print in an art gallery sparked Sam’s decorating ideas. ‘I instantly loved its blend of dusky pinks, deep purples and blues – and these colours became the inspiration for our whole house,’ she says. ‘I’m amused that the print is called Train Tracks, as it aptly portrays my life travelling to and from London to see Guy.’ For a couple of years, the artwork sat in Sam’s Hove home while she and Guy renovated the London property. Although the house had been extended, it was narrow and they wanted to maximise the space. The lower ground floor was a main focus, with no flow between the kitchen, dining room and family room. Sam got in touch with Woodmans Construction, who had worked on the couple’s previous house projects. ‘The team have always been faultless so there was no doubt we’d use them,’ says Sam. The owner suggested contacting Granit Architecture for expert space-planning, and they advised knocking through walls and rotating the staircase to enlarge the kitchen. ‘It was a fantastic solution,’ says Sam. ‘Now we walk down into the family room and see straight into the garden, with a glass balustrade making the space feel open.’ Granit’s architects and interiors team also advised on the configuration and

Practicality was paramount for Charlotte and Leigh Bowen, but they still managed to combine clean looks with good design After buying an unremarkable seaside Sixties bungalow on the West Sussex coast that was in need of serious TLC, Charlotte and Leigh Bowen were confident they could turn it into a coastal home packed with style. ‘We wanted a home here as it’s a special place to us,’ says Charlotte, a design consultant who works with husband Leigh, an eco architect, at their practice, 50 Degrees North. The couple may have had a head start in terms of design skills, but they still needed to do plenty of research, and find the right team to create a home for themselves and their children, Phoebe,15, Nesta,12, and Felix,10. ‘We didn’t have a fortune to spend doing it up, but we wanted to do it properly so we didn’t rush anything.’ After buying the property in November 2015, knowing they were going to extend into the roof space to provide two extra bedrooms as well as two more bathrooms, they went through a year of planning and building before moving in almost three years ago. Throughout the house every little detail has been carefully thought out. ‘The eco credentials of a property are very important to us, and we’ve clad the exterior in Siberian larch, which will weather well, and the roof and windows are zinc,’ explains Charlotte. ‘We’ve totally insulated the house, plus put down underfloor heating everywhere so it’s as energy efficient as possible.’ Uncomplicated design is at the core of the couple’s plans.Where possible, they have gone for ultra-simple surfaces. ‘We wanted wooden floors everywhere and

Across a sandy beach and rocky lava fields, and you’ll reach it: a vacation home tucked into the coast of Hawaii’s Big Island, where stark simplicity provides a respite from the area’s prevailing tropical colors. “When we took on the project,the clients told us right away thatthey’re minimalists at heart,” says San Francisco– based designerCatherine Kwong. “That’s an easy thing to do in a big city loft, but we had to figure out, how did that translate to a house that’s open to the elements? And how do we make it a kind of place where people wantto unwind?” Kwong and her team worked with the home’s architect, Shay Zak of Zak Architecture, to lay an ideal foundation, using hard-wearing, weather-friendly materials like Alaskan yellow cedar and basalt (a.k.a. lava stone) to create a clean-lined structure where the indoors and outdoors—temperatures hover in the balmy mid-80s yearround—flowed easily into one another. For Kwong, the challenge was to bring in furnishings and decor that would make it feel relaxed, not austere. Her answer: layer, layer, layer. “It’s a neutral color palette,” she says, referring to everything from the textiles (a mix of grays and ivories) to the artwork (all black and white, and all behind UV-filtering glass), “but it incorporates different types of media. The materials and fabrics all have a tactile hand, which makes it seem cozier.” Even the white paint that was used on all of the interior walls was chosen with warmth in mind. “The lighting on the Big Island is really bright, so we didn’t want a pure white,” Kwong explains. “We spent months testing out colors and ended up with Benjamin Moore’s Swiss Coffee—actually a super-popular color that has a little softness to it.” And while the idea of white anything in a beach house occupied by two adults with two little kids might cause hesitation, Kwong assures that the pieces she chose—from the beige hemp rugs to indoor-outdoor canvas cushions on the dining chairs—are totally family-friendly. “We made sure to balance the client’s minimalist aesthetic with how a beach house is actually used,” says Kwong. “It’s not a place where people are worried about tracking in sand!”

AT FIRST, THEY ignored it. “When I bought the house, it was sort of just there,” says textile designer John Robshaw of the old barn a former owner had attached to the side of his 1840s farmhouse in Sharon, Connecticut. “I was using it as a print studio.” He and his wife, Rachel, finished a gut renovation of the main house before realizing their mistake. “I had guests coming over, and I didn’t have a bathroom downstairs— which my mother kept complaining about,” Robshaw recalls. So, with the help of architect Colby Wong and decorator Sara Bengur, Robshaw set about transforming the single-floor barn into what he describes as a “library, loungey, everything living space.” After wiring for electricity and heat, it was filled with pieces from his showrooms (like a pair of bookcases inspired by an Istanbul mosque) and extensive travels (he goes to India at least twice a year), and, of course, plenty of one-of-a-kind textiles. “It’s always fun looking through my warehouse’s excess fabrics—dye lots might be off or we made too much—and seeing what works,” Robshaw says. The added sleeper sofa, powder room, and outdoor shower made it visitor-ready: “My parents can get to this easier than the main house’s upstairs bathrooms—plus, everyone needs an outdoor shower in the country!” Powder Room Robshaw used his own Diba Sapphire wallpaper in the petite space, along with a custom chik blind backed in a printed fabric Extra Seating Benches by Robshaw offer hidden storage—and are choice sleeping spots for visiting nieces and nephews. Entryway In the hallway that connects the barn with the main house, Robshaw placed a Syrian inlaid chair atop Tuareg rugs. He collects Indian ancestor paintings, like the one that hangs here. Outdoor Shower Because there wasn’t enough room to fit a full bathroom, Robshaw installed a showerhead in a private area outside.

This airy New York kitchen was born out of the backyard—and acts like a playground. By Hadley Keller MANAGEMENT CONSULTANT– turned-designer Sarah Robertson always approaches her projects with a can-do mindset. Take this 1910 Queen Anne home in New York’s Westchester County. Originally, it held a dark and cramped kitchen. The backyard, on the other hand, was totally dreamy. So the owners reached out to Robertson, whose firm, Studio Dearborn, has specialized in kitchens for more than a decade. Working with Stoll & Stoll Architects, she moved the kitchen to the back of the house, where it looks out onto the greenery. To make the room feel expansive, they bumped up the roofline to create a wood-paneled tray ceiling and added eight windows. Robertson assigned storage to lower cabinets, drawers, and one wall. “We wanted that open connection to the backyard,” she explains, “and I like to maximize storage.” Here, everything has its place, alltucked within the cabinetsRobertson designed with Schrocks of Walnut Creek, the undercabinetry painted in Benjamin Moore’s Rockport Gray. “It’s a historic house, so this color felt more right than white,” says the designer, who opted for modern hardware by Foundryman and DLV Design for “a cleaner, transitional vibe.” With a view this nice, why ever go outside? Countertop Storage “We wanted to make it feel cohesive,” Robertson says of the full wall of cabinetry. Pull-down panels—complete with brass hardware by Foundryman—hide small appliances. Built-In Pantry Snacks take up lots of space, so Robertson devised a pantry with tray shelves (which pull out so items in the far back are easily accessible) to stash all manner of dry goods. Custom Drawers Robertson designs all her cabinets with Schrocks of Walnut Creek, an Amish company in Ohio. This pull-out caddy for cooking utensils is conveniently situated beside the range. Hidden Brilliance Rather than taking up another drawer, a drying rack and cutting board are stashed between lower cabinets—they slide out easily thanks to sturdy leather pulls.

This airy New York kitchen was born out of the backyard—and acts like a playground. By Hadley Keller MANAGEMENT CONSULTANT– turned-designer Sarah Robertson always approaches her projects with a can-do mindset. Take this 1910 Queen Anne home in New York’s Westchester County. Originally, it held a dark and cramped kitchen. The backyard, on the other hand, was totally dreamy. So the owners reached out to Robertson, whose firm, Studio Dearborn, has specialized in kitchens for more than a decade. Working with Stoll & Stoll Architects, she moved the kitchen to the back of the house, where it looks out onto the greenery. To make the room feel expansive, they bumped up the roofline to create a wood-paneled tray ceiling and added eight windows. Robertson assigned storage to lower cabinets, drawers, and one wall. “We wanted that open connection to the backyard,” she explains, “and I like to maximize storage.” Here, everything has its place, alltucked within the cabinetsRobertson designed with Schrocks of Walnut Creek, the undercabinetry painted in Benjamin Moore’s Rockport Gray. “It’s a historic house, so this color felt more right than white,” says the designer, who opted for modern hardware by Foundryman and DLV Design for “a cleaner, transitional vibe.” With a view this nice, why ever go outside? Countertop Storage “We wanted to make it feel cohesive,” Robertson says of the full wall of cabinetry. Pull-down panels—complete with brass hardware by Foundryman—hide small appliances. Built-In Pantry Snacks take up lots of space, so Robertson devised a pantry with tray shelves (which pull out so items in the far back are easily accessible) to stash all manner of dry goods. Custom Drawers Robertson designs all her cabinets with Schrocks of Walnut Creek, an Amish company in Ohio. This pull-out caddy for cooking utensils is conveniently situated beside the range. Hidden Brilliance Rather than taking up another drawer, a drying rack and cutting board are stashed between lower cabinets—they slide out easily thanks to sturdy leather pulls.

This airy New York kitchen was born out of the backyard—and acts like a playground. By Hadley Keller MANAGEMENT CONSULTANT– turned-designer Sarah Robertson always approaches her projects with a can-do mindset. Take this 1910 Queen Anne home in New York’s Westchester County. Originally, it held a dark and cramped kitchen. The backyard, on the other hand, was totally dreamy. So the owners reached out to Robertson, whose firm, Studio Dearborn, has specialized in kitchens for more than a decade. Working with Stoll & Stoll Architects, she moved the kitchen to the back of the house, where it looks out onto the greenery. To make the room feel expansive, they bumped up the roofline to create a wood-paneled tray ceiling and added eight windows. Robertson assigned storage to lower cabinets, drawers, and one wall. “We wanted that open connection to the backyard,” she explains, “and I like to maximize storage.” Here, everything has its place, alltucked within the cabinetsRobertson designed with Schrocks of Walnut Creek, the undercabinetry painted in Benjamin Moore’s Rockport Gray. “It’s a historic house, so this color felt more right than white,” says the designer, who opted for modern hardware by Foundryman and DLV Design for “a cleaner, transitional vibe.” With a view this nice, why ever go outside? Countertop Storage “We wanted to make it feel cohesive,” Robertson says of the full wall of cabinetry. Pull-down panels—complete with brass hardware by Foundryman—hide small appliances. Built-In Pantry Snacks take up lots of space, so Robertson devised a pantry with tray shelves (which pull out so items in the far back are easily accessible) to stash all manner of dry goods. Custom Drawers Robertson designs all her cabinets with Schrocks of Walnut Creek, an Amish company in Ohio. This pull-out caddy for cooking utensils is conveniently situated beside the range. Hidden Brilliance Rather than taking up another drawer, a drying rack and cutting board are stashed between lower cabinets—they slide out easily thanks to sturdy leather pulls.

AS CONSUMERS’ MEALTIME ROUTINES EVOLVE, HOW WILL KITCHEN DESIGN CHANGE IN AN ONLINE WORLD, WONDERS GRAHAME MORRISON Mention ‘online’ when you are talking about kitchen design and there is a pretty good chance the person you are talking to will either think of one of the online planning tools springing up on a growing number of websites or of WiFi-linked cooking appliances. Less attention has been paid so far on how the online world is going to change the function of the kitchen. As architect Louis Henry Sullivan – the father of the skyscraper – once remarked, ‘form follows function’, so if the way kitchens are used in the future changes, so will the form or design of the kitchen change as well.It was ever thus... I’m old enough to remember advertisements with ‘OXO Katie’ emerging from ‘her’ kitchen with a delicious gravy-smothered meal for her adoring husband Philip and their two perfect children. Philip’s sole contribution to the feast was to help Katie load the dishes after the meal into ‘her’ dishwasher.Fast forward to today and so much has changed. The kitchen space is now frequently found as part of the whole living space rather than a dedicated room of its own. The dining room has all but vanished and the once essential kitchen table is today frequently replaced with a dropped down working surface area. This in itself is ironic, as the standalone kitchen table, beloved of many an Enid Blyton myth, frequently doubled as a food prep area.And talking of food, this too has changed for many households. Even the Sunday lunch, where the whole family gathered to enjoy a ‘roast beef and all the trimmings’ belt-buster of a meal is a lot less frequent. And in the week, it is not unknown for a family of four to have individual meals at individual times.There is much talk about ‘The Internet of Things’ at present, and the networked kitchen is already upon us. Okay, in some of the demos at exhibitions the technology is a little glitchy, but it is getting there. According to a recent report 45% of German consumers want a networked kitchen. And in the world of kitchen design and features, what German consumers want, we all will start to love sooner or later.However, The Internet of Things has little impact on future kitchen design in itself as it is mostly about the control of appliances, we are already familiar with. Those barcode-enabled refrigerators that can plan a meal based on its contents and their use-by dates and then set the oven at the correct temperature to cook the meal, use regular sized ovens and refrigerators. Ovens with built-in menus and cooking instructions take up the same amount of wall space as a basic fan oven. But what is going to stir things up is the dramatic growth in ready meal services Currently a mostly urban trend, ready meal services fall broadly into two categories; the ready to cook and the ready to eat. Both will impact on the design of kitchens in the future if the services continue to grow as they are predicted to. A ready to cook meal is basically a box with all of the ingredients needed to cook the dish, already measured out in the quantities required. FRESH is one of the market leaders in this arena. According to its website, FRESH delivers 16 million meals per month and has almost two million customers. Andthis is just one of dozens ofcompanies now offering a ‘meal in a box’ delivery service. It seems obvious that if ingredients are going to be delivered and stored in precise quantities rather than bulk packets then a change of storage systems – and by extension the cabinets containing storage systems – is going to happen too. If all you need to cook the perfect meal is just a mouse click away, will tomorrow’s kitchen take up as much space?“ Companies like FRESH are doing well and are meeting a need to supply good food, very easily and simply,” says Keith Myers of The Myers Touch. “These meal systems still need cooking and people seem to be moving away from microwave meals in to cooking fresh and will therefore need some equipment to do that. “I would say it will be dependent on the skills they have to cook, how much space they have and how much cooking is a pleasure verses a chore. Just look at the interest in cooking shows and the sale of cook books.“Kitchens are so much more than food. They are social spaces and cooking meals together is a big element of a family and relational groups. So, if you like cooking I still think people are going to be adventurous and enjoy the whole range of exciting experience that cooking together can bring, and therefore will be require equipment within their budget to meet that objective.”“Generally speaking Miele customers love to cook from scratch,” adds Neil Pooley, Category Manager for Kitchens at Miele. “They may well subscribe to a recipe box subscription service, taking advantage of the automatic ordering and delivery and the opportunity to try new dishes, but the raw ingredients still need to be prepared and cooked perfectly. The most successful recipe box services will offer food that is of the highest quality, organic and with excellent provenance. “My view is that in the future, it is not necessarily that appliances will need to become smaller or have less features – certainly Miele’s Perfect Fresh refrigeration technology will be as important as ever in storing fresh ingredients that may not be cooked for a few days. I suspect the real change will be in kitchen design and storage as customers will need to eficiently store the dry goods from their recipe boxes.”If ready-to-cook packages still rely on traditional appliances to do the actual cooking, the same cannot be said of ready-to-eat meals. These are not in themselves a new idea; very few people have not enjoyed take away meals either collected from or delivered by the local Indian or Chinese outlet, pizzas and of course ish & chips. But there is a whole raft of companies springing up to deliver restaurant-quality cuisine. Deliveroo for example offers a delivery service from local restaurants. Founded in 2013, just three years later the company was worth almost £130m. And Uber Eats says it has hundreds of restaurants to choose from. When you open its app, you can scroll through the feed for inspiration or search for a particular restaurant or cuisine. When you ind something you like, tap to add it to your basket and start laying the table. Your dedicated Uber driver will soon be knocking on your door to give you tonight’s supper.If a customer is getting some of their meals delivered ready to eat, do they still need a state-of-the-art oven and large capacity cooling and freezing appliance? If not, how will this impact on future kitchen design? “We have noticed a shift towards unexpected kitchen furniture,” says Matt Phillips, Head of UK Operations for Rotpunkt UK, “where modular solutions like room dividers, wall-hung designs and asymmetrical space planning are allowing the homeowner to interpret the space ergonomically, instead of spatially. “This is also working to naturally kerb the domestic qualities of a kitchen space with modular solutions introducing dedicated herb storage, an open ice trough for cooling drinks or an easy-access room divider that is raised for extra utility or transform a typical ‘box-shape’ island unit into a multipurpose workstation. We have also introduced a new stack-up frame shelving system which works on its own or as part of a itted kitchen concept and can be wall or loor mounted, freestanding or integrated for the utmost lexibility.” “When it comes to kitchen size, I'm not of the opinion that they are reducing,” says Carmel Diggins, Designer at Halcyon Interiors. “I just feel that the use of space has changed. Pantries and utility rooms are beginning to be more common, thus removing certain appliances and additional storage space into different areas within the household. “With the wealth of options when it comes to kitchen appliances, it’s hard to say that certain appliances will become redundant as they are all tailored to the individual’s needs. The choices people make will be subjective, client A may be fond of entertaining guests so a choice of an oven, combi and warming drawer would be suitable, whereas client B may decide that a combi will be suficient enough for their needs. One thing that seems apparent is the use of microwaves has begun to diminish. Could this mean the beginning of the steam era in the UK?” “I live in the countryside and I work in a city and while I don’t yet have access to Uber Eats, I have ordered an organic recipe box on occasions,” admits Darren Taylor, Managing Director of Searle & Taylor. “This is certainly a burgeoning trend in households, which may one day shape the way we design the kitchens of the future by only needing the minimum amount of cabinetry, together with some nifty compact appliances, but that is a big leap forward. “In some ways, and for different reasons, we are already incorporating more modular and compact options in the kitchens of today and this trend is certainly set to continue. I often design kitchens for clients that have oil-ired ranges already installed or that want a range styled cooker that will also heat the home, and that has to be incorporated in the scheme. This is all well and good until the summer months when they need to be switched off due to excessive heat in the room. “Gone are the days when you had to specify an additional single oven and 60cm electric hob with hidden canopy extractor above and have them all on show, taking up valuable storage space and disrupting any clean lines. This is thanks to some very savvy appliance brands that have developed advanced dual-purpose compact ovens, which enable designers to hide them within cabinetry when not in use. A number of premium brands make 45cm compact combination microwave ovens and/or with steam functions in the same appliance. This is a boon, because the product is ostensibly a fan oven with grill options, and unless you want to roast a 36lb turkey, it performs most of the functions of a single sized version just with extra useful features. Many brands offer fantastic modular induction hobs, some with zoneless cooking, so even if the hob is slimline, you can still place a larger pan on it. “While ingredient boxes tend to have recipes developed for surface cooking, I can’t see the day when an oven of some sort will not be a standard requirement in any kitchen, large or small,” adds Taylor. “However, I can see a future where it will no longer be seen within the layout. Already, the fashion in European design is to create a kitchen that conceals many functional aspects behind pocket doors, so that the room itself can be truly multifunctional and will hardly look like a kitchen at all until it is being used.” 

AN ELEGANT STONE AND WOOD PAIRING CHARACTERISES THIS STYLISHLY SUBTLE APARTMENT SCHEME IN MONTE CARLO. A historic building in prestigious Monte Carlo houses the renovation of an apartment whose style relects the elegance of the city. The interior scheme by architect Matteo Piras of Ellepi Studio is a precise and subtle one, dedicated to natural materials skilfully used in a contemporary way.The four colours used and revisited with different textures come to cover the entire surface of the living space, giving uniqueness to every room of the house and at the same time acting as a common thread between them.Spaces are pervaded by light that emphasises the reinement in detail and interaction with the natural elements of interior furnishing, with stone and Canaletto walnut combining to deliver a consistent union between the architectural ideas.Almost as if sculpted in stone, CEA’s Black Diamond inish steel taps stand out and feature throughout the project  

ADDRESSING IMMINENT CHALLENGES FACING DESIGNERS, ARCHITECTS AND DEVELOPERS WAS THE KEY FOCUS OF A DISCUSSION EVENT HELD BY MATERIALS MANUFACTURER EGGER The impact of biotechnology on the future development of materials, new ways of constructing buildings, the negative impact of continuing as we are now on society and the environment, and the growing concern of how all this affects our lives were among the many varied avenues of discussion for an enlightening event addressing some of the biggest questions facing architects and designers over the years ahead. Hosted by wood-based panel manufacturer EGGER at London’s Material Lab, the event boasted a stellar panel of experts, chaired by Peter Murray, Chairman of New London Architecture, and founder of Blueprint magazine.Panel topics ranged from advocating an innovative approach to materials, the shift from industrial to ecological techniques, using robots and machines to make new things, creating spaces for young people to develop ideas and new materials, and considering the biological systems that could revolutionise business and manufacturing practices. Self-styled maverick Raphael Gielgen, Future of Work ‘trend scout’ for furniture brand Vitra, started with two questions to set the tone. He asked: “What do you have to do to stay relevant to your company in 10 years? And what does your company have to do to stay relevant in 10 years? ”From the discussions that ensued, it was clear that to a large extent, the answer depends on three actions: change; innovate; listen. Panellist Rachel Armstrong, Professor of Experimental Architecture at Newcastle University, leads a hub for biotechnology in the built environment, part of an EU innovation project. She spoke passionately about taking responsibility for the environment around us and working with living organisms to create new products and materials or to perform industrial tasks. Examples of this included using chemical reactions from urine to charge mobile phones at Glastonbury, bio-electricity created in a composting environment with microns turning waste into electrons, and the rise of bio-composites such as self-healing bio-concrete, where organisms are mixed into traditional material.She said: “The question needs to be asked, do we really need industrial-level 230v electricity supplies in every home? Can we design homes with 12v supplies because, if we did, then actually we could power our homes with our waste.”Such changes can perhaps only be enacted if the construction process stops to re-evaluate all aspects of current practice, questioning what is normal and why it has become so. “Design is no longer just for the human. What we’re seeing is an expanded notion of humanism in which the organisms we live alongside, the materials and the environment that we live with, all become part of the sphere of care and value.”“It changes the focus of design so that yes, it is still very much about designing for humans, but it is about more than just designing for humans. It is about the responsibilities we have to sustain the other things around us .”This could involve looking at everyday products in a totally different way. For example, how could a chair be more than ‘just’ a chair? Armstrong points out that NASA are looking at ways in which the chair can harness energy from the person sitting in it – with obvious beneits for maximising power on a space craft, but with a potential for contributing to the energy-saving agenda a little closer to home perhaps.She adds that the toilet could also take on a bigger role than just acting as a chute for waste, with a future that could see it play a part within a larger system of waste recycling within the home.  Ehab Sayed, Founder and Director of Innovation at Biohm and PhD Researcher at Northumbria University, added further revelations to this glimpse of a new world ahead, by showing the audience some of the new material his company is making from living organisms and waste products. Sayed and his colleagues are driven by a vision of mutual integration between the built and natural environment via a circular economy based on a clear ethos of mutual beneit and doing what is right for the planet. He explained the background to his new form of carbon-neutral insulation developed using the fungus mycelium which feeds on organic and synthetic waste to grow into desired shapes. Both Armstrong and Sayed are at the forefront of innovation in their ields and advocate that changing how we build our cities and lead our lives has to – and will – happen. Gielgun picked up the point that however desirable, change is restricted in the current construction industry because it is driven by giants, the big house builders and investment companies, adding that it is hard to challenge the status quo but it has to be done. He said there are so many standards in the construction industry that have to be adhered to that it is hard for new products to break through the barriers. Panelist Leonne Cuppen, curator and founder of Yksi Connect, feels very strongly about giving our architects of the future the space and opportunity to develop new ideas and more sustainable products. Her work connects designers with industry, bringing all the parties together, focussing on social issues, sustainability, and circularity in relation to design. In her eyes, young people are highly connected with technology and motivated to make the world a better place in which to live. She called for big companies to work with young designers to create something new. She recognised how hard it is for big corporate organisations to change but feels optimistic it can happen. The event inished off with some pertinent questions from the audience about the ethics of bio-technology and also the dificulty for architects to specify new products and materials that do not meet construction standards. The inal question touched on the lifespan of things in a throw-away society. It led to further discussion about making products that last a long time, and whether we should instead be looking to create products that are temporary but also do not need recycling. Gielgen posed one of the most thought-provoking prospects, suggesting that all manufacturers could be facing a major disruption to the status quo in the not too distant future. “We are likely to see a ban of artiicial materials and that will be the biggest shock to all of the producers worldwide. I believe we will see a plastic ban, coffee cup ban, all of these things will only expand into other areas as time goes on so manufacturers will have to adapt to this, and probably faster than many are currently prepared to believe. ”Peter Murray summarised by suggesting that although the beneits of many of the futuristic ideas for harvesting energy or making better use of natural resources are pretty clear for people to see, we perhaps still have a long way to go to shift current industry practices and the constraints of building regulations. Getting new material onto the market is clearly challenging but there is a lot of optimism that this can happen, with the right education, investment and creative spaces for new ideas to lourish.Andrew Laidler, Director of Sales and Marketing at EGGER, thanked the panel for a fascinating insight in to the future of design and architecture and the role that biotechnology companies can play in promoting a new approach to construction. He added: “It’s clear that we all have to change and develop to stay relevant to our companies, and companies themselves have to change, innovate and listen to what the younger generations are asking for: a sustainable economy and a world free of materials that are harmful to humans and the environment.”

SOURCING JUST THE RIGHT MIX OF COMPONENTS WAS KEY TO THE SUCCESS OF THIS DECEPTIVELY SIMPLE-LOOKING KITCHEN PACKED WITH DESIGN FLAIR The main brief for the kitchen in this large family home was to utilise the sizeable space in a way that worked effectively for a large extended family that loves entertaining, and to ensure that there was plenty of storage to it everything into one space. Key elements in delivering some of this included a large Sub-Zero fridge and freezer, a ‘secret’ walk-in pantry, a large island with seating and hob, and a bar and TV area to act as a real family space.“Although it was a very large kitchen, we quickly illed every zone with clear and speciic storage to suit the client’s needs,” explains the kitchen’s designer Paul Welburn of Roundhouse. Materials were at the very heart of the design of course, and the selection process was very much in partnership with the cient. “The materials we used were very pleasing,” says Welburn. “The choice was inspired by visits to three different Roundhouse showrooms – Wigmore Street, Fulham and Guildford – as well as a speciic journey to a stone yard to select the correct piece of worktop for the show-stopper island.”In terms of appliances, Welburn says that the choice of Sub-Zero was a no-brainer because of the volume of storage for the chilled and frozen requirements, along with a backup fridge in the hidden pantry. Gaggenau built-in ovens and hob were also chosen due to the aesthetic and high-level performance, and the integrated wine cooler because it its so well into custom furniture. “The client loved the look of the Sub-Zero combo but equally loved the look of the Gaggenau ovens so between them, this offered the ideal solution.”  KITCHENS / CASE STUDYdesigner kitchen & bathroomdesignerkbmag.co.ukAUG2019d61Contacts Roundhouse /roundhousedesign.comThe furniture is Roundhouse Urbo high gloss lacquer in Farrow & Ball Ammonite on the sink and fridge runs, with Hammered Silver on the island and wall cabinet. Quartz worksurfaces in White Fantasy and brushed stainless steel and splashback in White Fantasy are combined with Metro vertical grain Driftwood on the bespoke TV and drinks bar and wine storage cabinetry. The space also includes the Nightingale Cabinet in RAL 7026 with Antique Bronze Mirror splashback.Welburn believes that the key elements in the design were all about the combination of the furniture, materials and the appliance practicality. “The polished plaster surrounding the Sub-Zero run framed by Roundhouse Gloss furniture was chosen to give a real sense of glamour. This was punctuated with Roundhouse bespoke furniture in a Hammered Silver inish to lift the kitchen – the way in which this inish catches the light was a signiicant factor in its selection.”He adds: “On the opposite wall, the Driftwood adds some warmth to give more of a furniture and less purely kitchen feel, housing the TV and the hidden bar. The only giveaway is the wine cooler but again, because it is integrated well into this wall, it works really well in this location.”Two sets of pocket doors hide the bar and coffee zone and complete the large family kitchen giving different zones to the whole space and allowing low into all other parts of the room and the house overall. From the designer’s perspective, there are a few key highlights within the project. Welburn says that it was particularly pleasing that the clients stuck with their original instincts regarding their choice of inishes and were happy to combine these with the extra elements such as the White Fantasy quartz and the polished plaster effect. He adds that the hidden aspects are also real gems within the scheme. “I love the hidden pantry behind the ‘secret’ pocket door. Every kitchen should have one! Also, hiding the bar and coffee zone gives a little wow factor and continuing the White Fantasy stone in these areas adds glamour.”Above all though, it is another example of how close co-operation between client and designer can really reap dividends. Welburn adds: “Working with the client on the detail was really important with this one. In particular, we took the time out with them to explore the storage throughout the kitchen so that every element was considered, to the point where we added a bespoke glass display cabinet to just give the kitchen the inal inishing touc 

anish furniture brand Garde Hvalsøe has created a new space to show off its range of bespoke kitchen and interior designs with a Copenhagen showroom designed in close collaboration with the architect and interior designer David Thulstrup. Located in a former car assembly garage in central Copenhagen, the space has been transformed into a calm space with a residential feel in a carefully executed blend of intimate and more expansive scales, which showcases the wide range of interior solutions offered by the manufacturer, from walk-in wardrobes and kitchens, to wine rooms and integrated hallway furniture. Talking about the new showroom, partner and co-owner Søren Lundh Aagaard said: “Having worked with David Thulstrup previously, we knew he would take us in the right direction and create a showroom that underlines the ethos of Garde Hvalsøe. We have aimed for a harmonious space that displays our craftsmanship and the many bespoke possibilities in an inspiring setting.” Almost hidden in a quiet Copenhagen backyard, the new showroom has an understated exterior. But upon entering the space, visitors are immediately taken into the essence of the brand and its emphasis on craftsmanship. An architectural insertion made completely from smoked oak planks functions as an entrance and custom-made wine room, while bespoke loor-to-ceiling shelving units act as room dividers throughout the space. The walls have a white structured surface and all the windows are covered up with white fabric, creating a monolithic and neutral setting. Thulstrup, who also worked on Garde Hvalsøe’s showroom in Aarhus, Denmark, explained: “My ambition was to create a calm and minimalistic backdrop to highlight the rich Garde Hvalsøe story, products and craft and, at the same time, capture the feeling of home.” The use of wood, especially prevalent in the entrance design, emphasises the core of the company which is to use high quality materials and traditional craftsmanship to create long-lasting furniture. While showcasing the signature Garde Hvalsøe product range, the new space also features the iconic Lundgaard Tranberg Model in Douglas Fir with a stainless-steel tabletop, a combination where the bright wood strikes a warm contrast to the cool steel surface, creating a contemporary look. Also on display is a new Garde Hvalsøe design, a wall shelving system made of stone with custom-made raw steel shelves. The showroom is divided into open areas, closed spaces and semi-transparent zones by means of custom-designed space-dividing elements incorporated into the rhythmic structure of the existing columns of the former car assembly garage. The result is that visitors are invited to explore and experience materials, colours, structures and design as they wander from once section to another. Custom pieces include freestanding storage units, a minimalist 12-seater table made of light blue stained ash planks, and metal and stone tables, which all complement a specially curated selection of vintage pieces and new furniture pieces designed by David Thulstrup.

The word biophilia originates from the Greek words for Life (Bios) and Love (Philia). It literally means a love of life or living things. As humans, we have an innate biological connection with nature which has existed since man’s very earliest days surviving from the land and living as one with nature. Throughout history we have seen nature themes incorporated into the earliest human structures and the consistency with which this occurs dispels any misapprehension that biophilic design – the process of designing nature back into the built environment – is a new phenomenon. Frank Lloyd Wright was an American architect, interior designer, writer, and educator, who believed in designing structures that were in harmony with humanity and its environment, a philosophy he called “organic architecture”. Whilst this does not encapsulate all the tenants of what we now tend to identify as biophilic design, it does provide a starting point from which we can explore this more recent design trend. “Study nature, love nature, stay close to nature. It will never fail you,” is something that Wright is known to have taught to his students. Whilst organic architecture can be seen as a precursor to biophilic design, the term was actually coined in 1964 by social psychologist Eric Fromm and later popularised by biologist Edward Wilson in his 1984 book Biophilia in which he deines biophilia as “the urge to afiliate with other forms of life”.It is only really in the past few centuries that the human species has become predominantly urban dwelling. This shift from countryside to city environment has had a dehumanising effect and has caused a persistent disconnect from nature. It is projected that by 2050, 66% of the developed world will be urbanised, and increasingly distanced from nature and natural systems.Add to this modern society’s dependency on technology and it is easy to see why our mental health and wellbeing are suffering. There is today, a direct correlation between the increasing urbanisation of our society and rising stress rates. In fact, stress has been called the “health epidemic of the 21st century” by the World Health Organisation.Whilst the science supporting biophilic design is still emerging, it is now being championed as a complementary strategy for addressing many of the familiar challenges to health and wellbeing. Alexander Bond is the Founder of Biophilic Designs, a company that supplies and installs the latest biophilic design products. He says: “Biophilic design has the power to improve the built environment in almost every sector imaginable, for example: happier and more productive employees in corporate environments, calmer and more attentive students in educational spaces and more positive and comfortable patients in healthcare environments.”Interest in biophilia has grown substantially over the last decade as research scientists and design practitioners have attempted to understand the relationships between nature, science, and the built environment so that we may experience the human beneits of biophilia.Biophilic Design expert Oliver Heath believes that the current interest in biophilic design is an extension of the sustainable architecture movement. “For a long time, the conversation was around sustainability and how we reduce our use of basic resources, such as water and electricity. This was to reduce costs but also to reduce the building’s impact. Now, the conversation revolves around the fact that a massive part of a building’s costs is the people in it and that 90% of the cost is paid out in salary and beneits. So there is a massive opportunity here to support and nurture people in a way that can reduce stress and increase productivity. This means there is a very strong business case for biophilic design.”This business case has not gone unnoticed. According to the report Human Spaces 2.0: Biophilic Design in Hospitality prepared by environmental consulting and strategic planning irm Terrapin Bright Green, hotel rooms with a view to nature, particularly to water, are consistently priced on average 11-18% higher than rooms without a view and the dwell rate of biophilic hotel lobbies is 36% higher than in conventional lobbies, which in turn creates more revenue. Ofices that incorporate biophilia are known to be more productive and create lower levels of stress, fostering greater happiness and creativity, whilst helping to retain staff and reduce absenteeism. Examples include some large companies who are at the forefront of workplace design such as Facebook, Apple and Amazon and which all incorporate biophilic design principles into their ofices. Hospital patients have been found to receive substantial recovery beneits when exposed to environments that incorporate the principles of biophilia into their design. Being exposed to natural elements, whether directly from nature or an interpretation of it, can aid the healing process of patients by reducing stress levels, reducing the need for medication and in some cases shortening postoperative stays. It can also have a beneicial impact on the staff that work in healthcare facilities. Heath says that biophilic design has been led by an interest in human-centric design and a willingness to