Browse content similar to Hardeep and Rupinder/Adam. Check below for episodes and series from the same categories and more!
Line | From | To | |
---|---|---|---|
Houses across Britain don't fit our needs... | 0:00:02 | 0:00:04 | |
We're going to feel like sardines in a can. | 0:00:04 | 0:00:06 | |
..or our dreams. | 0:00:06 | 0:00:08 | |
This is what's known as miserable. | 0:00:08 | 0:00:11 | |
I'm Piers Taylor and I've hand-picked a team of experts | 0:00:12 | 0:00:15 | |
to transform everyday homes. | 0:00:15 | 0:00:17 | |
If you feel that, it doesn't feel like you think it would. | 0:00:20 | 0:00:23 | |
'From bold changes...' | 0:00:23 | 0:00:24 | |
Your room, as it is, would disappear. | 0:00:24 | 0:00:26 | |
'..to stunning interior ideas...' | 0:00:28 | 0:00:31 | |
I think it looks amazing, that. | 0:00:31 | 0:00:32 | |
'..and finishing touches.' | 0:00:32 | 0:00:34 | |
It's a bit of a focal point. | 0:00:34 | 0:00:36 | |
We will use every trick of the trade... | 0:00:36 | 0:00:38 | |
You want to give a bit of a wow factor. | 0:00:38 | 0:00:40 | |
..to prove a limit on your funds... | 0:00:40 | 0:00:42 | |
This stuff is free. | 0:00:42 | 0:00:43 | |
..does not mean a limit on your imagination. | 0:00:43 | 0:00:46 | |
This is amazing. I mean really amazing. | 0:00:46 | 0:00:48 | |
This time... | 0:00:51 | 0:00:53 | |
the owner of one of Britain's thinnest homes | 0:00:53 | 0:00:55 | |
is desperate for help. | 0:00:55 | 0:00:57 | |
You won't get lost in this place. | 0:00:57 | 0:00:58 | |
But how do you make a lot out of a little? | 0:00:58 | 0:01:01 | |
-What do you think? -It's amazing. | 0:01:01 | 0:01:03 | |
A family of four have enormous dreams for their home. | 0:01:03 | 0:01:07 | |
I just love the grandeur. | 0:01:07 | 0:01:09 | |
But bigger isn't always better. | 0:01:09 | 0:01:11 | |
-This isn't architecture, this is just getting more space. -Yep. | 0:01:11 | 0:01:14 | |
With house prices in London now averaging | 0:01:25 | 0:01:28 | |
over half a million pounds, | 0:01:28 | 0:01:30 | |
28-year-old Adam thought he had very little chance | 0:01:30 | 0:01:32 | |
of buying a home in the capital. | 0:01:32 | 0:01:35 | |
But then, he came across this extremely narrow property | 0:01:35 | 0:01:38 | |
and bought it for just £105,000, | 0:01:38 | 0:01:42 | |
but has he bought a dud? | 0:01:42 | 0:01:44 | |
Welcome. | 0:01:44 | 0:01:45 | |
There you go. You won't get lost in this place. | 0:01:46 | 0:01:48 | |
The estate agent didn't even bother showing me around at the time, | 0:01:48 | 0:01:51 | |
because they said they'd had so many phoney offers | 0:01:51 | 0:01:53 | |
and had been on the market for such a long time | 0:01:53 | 0:01:55 | |
they didn't really believe that anyone | 0:01:55 | 0:01:57 | |
would seriously be interested it. | 0:01:57 | 0:01:58 | |
Once nothing more than an alleyway, | 0:02:00 | 0:02:03 | |
this unique building is just five feet wide | 0:02:03 | 0:02:05 | |
at its thinnest point. | 0:02:05 | 0:02:07 | |
I can touch both sides of the wall. | 0:02:08 | 0:02:11 | |
Which, if you're sitting down, is quite useful, | 0:02:11 | 0:02:13 | |
cos you can grab things from the side without having to stand up. | 0:02:13 | 0:02:16 | |
This tiny one-bedroom house is a struggle for Adam | 0:02:17 | 0:02:20 | |
to live in on his own. | 0:02:20 | 0:02:21 | |
But social occasions are practically impossible. | 0:02:21 | 0:02:24 | |
He needs somewhere he can entertain. | 0:02:24 | 0:02:26 | |
It's OK to cook, but if someone else is here | 0:02:27 | 0:02:30 | |
it's not really OK any more, | 0:02:30 | 0:02:32 | |
because you'll be in the way, or they'll be in the way. | 0:02:32 | 0:02:36 | |
There is quite a lot of bumping into each other | 0:02:36 | 0:02:38 | |
and I find myself apologising quite a lot. | 0:02:38 | 0:02:41 | |
The cash Adam has invested in this home | 0:02:43 | 0:02:45 | |
means more to him than anything. | 0:02:45 | 0:02:48 | |
He is desperate for the house to work for him long term. | 0:02:48 | 0:02:50 | |
I'd come into an inheritance, | 0:02:52 | 0:02:55 | |
having sadly lost my parents, | 0:02:55 | 0:02:58 | |
and I knew they'd wanted me to invest into property | 0:02:58 | 0:03:00 | |
to keep a roof over my head, I think. | 0:03:00 | 0:03:03 | |
This house is the legacy | 0:03:03 | 0:03:05 | |
and this house is my future, as well. | 0:03:05 | 0:03:07 | |
Helping me transform these homes | 0:03:15 | 0:03:16 | |
is my hand-picked team of architects. | 0:03:16 | 0:03:19 | |
My own project comes later, | 0:03:21 | 0:03:22 | |
but taking on the challenge of Adams ultra-slim home | 0:03:22 | 0:03:25 | |
is Katy Marks. | 0:03:25 | 0:03:27 | |
-Hi. -Hello. -Hi, come in. -Nice to meet you. | 0:03:31 | 0:03:34 | |
Wow, it's straight in, isn't it? | 0:03:34 | 0:03:35 | |
Yeah. Yeah, absolutely. | 0:03:35 | 0:03:37 | |
The stairs are quite prominent, aren't they? | 0:03:39 | 0:03:42 | |
It's almost half the width of the house, actually. | 0:03:42 | 0:03:44 | |
Yeah, and also that you have to | 0:03:44 | 0:03:46 | |
step to the side | 0:03:46 | 0:03:47 | |
-into what is your living space to go up there. -I know. | 0:03:47 | 0:03:50 | |
And that is a small sofa. | 0:03:50 | 0:03:52 | |
Dark carpets and heavy wooden stairs all make the house feel | 0:03:52 | 0:03:55 | |
even smaller than it is. | 0:03:55 | 0:03:57 | |
Let's have a look through. | 0:03:57 | 0:03:59 | |
THEY TALK | 0:03:59 | 0:04:00 | |
While poor lighting makes the ground floor feel like a tunnel. | 0:04:00 | 0:04:04 | |
Yeah, it gets narrower and narrower | 0:04:04 | 0:04:06 | |
and darker and darker as you go | 0:04:06 | 0:04:08 | |
-to the end of the house, doesn't it? -It does. | 0:04:08 | 0:04:09 | |
You can literally... | 0:04:09 | 0:04:11 | |
-stretch your arms across, can't you? -Yeah, yeah. | 0:04:11 | 0:04:15 | |
I can see there is light at the end of the tunnel down there. | 0:04:15 | 0:04:18 | |
Adam wants to build out into his tiny backyard | 0:04:18 | 0:04:21 | |
to make a new dining space. | 0:04:21 | 0:04:23 | |
THEY TALK | 0:04:23 | 0:04:25 | |
-Wow. -I know. | 0:04:25 | 0:04:26 | |
It's a bit of a scrapyard at the moment. | 0:04:26 | 0:04:29 | |
Compared to the rest of the house, you get a lot of light in here. | 0:04:29 | 0:04:32 | |
From the day I moved in, | 0:04:32 | 0:04:33 | |
I always thought, you know, this is a place | 0:04:33 | 0:04:35 | |
that's going to become something else. | 0:04:35 | 0:04:38 | |
Katy has re-imagined some of the country's best buildings. | 0:04:40 | 0:04:44 | |
She was part of the team that won the prestigious | 0:04:44 | 0:04:46 | |
Stirling Prize for the new Everyman Theatre in Liverpool. | 0:04:46 | 0:04:50 | |
She's also transformed parts of the Royal Court Theatre in London. | 0:04:50 | 0:04:55 | |
The bedroom is pretty titchy, isn't it? | 0:04:55 | 0:04:59 | |
But what can anyone do with a tiny house like this? | 0:04:59 | 0:05:02 | |
I can't even walk round the furniture. | 0:05:02 | 0:05:05 | |
Adam has taken out a £50,000 mortgage | 0:05:05 | 0:05:08 | |
to alter his home. | 0:05:08 | 0:05:10 | |
After overhauling just the electrics and plumbing, | 0:05:10 | 0:05:13 | |
he won't be left with much. | 0:05:13 | 0:05:15 | |
Getting extra space by going out would be incredibly valuable, | 0:05:16 | 0:05:19 | |
because the house is so small. | 0:05:19 | 0:05:21 | |
Improving this tiny house is a huge challenge. | 0:05:21 | 0:05:24 | |
Katy must find ways to help Adam with every element, | 0:05:24 | 0:05:27 | |
from where walls go, right down to fixtures, fittings and storage. | 0:05:27 | 0:05:32 | |
She wants to start by tackling the key architectural moves. | 0:05:32 | 0:05:35 | |
The first thing, | 0:05:35 | 0:05:37 | |
make the yard into an extra space. | 0:05:37 | 0:05:39 | |
You could make quite a dramatic space in there | 0:05:39 | 0:05:42 | |
that had walls on all sides, | 0:05:42 | 0:05:43 | |
but just a really big roof light. | 0:05:43 | 0:05:45 | |
Oh, OK. | 0:05:45 | 0:05:46 | |
I can just picture it now, with the amount of light, | 0:05:46 | 0:05:49 | |
it's going to be incredible. | 0:05:49 | 0:05:50 | |
But the thing that I'm going to suggest, | 0:05:50 | 0:05:52 | |
which you might think is a bit crazy... | 0:05:52 | 0:05:54 | |
is to suggest that we don't have a floor here. | 0:05:54 | 0:05:58 | |
What we are left with, then, | 0:05:58 | 0:05:59 | |
is a really big airy, double height space for a living room. | 0:05:59 | 0:06:04 | |
-Wow. -You know, you can do a lot in here. | 0:06:04 | 0:06:06 | |
You can have a really high lighting | 0:06:06 | 0:06:08 | |
-and big pictures on the wall. -Yeah, yeah. | 0:06:08 | 0:06:09 | |
And then what I've done here is | 0:06:09 | 0:06:12 | |
to build a dormer just on the back. | 0:06:12 | 0:06:14 | |
So that it is like a bed mezzanine. | 0:06:15 | 0:06:18 | |
Katy's plan would be a radical transformation to this tiny home. | 0:06:21 | 0:06:26 | |
Turning the yard into a glass-covered extension would give | 0:06:26 | 0:06:28 | |
Adam a dining space, where he can entertain. | 0:06:28 | 0:06:31 | |
Moving the living area to the first floor | 0:06:35 | 0:06:37 | |
and removing the ceiling above, | 0:06:37 | 0:06:38 | |
would create an extraordinary double height space, | 0:06:38 | 0:06:41 | |
with an open bed platform built in. | 0:06:41 | 0:06:43 | |
And key to Katy's design is stripping out the old staircase. | 0:06:46 | 0:06:50 | |
Building spiral stairs in the middle of the property | 0:06:50 | 0:06:53 | |
would connect it all together. | 0:06:53 | 0:06:54 | |
I'm slightly concerned about the size of the bedroom, | 0:06:57 | 0:07:01 | |
because we have lost some floorspace. | 0:07:01 | 0:07:03 | |
Really make sure that you keep it as open as possible. | 0:07:03 | 0:07:06 | |
Because it is so long and narrow, | 0:07:06 | 0:07:09 | |
getting rid of as many walls and doors as possible | 0:07:09 | 0:07:12 | |
is going to make the space feel bigger, | 0:07:12 | 0:07:14 | |
even if it's the same size. | 0:07:14 | 0:07:16 | |
It's a bold plan that could give Adam exactly what he wants, | 0:07:18 | 0:07:21 | |
but will he be brave enough to go for it? | 0:07:21 | 0:07:24 | |
When Katy was talking about cutting away flooring, | 0:07:26 | 0:07:29 | |
I thought, you know... | 0:07:29 | 0:07:31 | |
that has got to be the opposite of what, you know, | 0:07:31 | 0:07:34 | |
we should be looking for, to create more space. | 0:07:34 | 0:07:36 | |
But, looking at it actually down on the paper, | 0:07:36 | 0:07:39 | |
about how would all look and how it would feel, I... | 0:07:39 | 0:07:42 | |
Yeah, that was just, like, a total lightbulb moment. | 0:07:42 | 0:07:44 | |
Adam might see the benefits of Katy's plan, | 0:07:53 | 0:07:56 | |
but builder's quotes come back | 0:07:56 | 0:07:57 | |
at the top end of his £50,000 budget. | 0:07:57 | 0:08:01 | |
He's forced to have a rethink. | 0:08:01 | 0:08:02 | |
I realised that we were so close to being out of budget | 0:08:04 | 0:08:07 | |
that I've now taken away | 0:08:07 | 0:08:10 | |
the whole of the rear extension. | 0:08:10 | 0:08:13 | |
Having now taken that away, | 0:08:13 | 0:08:15 | |
I feel we've got... | 0:08:15 | 0:08:16 | |
we've got more budget to put into the interior. | 0:08:16 | 0:08:19 | |
I would have just been keeping my head above water before. | 0:08:21 | 0:08:23 | |
Losing the extension saves Adam almost 14 grand, | 0:08:25 | 0:08:28 | |
but it may be a compromise too far | 0:08:28 | 0:08:30 | |
for a home so severely lacking space. | 0:08:30 | 0:08:33 | |
Adam is wrestling with some tough decisions | 0:08:39 | 0:08:41 | |
to try and make his small space go a long way. | 0:08:41 | 0:08:45 | |
Over in Walsall, | 0:08:45 | 0:08:46 | |
Hardeep, Rupinder and their two children | 0:08:46 | 0:08:48 | |
and have plenty of space in their suburban semi, | 0:08:48 | 0:08:50 | |
but it's all in the wrong place. | 0:08:50 | 0:08:52 | |
Four years ago, Hardeep and his wife Rupinder | 0:08:56 | 0:08:59 | |
chanced upon this 1950s semi in Walsall. | 0:08:59 | 0:09:02 | |
We took a wrong turn, came down this road... | 0:09:04 | 0:09:06 | |
-Basically, yeah. -About to turn the car around | 0:09:06 | 0:09:08 | |
and there were two properties on the road for sale. | 0:09:08 | 0:09:11 | |
Literally stumbled upon. | 0:09:11 | 0:09:12 | |
Having saved hard to buy the house, | 0:09:13 | 0:09:16 | |
they didn't have the money to renovate. | 0:09:16 | 0:09:18 | |
This home is riddled with problems. | 0:09:18 | 0:09:21 | |
The first issue is the tiny kitchen. | 0:09:21 | 0:09:23 | |
I mean, the kitchen | 0:09:23 | 0:09:25 | |
has not been touched since we moved into the house. | 0:09:25 | 0:09:27 | |
I can't find space to put my dishes on | 0:09:27 | 0:09:29 | |
or cook anything. | 0:09:29 | 0:09:30 | |
The next problem is the rabbit warren of disconnected rooms. | 0:09:32 | 0:09:36 | |
The family end up living in separate spaces. | 0:09:36 | 0:09:38 | |
There's not a communal area, where you can just sit down | 0:09:39 | 0:09:42 | |
and have a beer and cook food, | 0:09:42 | 0:09:43 | |
or women can just gas and cook at the same time. | 0:09:43 | 0:09:46 | |
The space is just not there. | 0:09:46 | 0:09:48 | |
Whenever we cook, | 0:09:50 | 0:09:51 | |
the children want to watch TV and eat their food. | 0:09:51 | 0:09:54 | |
-It's never in the dining room. -It's not. | 0:09:54 | 0:09:56 | |
In the future, | 0:09:57 | 0:09:59 | |
Hardeep's elderly parents plan to move in, | 0:09:59 | 0:10:01 | |
so the house will also need to accommodate | 0:10:01 | 0:10:03 | |
an extended Punjabi family. | 0:10:03 | 0:10:05 | |
From a cultural point of view, | 0:10:07 | 0:10:08 | |
having family around and eating together | 0:10:08 | 0:10:11 | |
is just part of the fun | 0:10:11 | 0:10:13 | |
and the culture that we live in. | 0:10:13 | 0:10:15 | |
They think the solution is a two-storey extension | 0:10:16 | 0:10:19 | |
on the back of the house. | 0:10:19 | 0:10:21 | |
They've borrowed £40K to build it | 0:10:21 | 0:10:22 | |
and Hardeep's got grand ambitions for their home. | 0:10:22 | 0:10:26 | |
When we go around to look at places like Warwick Castle, | 0:10:26 | 0:10:29 | |
I just love the grandeur of everything like this. | 0:10:29 | 0:10:32 | |
Just having the open fire spaces, the traditional metalwork. | 0:10:32 | 0:10:36 | |
I would love to have something like that says, wow. | 0:10:36 | 0:10:38 | |
Overall, 1950s homes tend to be generously sized, | 0:10:43 | 0:10:47 | |
compared to modern builds, | 0:10:47 | 0:10:49 | |
but, rather than boxy rooms, | 0:10:49 | 0:10:50 | |
nowadays we want open-plan, flexible ones. | 0:10:50 | 0:10:53 | |
'Hardeep and Rupinder want spaces for their in-laws | 0:10:57 | 0:11:00 | |
'to come and stay, or come and live with them. | 0:11:00 | 0:11:02 | |
'They want a bigger kitchen, they want a bigger living room,' | 0:11:02 | 0:11:04 | |
And I'm wondering already whether they just want too much. | 0:11:04 | 0:11:07 | |
Looking forward to seeing your house. | 0:11:07 | 0:11:09 | |
-So are we. -LAUGHTER | 0:11:09 | 0:11:11 | |
So, already, I can see the model that is laid out here, | 0:11:12 | 0:11:16 | |
which is two rooms, front and back, | 0:11:16 | 0:11:18 | |
and a little kitchen there. | 0:11:18 | 0:11:20 | |
Correct. | 0:11:20 | 0:11:22 | |
It's interesting that, if we were building this house now, | 0:11:22 | 0:11:25 | |
this space would be the most important space. | 0:11:25 | 0:11:27 | |
-Yep. -This is probably where most of the issues are, | 0:11:27 | 0:11:31 | |
-for you, as a family. -Yeah. | 0:11:31 | 0:11:32 | |
Having a kitchen that is tiny | 0:11:32 | 0:11:35 | |
-and separate from the rest of the house. -Yes. | 0:11:35 | 0:11:37 | |
And also separate from the garden. | 0:11:37 | 0:11:38 | |
So it seems to have been planned without any sense | 0:11:38 | 0:11:41 | |
of having any quality - any qualities of space, | 0:11:41 | 0:11:44 | |
or any quality in terms of light and view | 0:11:44 | 0:11:47 | |
-and all those sorts of things. -Yeah. Yeah. | 0:11:47 | 0:11:49 | |
It gets very frustrating, | 0:11:49 | 0:11:50 | |
because my dishwasher is not in the kitchen. | 0:11:50 | 0:11:53 | |
Where is your dishwasher? | 0:11:53 | 0:11:54 | |
My dishwasher is outside, in the lean-to. | 0:11:54 | 0:11:57 | |
Like homes across the country, | 0:11:59 | 0:12:01 | |
it has a lean-to built on the side. | 0:12:01 | 0:12:03 | |
Rupinder's using it as an overspill kitchen. | 0:12:03 | 0:12:07 | |
-It's like an oven out here. -It is, it is. It's too hot. | 0:12:07 | 0:12:09 | |
-But this isn't a dishwasher. -Yeah. -This is a fridge/freezer, | 0:12:09 | 0:12:12 | |
a dryer and a washing machine in a passageway. | 0:12:12 | 0:12:15 | |
Currently, it's just dead space. | 0:12:15 | 0:12:16 | |
But you have to wonder why anyone would have ever built this. | 0:12:16 | 0:12:19 | |
Not quite sure if it's a conservatory, a greenhouse... | 0:12:19 | 0:12:21 | |
It's even worse than I thought, when we were in there. | 0:12:21 | 0:12:24 | |
-Yeah. -LAUGHTER | 0:12:24 | 0:12:25 | |
And I thought it was bad. Now, I think it is a disaster. | 0:12:25 | 0:12:27 | |
It is a relief, actually, to be outside, isn't it? | 0:12:30 | 0:12:33 | |
But what's interesting about coming out | 0:12:33 | 0:12:34 | |
is that this feels so big. | 0:12:34 | 0:12:37 | |
It feels so spacious and feels so wide, | 0:12:37 | 0:12:39 | |
whereas the house is set up to be | 0:12:39 | 0:12:41 | |
these very long, thin areas. | 0:12:41 | 0:12:44 | |
It strikes me that, actually, this is a really good space | 0:12:44 | 0:12:47 | |
and, if nothing else, all of these spaces should just... | 0:12:47 | 0:12:50 | |
-you know, open out onto this. -Yeah. | 0:12:50 | 0:12:52 | |
Hardeep and Rupinder should ditch their ambitious | 0:12:54 | 0:12:57 | |
two-storey extension. | 0:12:57 | 0:12:58 | |
Instead, they should improve their key living spaces, | 0:12:58 | 0:13:02 | |
and focus them on the garden. | 0:13:02 | 0:13:03 | |
They need better space, not just more of it. | 0:13:03 | 0:13:08 | |
£40,000 is a lot of money, | 0:13:08 | 0:13:10 | |
but I'm worried that, | 0:13:10 | 0:13:12 | |
if they spend it badly, | 0:13:12 | 0:13:14 | |
this'll be a disaster. | 0:13:14 | 0:13:15 | |
In my mind, if I was to build up a picture | 0:13:18 | 0:13:20 | |
of how you could live here, | 0:13:20 | 0:13:22 | |
I would quite like to extend all the way across. | 0:13:22 | 0:13:25 | |
-Yeah. -Build one simple thing, so that your kitchen | 0:13:25 | 0:13:28 | |
goes from a space that is that size | 0:13:28 | 0:13:30 | |
to, really, that size. | 0:13:30 | 0:13:33 | |
Then, somewhere in this zone, | 0:13:33 | 0:13:35 | |
is a table and that being the centrepiece of the room, | 0:13:35 | 0:13:38 | |
where you live as a family. | 0:13:38 | 0:13:41 | |
Interesting. | 0:13:41 | 0:13:42 | |
-OK. -LAUGHTER | 0:13:42 | 0:13:44 | |
All framed by this incredible view | 0:13:44 | 0:13:47 | |
you've got of the garden and you are not using. | 0:13:47 | 0:13:49 | |
I feel having a table there in that much space | 0:13:49 | 0:13:52 | |
feels a bit of an eyesore. | 0:13:52 | 0:13:53 | |
How is that an eyesore? | 0:13:53 | 0:13:55 | |
What I mean is, if you're sitting on the chairs, | 0:13:55 | 0:13:57 | |
or you're lounging in this area here, | 0:13:57 | 0:13:59 | |
you've got this... | 0:13:59 | 0:14:00 | |
what I'd say is an obstacle there in the middle, | 0:14:00 | 0:14:02 | |
whilst you're sitting and watching TV. | 0:14:02 | 0:14:04 | |
But, in a stroke, you stand to make an amazing space. | 0:14:04 | 0:14:07 | |
Actually, the bones of it is beautiful and uplifting | 0:14:07 | 0:14:10 | |
and amazing and flexible. | 0:14:10 | 0:14:12 | |
And I would love to have all glass looking into the garden. | 0:14:12 | 0:14:15 | |
So that wants to be fully glazed, | 0:14:15 | 0:14:17 | |
-if possible. -I like that. | 0:14:17 | 0:14:18 | |
'I've got one more idea that would create a room | 0:14:19 | 0:14:21 | |
'for Hardeep's parents in the future - | 0:14:21 | 0:14:23 | |
'a simple conversion to their garage.' | 0:14:23 | 0:14:26 | |
That could be a beautiful little stand-alone project | 0:14:26 | 0:14:28 | |
and it means your parents can have their own access, | 0:14:28 | 0:14:31 | |
their own entrance, their own autonomy, | 0:14:31 | 0:14:33 | |
that's separate from you. | 0:14:33 | 0:14:35 | |
But I think that can be converted | 0:14:35 | 0:14:36 | |
for £7,000 to £9,000, sometime in the future. | 0:14:36 | 0:14:40 | |
-Mm-hm. -But the chunk of 40 grand you spend | 0:14:40 | 0:14:42 | |
sorting out the bones of the building, so it works for you. | 0:14:42 | 0:14:44 | |
-Hm. -And you get a much better house. | 0:14:44 | 0:14:46 | |
'My simple plan is a world away | 0:14:48 | 0:14:50 | |
'from their ambitious two-storey extension.' | 0:14:50 | 0:14:52 | |
'I'm a bit speechless, to be honest.' | 0:14:52 | 0:14:54 | |
SHE LAUGHS | 0:14:54 | 0:14:55 | |
What we thought, this is going to work for us | 0:14:55 | 0:14:58 | |
and now what we've got is just something that has been | 0:14:58 | 0:15:00 | |
totally spun on its head. | 0:15:00 | 0:15:02 | |
Yeah, and I really liked his idea | 0:15:02 | 0:15:04 | |
about putting glass all over here, | 0:15:04 | 0:15:07 | |
so that we can just directly look into the garden, | 0:15:07 | 0:15:09 | |
which I love, which I miss now, | 0:15:09 | 0:15:11 | |
because there's walls all around me. | 0:15:11 | 0:15:13 | |
Rupinder's on board with my plan, | 0:15:18 | 0:15:20 | |
but Hardeep's less convinced. | 0:15:20 | 0:15:22 | |
I want them both to see how just remodelling the ground floor | 0:15:22 | 0:15:25 | |
to focus on the garden could drastically improve their home. | 0:15:25 | 0:15:29 | |
I've gained exclusive access to a home in South West London | 0:15:29 | 0:15:32 | |
which I hope will do the trick. | 0:15:32 | 0:15:34 | |
Hardeep and Rupinder do have an amazing opportunity to make | 0:15:37 | 0:15:40 | |
something incredible with the house. | 0:15:40 | 0:15:43 | |
But I think, at the moment, they are just so focused on getting more | 0:15:43 | 0:15:46 | |
space they are forgetting what it means to make a really good space. | 0:15:46 | 0:15:50 | |
How are you getting on? | 0:15:52 | 0:15:54 | |
Erm...OK, struggling. | 0:15:54 | 0:15:56 | |
We made some slight changes to your plans. | 0:15:56 | 0:15:58 | |
You still want to do a two-storey extension, don't you? | 0:15:58 | 0:16:01 | |
-It just makes more sense to do it now. -Yep. | 0:16:01 | 0:16:03 | |
The garage, we are leaving the garage. | 0:16:03 | 0:16:05 | |
-That can wait. -Yeah. | 0:16:05 | 0:16:06 | |
Hold that thought, because what I want you to do is just enjoy | 0:16:06 | 0:16:09 | |
this house for what it is. | 0:16:09 | 0:16:11 | |
And behind what looks like an very ordinary exterior is | 0:16:11 | 0:16:15 | |
an amazing interior space, so let's go and see it. | 0:16:15 | 0:16:18 | |
The ground floor of this Victorian terraced house | 0:16:26 | 0:16:29 | |
has been radically remodelled by architect Paul McAnearey. | 0:16:29 | 0:16:32 | |
He's created an extraordinary three-sided extension, | 0:16:34 | 0:16:37 | |
orientated around a courtyard. | 0:16:37 | 0:16:39 | |
-Wow. -Absolutely beautiful. | 0:16:40 | 0:16:42 | |
It sort of beats the UPVC that we are thinking about. | 0:16:42 | 0:16:44 | |
LAUGHTER | 0:16:44 | 0:16:46 | |
Your house is organised differently, | 0:16:51 | 0:16:53 | |
because it's wider and not quite as long. | 0:16:53 | 0:16:55 | |
But, actually, the way this key kitchen space | 0:16:55 | 0:16:58 | |
relates to the garden could be something you could do. | 0:16:58 | 0:17:01 | |
All the spaces here have a different job, | 0:17:04 | 0:17:06 | |
but are linked using simple design tricks - | 0:17:06 | 0:17:09 | |
the same colour palette, flooring and lighting. | 0:17:09 | 0:17:13 | |
The lighting works really well in this house, | 0:17:13 | 0:17:15 | |
because, in a way, you don't see the lights. | 0:17:15 | 0:17:17 | |
There are no fittings to look at. | 0:17:17 | 0:17:19 | |
There's light that is incorporated into the fabric of the building. | 0:17:19 | 0:17:23 | |
I mean, there's a slot that goes from there, | 0:17:23 | 0:17:26 | |
all the way down the ceiling and turns down at the end. | 0:17:26 | 0:17:29 | |
And that is just a recess with a concealed LED strip. | 0:17:29 | 0:17:33 | |
And you don't really see the light, except for one place, which is... | 0:17:34 | 0:17:38 | |
the lights that you do see, that define this as a space | 0:17:38 | 0:17:42 | |
you want to linger and sit. | 0:17:42 | 0:17:44 | |
What we looked for was a chandelier here, | 0:17:44 | 0:17:46 | |
hanging on top of our dining table. | 0:17:46 | 0:17:49 | |
But it's really interesting for me, as an architect, to hear that | 0:17:49 | 0:17:52 | |
people do what you always do, | 0:17:52 | 0:17:54 | |
which is look in a catalogue for stuff you can add to your house. | 0:17:54 | 0:17:58 | |
Whereas here, you can't go shopping for this stuff. | 0:17:58 | 0:18:00 | |
-That is exactly what we are doing. -Yeah. -Looking in a catalogue. | 0:18:00 | 0:18:03 | |
You need to stop doing that. | 0:18:03 | 0:18:04 | |
You need to stop and resist going shopping for stuff... | 0:18:04 | 0:18:06 | |
-I said to Hardeep, we need to calm down. -Let the architecture... | 0:18:06 | 0:18:09 | |
The investment is in the space and the quality of the space | 0:18:09 | 0:18:12 | |
and the way that the architecture deals with storage, | 0:18:12 | 0:18:14 | |
deals with lighting, deals with organisation of all of this stuff. | 0:18:14 | 0:18:17 | |
-Yeah. -And you can't get that in a catalogue or from a shop. | 0:18:17 | 0:18:20 | |
Another thing I really like here | 0:18:23 | 0:18:25 | |
is that there is such a limited palette of material | 0:18:25 | 0:18:27 | |
and there aren't just unnecessary chops and changes | 0:18:27 | 0:18:31 | |
in things like floor surfaces. | 0:18:31 | 0:18:32 | |
This is one floor surface that is used everywhere. | 0:18:32 | 0:18:35 | |
And these cupboards are storage that's really incorporated | 0:18:35 | 0:18:38 | |
into the fabric of the building, rather than being something else. | 0:18:38 | 0:18:42 | |
And these are just... | 0:18:42 | 0:18:43 | |
bespoke door fronts, | 0:18:43 | 0:18:45 | |
over standard, high street carcasses. | 0:18:45 | 0:18:48 | |
The door fronts that face onto the garden | 0:18:49 | 0:18:52 | |
were spray painted in French Grey. | 0:18:52 | 0:18:54 | |
Darker shades of grey are then used in the kitchen, | 0:18:54 | 0:18:56 | |
but the spaces still all tie together. | 0:18:56 | 0:18:59 | |
There is this amazing | 0:19:00 | 0:19:02 | |
-hidden space in it. -I love this! | 0:19:02 | 0:19:04 | |
-Isn't it beautiful? -It's beautiful. | 0:19:04 | 0:19:06 | |
A little moment of joy here. | 0:19:06 | 0:19:09 | |
-Look at that. It's priceless, isn't it? -Ah! | 0:19:09 | 0:19:11 | |
-That's what I want in my house. -You'd think... | 0:19:11 | 0:19:13 | |
Oh! | 0:19:13 | 0:19:15 | |
The window seat was constructed from MDF | 0:19:15 | 0:19:17 | |
combined with leftover oak flooring used as a backrest. | 0:19:17 | 0:19:22 | |
A useful design trick, | 0:19:22 | 0:19:23 | |
this material adds warmth and texture. | 0:19:23 | 0:19:26 | |
But it shows you how | 0:19:28 | 0:19:29 | |
spaces need to do more than just provide | 0:19:29 | 0:19:32 | |
basic functions and be well organised. | 0:19:32 | 0:19:34 | |
They actually do need to have these moments of real delight. | 0:19:34 | 0:19:37 | |
And it doesn't cost much to make something like this. | 0:19:37 | 0:19:40 | |
This is a sea in a set of standard carcasses, | 0:19:40 | 0:19:43 | |
-with some bespoke fronts on and some nice cushions. -Yeah. | 0:19:43 | 0:19:46 | |
And it's about where it is placed. That's where the architecture is. | 0:19:46 | 0:19:49 | |
-Yeah. -How it places you in this garden. | 0:19:49 | 0:19:52 | |
One thing I really want to encourage Hardeep and Rupinder | 0:19:55 | 0:19:58 | |
to invest in is glazing. | 0:19:58 | 0:20:00 | |
Big glass openings across the whole rear of their new extension | 0:20:00 | 0:20:04 | |
will give them this same experience. | 0:20:04 | 0:20:07 | |
This glazing system is incredible, | 0:20:07 | 0:20:09 | |
because there is nothing at the head that blocks your eyes. | 0:20:09 | 0:20:12 | |
So, if you look into that space there, | 0:20:12 | 0:20:14 | |
there's no glazing bar over the top. You just see open space. | 0:20:14 | 0:20:18 | |
And, even when the window is shut, you see open space. | 0:20:18 | 0:20:22 | |
So the challenge for you guys is not just to get a really clunky | 0:20:22 | 0:20:26 | |
glazing system, like UPVC or something, because then you will | 0:20:26 | 0:20:29 | |
have a complete separation between the garden and your living space. | 0:20:29 | 0:20:33 | |
It does worry me, about the cost of something like this. | 0:20:35 | 0:20:39 | |
Maybe it doesn't need to open everywhere, like this does. | 0:20:39 | 0:20:42 | |
You can get expanses of glazing | 0:20:45 | 0:20:47 | |
far cheaper than using systems like this. | 0:20:47 | 0:20:49 | |
A large fixed pane set into a simple frame | 0:20:49 | 0:20:53 | |
costs far less than high-end sliding doors. | 0:20:53 | 0:20:56 | |
Here, they've also brought light into a potentially dark room | 0:20:56 | 0:21:00 | |
by installing an oversized skylight. | 0:21:00 | 0:21:02 | |
What about the idea of using your garage? | 0:21:04 | 0:21:07 | |
-What happened to that, for your parents? -At the moment, | 0:21:07 | 0:21:09 | |
that project is going to be... | 0:21:09 | 0:21:12 | |
-benched. -Why? | 0:21:12 | 0:21:13 | |
We are going to leave the garage as it is. | 0:21:13 | 0:21:15 | |
We believe that it is too small. | 0:21:15 | 0:21:17 | |
And we'd would rather spend the money | 0:21:17 | 0:21:19 | |
-on the second floor extension. -Yeah. | 0:21:19 | 0:21:21 | |
-But this space used to be a garage. -Oh, this space used to be a garage? | 0:21:21 | 0:21:24 | |
Ah! | 0:21:24 | 0:21:26 | |
-This space. -This space used to be a garage. | 0:21:26 | 0:21:29 | |
What about doing this for your parents, | 0:21:29 | 0:21:31 | |
other than that first-floor extension? | 0:21:31 | 0:21:34 | |
That's food for thought. That's food for thought. | 0:21:39 | 0:21:42 | |
I worry that, if you invest that money | 0:21:42 | 0:21:43 | |
in the second storey extension, | 0:21:43 | 0:21:45 | |
-it will compromise the way the building looks. -Mm. | 0:21:45 | 0:21:47 | |
It will compromise the way that your parents live with you. | 0:21:47 | 0:21:50 | |
What I'm trying to do now is really interrogate your decisions | 0:21:50 | 0:21:55 | |
and what I need you to do is to go away with a sense | 0:21:55 | 0:21:58 | |
that you are hanging onto the big vision | 0:21:58 | 0:22:00 | |
of what you're going to do at your house. | 0:22:00 | 0:22:02 | |
Actually, I really do believe they can achieve this | 0:22:05 | 0:22:08 | |
quality of space on their budget. | 0:22:08 | 0:22:10 | |
Sure, they may not be able to afford this glazing system, | 0:22:10 | 0:22:12 | |
but, actually, just a sensible use of storage and floor finish, | 0:22:12 | 0:22:17 | |
all of those sorts of things are achievable to them, | 0:22:17 | 0:22:19 | |
if they really interrogate every decision that they make. | 0:22:19 | 0:22:23 | |
Three weeks later and back in Walsall, | 0:22:32 | 0:22:34 | |
the old lean-to is being ripped out. | 0:22:34 | 0:22:36 | |
All building work we do to our homes needs to be approved | 0:22:38 | 0:22:41 | |
and signed off by building control. | 0:22:41 | 0:22:44 | |
So, in consultation with the relevant authorities, | 0:22:44 | 0:22:47 | |
Hardeep and Rupinder have made some big decisions about their build. | 0:22:47 | 0:22:51 | |
Against my advice, | 0:22:52 | 0:22:53 | |
they are planning on doing everything | 0:22:53 | 0:22:55 | |
the double height side extension, | 0:22:55 | 0:22:57 | |
the ground floor extension | 0:22:57 | 0:22:59 | |
and converting the garage. | 0:22:59 | 0:23:01 | |
We should, at the end of this project, | 0:23:01 | 0:23:03 | |
have three double bedrooms upstairs. | 0:23:03 | 0:23:06 | |
Downstairs, a en suite bedroom/flat area | 0:23:06 | 0:23:10 | |
for my parents to move into, | 0:23:10 | 0:23:13 | |
plus...a open space | 0:23:13 | 0:23:16 | |
that incorporates the garden. | 0:23:16 | 0:23:18 | |
We had the finances ready for downstairs, | 0:23:21 | 0:23:23 | |
but now we are looking at borrowing | 0:23:23 | 0:23:27 | |
additional money from my bank, | 0:23:27 | 0:23:30 | |
which is a worry, | 0:23:30 | 0:23:31 | |
because I will be the last person on this earth to take a loan out. | 0:23:31 | 0:23:35 | |
That just worries me. I will get sleepless nights. | 0:23:35 | 0:23:38 | |
I'm worried they are | 0:23:39 | 0:23:41 | |
seriously overstretching themselves financially, | 0:23:41 | 0:23:43 | |
but, also, in trying doing so much, | 0:23:43 | 0:23:46 | |
they run the risk of impacting on the quality of the final design. | 0:23:46 | 0:23:50 | |
Back in London, | 0:24:02 | 0:24:03 | |
with an agreed design in place, | 0:24:03 | 0:24:06 | |
work has begun on Adam's home. | 0:24:06 | 0:24:07 | |
The builders have ripped out the ceiling | 0:24:09 | 0:24:11 | |
to create the double height space. | 0:24:11 | 0:24:13 | |
Katy's transformation is a dramatic one, | 0:24:13 | 0:24:16 | |
but Adam's struggling to see if it will give him what he wants. | 0:24:16 | 0:24:19 | |
Just trying to figure out how far | 0:24:20 | 0:24:23 | |
the bedroom is going to come out. | 0:24:23 | 0:24:25 | |
Cos it's going to have a lowered ceiling. | 0:24:25 | 0:24:28 | |
So it's about sort of balancing | 0:24:28 | 0:24:31 | |
the size of the bedroom with | 0:24:31 | 0:24:33 | |
how much of the living room is going to have the full height, | 0:24:33 | 0:24:38 | |
which is tricky, cos I want both. | 0:24:38 | 0:24:40 | |
The big structural work is underway | 0:24:44 | 0:24:46 | |
but Adam is still mourning the loss | 0:24:46 | 0:24:48 | |
of Katy's courtyard extension. | 0:24:48 | 0:24:50 | |
I would have loved it as well, | 0:24:50 | 0:24:52 | |
but it just was too difficult | 0:24:52 | 0:24:54 | |
to fit it within budget. | 0:24:54 | 0:24:56 | |
It's just a complete nightmare. | 0:24:56 | 0:24:58 | |
We need to analyse the impact of Adam's decision | 0:25:05 | 0:25:08 | |
and find a way to help him move forward. | 0:25:08 | 0:25:10 | |
This house is crying out for this fantastic, big, | 0:25:12 | 0:25:15 | |
generous dining space at the back of it, isn't it? | 0:25:15 | 0:25:18 | |
And Adam isn't going to do that. So what are we going to do? | 0:25:18 | 0:25:21 | |
It's really, really disappointing, | 0:25:21 | 0:25:23 | |
because he is going to have a real challenge to regain a space | 0:25:23 | 0:25:28 | |
that feels as sociable and that he is as proud | 0:25:28 | 0:25:31 | |
to welcome his friends in. | 0:25:31 | 0:25:33 | |
So we are going to have to go back and really think hard | 0:25:33 | 0:25:36 | |
about how we use materials | 0:25:36 | 0:25:39 | |
to define different zones within the house. | 0:25:39 | 0:25:42 | |
We try and find ways in which we can inspire him | 0:25:42 | 0:25:45 | |
to think about very narrow dining and living spaces. | 0:25:45 | 0:25:50 | |
It's going to be a challenge. | 0:25:50 | 0:25:52 | |
THEY TALK | 0:25:52 | 0:25:54 | |
I'm taking Adam to this former carpenter's workshop | 0:25:54 | 0:25:56 | |
in East London, where they've found a radical solution | 0:25:56 | 0:25:59 | |
to the problem of small and narrow spaces. | 0:25:59 | 0:26:02 | |
I guess I want to show you that the best houses | 0:26:02 | 0:26:05 | |
don't necessarily have conventional spaces. | 0:26:05 | 0:26:08 | |
And I think your house would really benefit | 0:26:08 | 0:26:10 | |
from not having conventional spaces. | 0:26:10 | 0:26:12 | |
Yep. | 0:26:12 | 0:26:13 | |
I think we should go in and have a look. | 0:26:13 | 0:26:15 | |
It's amazing. | 0:26:23 | 0:26:24 | |
At just 45 square metres, | 0:26:27 | 0:26:29 | |
this house is about half the size | 0:26:29 | 0:26:31 | |
of an average new build. | 0:26:31 | 0:26:34 | |
Studiomama have managed to fit in two bedroom pods, | 0:26:34 | 0:26:37 | |
two living areas, a kitchen and a bathroom. | 0:26:37 | 0:26:40 | |
FOOTSTEPS | 0:26:41 | 0:26:43 | |
Oh, wow! | 0:26:43 | 0:26:44 | |
I love this. They've got the double height as well. | 0:26:44 | 0:26:47 | |
Just like my place. | 0:26:47 | 0:26:48 | |
-You can see why I brought you here. -Yeah, absolutely. | 0:26:48 | 0:26:52 | |
I really like the way this house is lit, | 0:26:52 | 0:26:54 | |
because, up there, there is a really generous roof light, | 0:26:54 | 0:26:57 | |
and, if the sun was out, there really would be a shaft of light | 0:26:57 | 0:27:00 | |
going through that glass panel into the ground floor. | 0:27:00 | 0:27:04 | |
And then, up here, there is a standard fluorescent strip, | 0:27:04 | 0:27:09 | |
-which runs along the roof line. -Oh, right, yeah. | 0:27:09 | 0:27:12 | |
-That has a really big impact on it. -Huge. | 0:27:12 | 0:27:14 | |
These are super cheap. These are nine quid each. | 0:27:14 | 0:27:17 | |
The bedrooms in this house have been built into the living room, | 0:27:21 | 0:27:24 | |
one dramatically hanging from the ceiling. | 0:27:24 | 0:27:27 | |
I can't believe they've got two beds here. | 0:27:31 | 0:27:33 | |
LAUGHTER | 0:27:33 | 0:27:35 | |
This sort of thing won't be possible in every home, | 0:27:35 | 0:27:37 | |
but it maximises space in this double height room. | 0:27:37 | 0:27:41 | |
I think it is really playful, isn't it? | 0:27:42 | 0:27:44 | |
-This whole space. -Absolutely. | 0:27:44 | 0:27:46 | |
'Cladding made from red cedar wood separates the bedroom pods | 0:27:47 | 0:27:51 | |
'from the living area and adds texture and colour to the space. | 0:27:51 | 0:27:55 | |
'Certain wall and ceiling finishes may need to be treated | 0:27:55 | 0:27:58 | |
'to prevent the spread of flame.' | 0:27:58 | 0:28:00 | |
This wood is wrapped around | 0:28:00 | 0:28:02 | |
and made into a wardrobe and a seat. | 0:28:02 | 0:28:05 | |
Using a material everywhere, like this, | 0:28:05 | 0:28:07 | |
means that you will end up with minimal wastage. | 0:28:07 | 0:28:10 | |
So it is a really good use of material. | 0:28:10 | 0:28:12 | |
But, also, it does make this small space seem big. | 0:28:12 | 0:28:15 | |
Yeah, I'm going to take some notes on this one. | 0:28:15 | 0:28:18 | |
'Adam needs to keep searching for design tricks | 0:28:20 | 0:28:23 | |
'and space-saving techniques, | 0:28:23 | 0:28:25 | |
'if he is to make the most of his narrow home.' | 0:28:25 | 0:28:27 | |
I really hope that Adam, going away from here, | 0:28:28 | 0:28:31 | |
is encouraged that he doesn't need to dumb his house down | 0:28:31 | 0:28:35 | |
and make it like an ordinary developer house. | 0:28:35 | 0:28:38 | |
I think he chose it, because it's special | 0:28:38 | 0:28:41 | |
and I think, if he stays with that, he'll end up with spaces | 0:28:41 | 0:28:43 | |
that may be unconventional, but they'll be delightful. | 0:28:43 | 0:28:46 | |
In Walsall, building work is progressing and Hardeep and Rupinder | 0:28:54 | 0:28:57 | |
have now spent over 20 grand of their 55K budget. | 0:28:57 | 0:29:01 | |
But there's no sign of the fully glazed extension | 0:29:03 | 0:29:06 | |
I designed for them. | 0:29:06 | 0:29:07 | |
I urgently need to find out what's going on. | 0:29:07 | 0:29:10 | |
So, basically, kitchen sink here... | 0:29:11 | 0:29:14 | |
-Hi, Hardeep. -Oh, hello, Piers! | 0:29:14 | 0:29:15 | |
How are you getting on? | 0:29:15 | 0:29:17 | |
Really well. | 0:29:17 | 0:29:19 | |
As you can see, it's taking shape. | 0:29:19 | 0:29:21 | |
-We've had a few challenges along the way. -Sure. | 0:29:21 | 0:29:23 | |
So there's a few things that we've changed about. | 0:29:23 | 0:29:27 | |
So that sounds worrying. | 0:29:27 | 0:29:29 | |
'By building more and more house, | 0:29:29 | 0:29:31 | |
'Hardeep's had less money to make the key moves. | 0:29:31 | 0:29:34 | |
'They've gone from a wall of glass | 0:29:34 | 0:29:36 | |
'to two standard patio doors. | 0:29:36 | 0:29:38 | |
'The design of the extension is seriously compromised.' | 0:29:38 | 0:29:42 | |
The way this thing was conceived | 0:29:42 | 0:29:43 | |
was as a singular thing of beauty | 0:29:43 | 0:29:46 | |
on the back of your house, that stood apart from it, | 0:29:46 | 0:29:49 | |
was made out of something completely different. | 0:29:49 | 0:29:51 | |
-Yeah. -And didn't have the language of the building, | 0:29:51 | 0:29:55 | |
with a set of patio doors in it and a pitched roof on it. | 0:29:55 | 0:29:58 | |
-Hm. -It was completely different. | 0:29:58 | 0:30:00 | |
Whereas, for me, you had the opportunity to make something | 0:30:00 | 0:30:02 | |
truly, exquisitely beautiful. | 0:30:02 | 0:30:04 | |
Kind of once in a lifetime beautiful. | 0:30:04 | 0:30:07 | |
-This isn't architecture. -Yep. -This is just getting more space. | 0:30:07 | 0:30:09 | |
I get that. | 0:30:09 | 0:30:11 | |
-What we've had to do is within our budget to make it stretch. -Yeah. | 0:30:11 | 0:30:15 | |
It comes down to pure, hard cash. | 0:30:15 | 0:30:17 | |
As I feared, the pressure of trying to do too much on their budget | 0:30:21 | 0:30:25 | |
means they are ending up with an ordinary extension, | 0:30:25 | 0:30:28 | |
rather than a thing of beauty that could have totally | 0:30:28 | 0:30:30 | |
transformed the way they live. | 0:30:30 | 0:30:33 | |
'I need to accept that my vision for their ground floor has gone, | 0:30:33 | 0:30:36 | |
'but I still want to make what they have built special.' | 0:30:36 | 0:30:40 | |
My task now is to help you still make these spaces feel amazing, | 0:30:40 | 0:30:45 | |
and how do you think I can help you now? | 0:30:45 | 0:30:49 | |
We have now got a kitchen on order, | 0:30:49 | 0:30:51 | |
but we now need something magical for our island. | 0:30:51 | 0:30:54 | |
We'd like some inspiration on the, sort of, one, continuous flooring | 0:30:54 | 0:30:58 | |
all the way through. | 0:30:58 | 0:30:59 | |
What do we go for there that still gives us that wow factor? | 0:30:59 | 0:31:03 | |
I need some help in these areas. | 0:31:03 | 0:31:05 | |
Great, well, I think what I need to do is come back | 0:31:05 | 0:31:07 | |
when you have built this big space and we can look at it together | 0:31:07 | 0:31:10 | |
and walk around the shell and see the spaces again. | 0:31:10 | 0:31:14 | |
Fantastic, yeah. I look forward to it. | 0:31:14 | 0:31:16 | |
Hardeep and Rupinder must do all they can to press on with | 0:31:16 | 0:31:19 | |
the build and ensure there are no further changes of plan. | 0:31:19 | 0:31:23 | |
In London, the next stage of structural work | 0:31:34 | 0:31:37 | |
is underway at Adam's house. | 0:31:37 | 0:31:39 | |
The roof is off and the builders begin to work on the dormer | 0:31:41 | 0:31:44 | |
space to create his open-bed platform area. | 0:31:44 | 0:31:47 | |
Adam has spent almost 40,000 of his £50,000 budget already. | 0:31:50 | 0:31:55 | |
Even the contingency is disappearing quite rapidly, | 0:31:55 | 0:31:58 | |
so we need to be really careful. | 0:31:58 | 0:32:02 | |
I am having to, sort of, start putting | 0:32:02 | 0:32:04 | |
the brakes on things, as I can't really get any more budget together. | 0:32:04 | 0:32:09 | |
Adam has got just £10,000 left to spend on the interior | 0:32:11 | 0:32:14 | |
and the spiral stairs. | 0:32:14 | 0:32:16 | |
But he has made another change to Katy's plan. | 0:32:16 | 0:32:20 | |
She has rushed back to see what this means for the finished building. | 0:32:20 | 0:32:24 | |
The thing that I am really worried about is that the staircase | 0:32:24 | 0:32:28 | |
has moved right to the front of the house, | 0:32:28 | 0:32:30 | |
which is effectively the widest part of the house. | 0:32:30 | 0:32:33 | |
It is the only part of the house that actually | 0:32:33 | 0:32:35 | |
feels like a normal room. | 0:32:35 | 0:32:38 | |
Adam's decision to move the spiral stairs has got far-reaching | 0:32:38 | 0:32:42 | |
consequences for one room in particular. | 0:32:42 | 0:32:45 | |
-That open square is where the staircase will be. -Yes. | 0:32:47 | 0:32:52 | |
And that will be the sliver that's left over. | 0:32:52 | 0:32:55 | |
You haven't got any room left. | 0:32:55 | 0:32:59 | |
Ah... Um... | 0:32:59 | 0:33:01 | |
I think the staircase in that location | 0:33:01 | 0:33:04 | |
is a bit of a problem, on this floor particularly. | 0:33:04 | 0:33:07 | |
The thought of that being wasted... | 0:33:07 | 0:33:12 | |
Yeah, it's really horrible. I... | 0:33:12 | 0:33:15 | |
It is something that is essential to what I want. | 0:33:15 | 0:33:18 | |
Adam only has one chance to make the most of the limited | 0:33:19 | 0:33:23 | |
space in one of Britain's thinnest homes. | 0:33:23 | 0:33:25 | |
What I have just been experimenting with, | 0:33:25 | 0:33:28 | |
is going back to having a more orthogonal, right-angled staircase, | 0:33:28 | 0:33:33 | |
a dogleg stair. | 0:33:33 | 0:33:35 | |
Right-angled staircases take up less space than spiral stairs, | 0:33:35 | 0:33:38 | |
as they can be fitted tighter to a wall. | 0:33:38 | 0:33:40 | |
Hopefully, we are left with an area, | 0:33:41 | 0:33:45 | |
right up against the window, that you can actually use and enjoy. | 0:33:45 | 0:33:49 | |
All of this is left as a kind of proper room. | 0:33:49 | 0:33:53 | |
That does make much more sense. | 0:33:53 | 0:33:55 | |
Katy's new stairs could even give Adam the opportunity for storage. | 0:33:55 | 0:33:59 | |
The success of this whole project rests on getting this right. | 0:33:59 | 0:34:03 | |
So I think we need to think of some really cost-effective | 0:34:04 | 0:34:07 | |
ways of incorporating bespoke furniture. | 0:34:07 | 0:34:13 | |
The design of the furniture will be key to making the most | 0:34:13 | 0:34:16 | |
of this unusual home. | 0:34:16 | 0:34:17 | |
But properties this restricted are few and far between. | 0:34:19 | 0:34:23 | |
So, Katy's found somewhere as thin and narrow as his home, | 0:34:30 | 0:34:34 | |
only this one floats. | 0:34:34 | 0:34:36 | |
Wow. | 0:34:44 | 0:34:45 | |
It feels so spacious. | 0:34:48 | 0:34:50 | |
At 56 feet long and less than 7 feet wide, | 0:34:50 | 0:34:53 | |
this barge, designed by Lee Thornley, | 0:34:53 | 0:34:56 | |
incorporates bespoke and fitted furnishings to save space. | 0:34:56 | 0:35:01 | |
What's really clever here is... | 0:35:01 | 0:35:02 | |
that they've created something that's incredibly simple, really. | 0:35:02 | 0:35:06 | |
I mean, it's just shelves but because it fits exactly, | 0:35:06 | 0:35:09 | |
it's just managed to streamline the whole thing in a very simple way | 0:35:09 | 0:35:14 | |
and I think that's what you need to try and do in your house. | 0:35:14 | 0:35:17 | |
Yes, everything is designed to fit | 0:35:17 | 0:35:19 | |
and everything is in its right place. | 0:35:19 | 0:35:21 | |
But it certainly feels very spacious in here. | 0:35:22 | 0:35:25 | |
Bespoke furniture may sound expensive, but you | 0:35:26 | 0:35:29 | |
can build it from cheap wood like ply or even reclaimed timber. | 0:35:29 | 0:35:34 | |
I absolutely love the textured wood. | 0:35:34 | 0:35:36 | |
It helps bring out some of the other things. | 0:35:36 | 0:35:38 | |
It's interesting because it's textured. | 0:35:38 | 0:35:40 | |
But it is also quite subtle and in the background | 0:35:40 | 0:35:43 | |
-because it's a light shade. -I think you're right that | 0:35:43 | 0:35:45 | |
finding particular places in your house | 0:35:45 | 0:35:49 | |
where you would pick up on a texture | 0:35:49 | 0:35:51 | |
as much as a colour or a material is really important. | 0:35:51 | 0:35:55 | |
Arranging materials horizontally, | 0:35:58 | 0:36:00 | |
like here, makes a space feel wider, | 0:36:00 | 0:36:02 | |
while fitting it vertically would make it seem taller - | 0:36:02 | 0:36:06 | |
a useful design trick you can use to alter how a room feels. | 0:36:06 | 0:36:10 | |
The shapes of things are kind of echoing other parts, | 0:36:10 | 0:36:14 | |
like the round plates, the round window, the round lights | 0:36:14 | 0:36:18 | |
and I think there's quite a lot we can do with working with the shapes. | 0:36:18 | 0:36:22 | |
Absolutely. | 0:36:22 | 0:36:23 | |
You've got this very, kind of, truncated triangle. | 0:36:23 | 0:36:26 | |
-Yes. -But you could do all kinds of things with that. | 0:36:26 | 0:36:29 | |
The shape of the table echoing that | 0:36:29 | 0:36:31 | |
because you need a long thin table in a long thin room. | 0:36:31 | 0:36:35 | |
Co-ordinating shapes adds a connection between a room | 0:36:37 | 0:36:40 | |
and the stuff that fills it. | 0:36:40 | 0:36:42 | |
-Wow. -What do you think? -Yes. | 0:36:44 | 0:36:47 | |
It's amazing. | 0:36:47 | 0:36:49 | |
While floor-to-ceiling tiles in a small area, like a bathroom, | 0:36:49 | 0:36:53 | |
can add drama and character. | 0:36:53 | 0:36:55 | |
If this was a larger room and you had these tiles everywhere, | 0:36:55 | 0:36:58 | |
it would be completely dizzying. | 0:36:58 | 0:36:59 | |
Overwhelming. | 0:36:59 | 0:37:01 | |
But in a small toilet, it's just enough to feel like | 0:37:01 | 0:37:04 | |
there's a bit of quirkiness in it | 0:37:04 | 0:37:06 | |
and you actually smile when you open the door | 0:37:06 | 0:37:08 | |
because it just looks a bit different | 0:37:08 | 0:37:11 | |
and it has a bit of personality to it. | 0:37:11 | 0:37:13 | |
Another fairly subtle touch you might barely notice | 0:37:15 | 0:37:17 | |
is this curtain. | 0:37:17 | 0:37:18 | |
When you draw it across, | 0:37:18 | 0:37:20 | |
it obviously gives some privacy to this bedroom. | 0:37:20 | 0:37:23 | |
Compared to sliding doors or partition glass, | 0:37:23 | 0:37:26 | |
curtains are a much cheaper and softer way to separate spaces | 0:37:26 | 0:37:29 | |
in open-plan homes. | 0:37:29 | 0:37:31 | |
Your bedroom is like a mezzanine loft to the space below, | 0:37:33 | 0:37:36 | |
-so there's no door. -Yeah. | 0:37:36 | 0:37:38 | |
But you still might want to create a little bit of privacy, especially | 0:37:38 | 0:37:42 | |
if you had a guest staying on the sofa downstairs or whatever. | 0:37:42 | 0:37:45 | |
It could also be really interesting to have, like, | 0:37:45 | 0:37:47 | |
a strip of colour, you know, from both sides of the curtain, actually. | 0:37:47 | 0:37:51 | |
It could be quite nice visually. | 0:37:51 | 0:37:53 | |
To stop fixtures, fittings and furniture dominating his home, | 0:37:55 | 0:37:59 | |
Adam should embrace bespoke elements used on this barge. | 0:37:59 | 0:38:03 | |
Coming here today has really | 0:38:04 | 0:38:06 | |
refocused Adam's mind to get him now | 0:38:06 | 0:38:09 | |
fired up for the next stage of the project, which is fun, because | 0:38:09 | 0:38:14 | |
I think it's so idiosyncratic | 0:38:14 | 0:38:16 | |
and unusual that we can really make something that reflects his | 0:38:16 | 0:38:20 | |
personality in a big way, I think, and that could be really special. | 0:38:20 | 0:38:24 | |
Back in Walsall, rather than pushing on with the interior, | 0:38:38 | 0:38:41 | |
Hardeep and Rupinder have expanded the scale of their work again. | 0:38:41 | 0:38:45 | |
They decide to remove all the old plaster from the stairs... | 0:38:45 | 0:38:49 | |
..but it doesn't stop there. | 0:38:53 | 0:38:55 | |
We're having a sunken living room. | 0:38:55 | 0:38:58 | |
Because I found out when we moved into this house, | 0:39:03 | 0:39:06 | |
it's all wooden flooring but there is a hole in the ground | 0:39:06 | 0:39:11 | |
and the idea came into my mind, | 0:39:11 | 0:39:13 | |
why not knock the wooden flooring off, | 0:39:13 | 0:39:15 | |
concrete it all, | 0:39:15 | 0:39:17 | |
fill it all up and then have some kind | 0:39:17 | 0:39:19 | |
of steps going down and make the living room a sunken living room? | 0:39:19 | 0:39:24 | |
That area is going to be one level, | 0:39:26 | 0:39:29 | |
with the new extension, | 0:39:29 | 0:39:30 | |
and this is going to be sunken. | 0:39:30 | 0:39:32 | |
So the idea is that we go at least 24 inches down. | 0:39:33 | 0:39:37 | |
Their revised budget was £55,000, | 0:39:39 | 0:39:42 | |
but at this rate, the build will run on and on | 0:39:42 | 0:39:44 | |
and risks costing even more than that. | 0:39:44 | 0:39:46 | |
Our builder has given us the price of £64,000 now, | 0:39:49 | 0:39:52 | |
so we need to find the rest of the money. | 0:39:52 | 0:39:56 | |
I don't see us finishing but I want to stay positive. | 0:39:58 | 0:40:03 | |
In London, the new interior of Adam's house | 0:40:14 | 0:40:16 | |
is starting to come together. | 0:40:16 | 0:40:18 | |
The bed platform has been built | 0:40:18 | 0:40:20 | |
and the walls have been plastered. | 0:40:20 | 0:40:22 | |
His carpenter is now hard at work constructing the new staircase. | 0:40:25 | 0:40:29 | |
Inspired by the barge trip, | 0:40:29 | 0:40:30 | |
he's building a bespoke seating area on the first floor. | 0:40:30 | 0:40:34 | |
And there it is. | 0:40:34 | 0:40:36 | |
It's quite interesting seeing it at the moment while it's just | 0:40:36 | 0:40:38 | |
got one back, because it looks like a bed going that way. | 0:40:38 | 0:40:41 | |
All the new joinery is costing Adam £3,000 | 0:40:42 | 0:40:45 | |
but bespoke upholstery could easily run into hundreds more. | 0:40:45 | 0:40:49 | |
He needs a cheap way of finishing the new seating area. | 0:40:49 | 0:40:52 | |
The budget is really strapped. | 0:40:52 | 0:40:54 | |
So yes, things are pretty tight at the moment but hopefully, | 0:40:56 | 0:40:59 | |
we can find something that's going to fit into the incredibly | 0:40:59 | 0:41:03 | |
tight budget I have. | 0:41:03 | 0:41:04 | |
Upholstery fabrics like felt, velour or silk can be expensive, | 0:41:07 | 0:41:11 | |
but Katy has an idea for a cheaper alternative. | 0:41:11 | 0:41:14 | |
If you choose the right materials, | 0:41:16 | 0:41:18 | |
you can achieve something | 0:41:18 | 0:41:20 | |
that can be just as good as the standard material, if not better. | 0:41:20 | 0:41:24 | |
OK, so I've brought you here to what is, you know, | 0:41:24 | 0:41:26 | |
a good standard fabric shop. | 0:41:26 | 0:41:28 | |
This is called mattress ticking. | 0:41:28 | 0:41:31 | |
You'll probably recognise it from your granny's mattress. | 0:41:31 | 0:41:35 | |
People don't really consider it as an upholstery material | 0:41:35 | 0:41:38 | |
but actually, it's incredibly hard-wearing. | 0:41:38 | 0:41:40 | |
Ticking is distinctive, striped cotton or linen textile, | 0:41:42 | 0:41:46 | |
traditionally used to upholster mattresses and pillows. | 0:41:46 | 0:41:50 | |
When you have lots and lots of narrow stripes, | 0:41:50 | 0:41:52 | |
over a large area, that can be a bit distracting to the eyes | 0:41:52 | 0:41:56 | |
but you can imagine in a small house | 0:41:56 | 0:41:59 | |
or with a small sofa like yours, | 0:41:59 | 0:42:01 | |
it might really add a lot of character. | 0:42:01 | 0:42:04 | |
Starting at around £20 a metre in this shop, | 0:42:05 | 0:42:08 | |
some wholesale factories offer ticking | 0:42:08 | 0:42:11 | |
for as little as six quid a metre. | 0:42:11 | 0:42:13 | |
You can also use it to make cushions, curtains and blinds. | 0:42:13 | 0:42:17 | |
I don't think it's likely I'm going to have | 0:42:17 | 0:42:19 | |
many sort of patterns elsewhere, | 0:42:19 | 0:42:22 | |
so I think this is a really good opportunity to make those | 0:42:22 | 0:42:25 | |
bits of furniture stand out and become a feature of the room. | 0:42:25 | 0:42:28 | |
But upholstery isn't made of fabric alone. | 0:42:30 | 0:42:32 | |
So this place specialises in domestic scaled upholstery foam. | 0:42:32 | 0:42:37 | |
And they've got a huge range that we can sit and bounce on. | 0:42:37 | 0:42:40 | |
HE LAUGHS | 0:42:40 | 0:42:42 | |
-Look at this one. It's like a big loaf. -Yes, it's amazing. | 0:42:42 | 0:42:46 | |
This factory cuts and sells over 10 different types of foam | 0:42:46 | 0:42:49 | |
for commercial and domestic use. | 0:42:49 | 0:42:52 | |
It comes in all sorts of different weights and densities. | 0:42:52 | 0:42:55 | |
Memory foam. | 0:42:55 | 0:42:56 | |
That's got to be the best one. | 0:42:56 | 0:42:59 | |
-That's pretty firm. -So that's probably a bit too much. | 0:42:59 | 0:43:03 | |
This medium density refresh foam is ideal for back or seat cushions | 0:43:03 | 0:43:08 | |
and starts at just over £9 a square metre. | 0:43:08 | 0:43:12 | |
This is quite firm, actually, but I can feel myself sinking. | 0:43:12 | 0:43:17 | |
Just bear in mind that it is a sofa | 0:43:17 | 0:43:19 | |
so feeling slouchy and a little bit luxurious is actually | 0:43:19 | 0:43:23 | |
a good thing and it doesn't need to be too firm. | 0:43:23 | 0:43:26 | |
The trick to create seat cushions from foam | 0:43:27 | 0:43:29 | |
is to wrap it in wadding, | 0:43:29 | 0:43:31 | |
to smooth out creases and stop it losing shape over time. | 0:43:31 | 0:43:35 | |
You can see when the foam is cut, | 0:43:36 | 0:43:38 | |
-it has these very sharp squared-off corners. -Yeah. | 0:43:38 | 0:43:42 | |
So having this wadding over the top just softens the edges | 0:43:42 | 0:43:45 | |
a little bit and makes it look more natural. | 0:43:45 | 0:43:48 | |
Using this material | 0:43:48 | 0:43:49 | |
and the fabric that we looked at where we're thinking | 0:43:49 | 0:43:52 | |
of a material cost of sort of £5-£6 a square metre, | 0:43:52 | 0:43:54 | |
and you're looking at getting a good two-seater sofa | 0:43:54 | 0:43:57 | |
that's made bespoke to you in your choice of fabric | 0:43:57 | 0:43:59 | |
that is exactly how your bottom likes it... | 0:43:59 | 0:44:03 | |
LAUGHTER | 0:44:03 | 0:44:04 | |
..for less than £100. | 0:44:04 | 0:44:06 | |
-And that's really, really good value. -Amazing, yeah. | 0:44:06 | 0:44:09 | |
Over seven months since my first visit, | 0:44:17 | 0:44:20 | |
I'm back in Walsall to see what progress there's been. | 0:44:20 | 0:44:24 | |
Hardeep and Rupinder's project has been a nightmare, | 0:44:24 | 0:44:27 | |
for me as an architect, but also just in terms of them spiralling off | 0:44:27 | 0:44:31 | |
and doing all sorts of things | 0:44:31 | 0:44:32 | |
that I told them categorically not to do. | 0:44:32 | 0:44:35 | |
I know they're struggling to finish it | 0:44:35 | 0:44:37 | |
and usually this would be the bit | 0:44:37 | 0:44:39 | |
where I come and see a finished house. | 0:44:39 | 0:44:41 | |
Hardeep and Rupinder haven't finished and not only that, | 0:44:41 | 0:44:45 | |
I know they haven't done the things I really wanted them to do | 0:44:45 | 0:44:47 | |
'and they have done the things that I told them not to do. | 0:44:47 | 0:44:51 | |
'I want to see what they have managed to achieve and, importantly, | 0:44:51 | 0:44:54 | |
'try and help them to finish it.' | 0:44:54 | 0:44:57 | |
-Hello. How are you doing? -Hello. -Not too bad at all. | 0:44:57 | 0:45:00 | |
-Great to see you. -Same here. | 0:45:00 | 0:45:02 | |
So look at this. We're... | 0:45:02 | 0:45:05 | |
it's really big, isn't it? | 0:45:05 | 0:45:07 | |
-Really spacious. -Yes. | 0:45:07 | 0:45:10 | |
And I think what does work is that you come into the house | 0:45:10 | 0:45:13 | |
and you walk straight into this big space | 0:45:13 | 0:45:15 | |
and there's a relationship to the garden. | 0:45:15 | 0:45:17 | |
-And that really works, doesn't it? -Yes. | 0:45:17 | 0:45:20 | |
'They increased the scope of the work more than once | 0:45:20 | 0:45:23 | |
'and this has become a huge project. No wonder it's unfinished.' | 0:45:23 | 0:45:26 | |
I think it's much more complicated, in some ways, than I had imagined. | 0:45:29 | 0:45:33 | |
It's gone up, it's gone back and it's gone down and actually, | 0:45:33 | 0:45:37 | |
it looks like you've had lots of ideas | 0:45:37 | 0:45:39 | |
that you've kept adding to this. | 0:45:39 | 0:45:41 | |
And I think that's one of the reasons why the project has really... | 0:45:41 | 0:45:44 | |
gone onwards. | 0:45:44 | 0:45:47 | |
It's called creeping enhancement. | 0:45:47 | 0:45:49 | |
You keep adding more and more things in. | 0:45:49 | 0:45:51 | |
And actually, there's an incredible discipline just saying "No, | 0:45:51 | 0:45:55 | |
"I'm just going to do this." | 0:45:55 | 0:45:57 | |
So a sunken sitting area. | 0:46:00 | 0:46:01 | |
-That wasn't in the original scheme, was it? -No, it wasn't. | 0:46:01 | 0:46:04 | |
It was actually my idea. | 0:46:04 | 0:46:06 | |
I mean, the danger about building things like this in | 0:46:06 | 0:46:09 | |
is that it makes it slightly less flexible because actually, | 0:46:09 | 0:46:12 | |
if you decided to have your table down here | 0:46:12 | 0:46:15 | |
and have your sofas there, you can't do that as easily, can you? | 0:46:15 | 0:46:20 | |
Importantly, I want to ask you, I mean, | 0:46:20 | 0:46:22 | |
are you really happy with the spacing? | 0:46:22 | 0:46:24 | |
-Yes, we are. -Definitely. | 0:46:24 | 0:46:27 | |
I can actually visualise where my kitchen will be | 0:46:27 | 0:46:31 | |
and how I'm going to interact with my family | 0:46:31 | 0:46:34 | |
with this new open-plan idea. | 0:46:34 | 0:46:36 | |
They've spent 50K so far | 0:46:38 | 0:46:40 | |
but there's still a long way to go to finish this build. | 0:46:40 | 0:46:43 | |
What you've done is have lots of ideas | 0:46:43 | 0:46:45 | |
sort of in isolation from other ideas. | 0:46:45 | 0:46:47 | |
You have an idea about this, you have an idea about this | 0:46:47 | 0:46:49 | |
and you have an idea about this, rather than one big idea. | 0:46:49 | 0:46:53 | |
-Yeah. -I think now it would be really good to have a strategy to | 0:46:53 | 0:46:56 | |
tie your ideas together so when you walk in, you see a really | 0:46:56 | 0:46:59 | |
consistent building, not just lots of things in the same house. | 0:46:59 | 0:47:03 | |
'I won't get to see this project completed any time soon,' | 0:47:05 | 0:47:09 | |
but I do want to give them a vision | 0:47:09 | 0:47:11 | |
of how they can finish their house on the few thousand pounds | 0:47:11 | 0:47:14 | |
they've got left. | 0:47:14 | 0:47:16 | |
I've brought them to Harlow in Essex. | 0:47:17 | 0:47:19 | |
Newhall Be is an award-winning scheme of over 80 homes. | 0:47:19 | 0:47:23 | |
All the properties here are full of low-cost interior tricks | 0:47:23 | 0:47:26 | |
which the couple could employ. | 0:47:26 | 0:47:28 | |
Now that you're piecing your own house back together, | 0:47:28 | 0:47:31 | |
it's a really good time to have a look at one of these. | 0:47:31 | 0:47:33 | |
This isn't far off what your main living space is like, really, | 0:47:42 | 0:47:45 | |
in terms of its layout and size and so on, is it? | 0:47:45 | 0:47:48 | |
It's absolutely beautiful | 0:47:48 | 0:47:49 | |
and exactly the same layout we are thinking. | 0:47:49 | 0:47:52 | |
Way back, I remember really trying to convince you to do | 0:47:52 | 0:47:55 | |
one big bit of glazing all the way along the back but actually, | 0:47:55 | 0:47:59 | |
this is more like what you guys have done. | 0:47:59 | 0:48:02 | |
I told you it would work! | 0:48:02 | 0:48:04 | |
But actually, correct me if I'm wrong | 0:48:04 | 0:48:06 | |
but yours is a little bit smaller. | 0:48:06 | 0:48:09 | |
'Alison Brooks Architects designed this whole housing scheme. | 0:48:09 | 0:48:13 | |
'Key features like these oversized windows | 0:48:13 | 0:48:15 | |
'have been installed economically in all the houses.' | 0:48:15 | 0:48:18 | |
Usually, big openings are expensive but here, | 0:48:19 | 0:48:22 | |
because this side is fixed, it makes it affordable | 0:48:22 | 0:48:25 | |
because you're not paying for things | 0:48:25 | 0:48:27 | |
that move more than just a standard door here. | 0:48:27 | 0:48:30 | |
And also because it's fixed, | 0:48:30 | 0:48:31 | |
there's a very narrow frame and it's much nicer | 0:48:31 | 0:48:34 | |
than having chunky frames which are really | 0:48:34 | 0:48:36 | |
intrusive in your view and I think the overall effect | 0:48:36 | 0:48:38 | |
is that the outside is just part of this room, rather than having | 0:48:38 | 0:48:41 | |
a room and a garden with a pair of doors separating it. | 0:48:41 | 0:48:45 | |
This is just part of the space, isn't it? | 0:48:45 | 0:48:47 | |
What I do like is that you see the wood here. | 0:48:47 | 0:48:50 | |
-It blends naturally. -With the timber outside. | 0:48:50 | 0:48:52 | |
Yeah, with the timber outside so it's just wood and wood. | 0:48:52 | 0:48:56 | |
The kitchen worktop and splashback are both basic melamine, | 0:48:59 | 0:49:03 | |
which is a cheap, hard-wearing material. | 0:49:03 | 0:49:06 | |
Using it on both surfaces stops it being fussy. | 0:49:06 | 0:49:08 | |
And the flooring is made from black porcelain tiles, | 0:49:10 | 0:49:13 | |
costing less than £20 per square metre. | 0:49:13 | 0:49:15 | |
So this floor is really key here. | 0:49:16 | 0:49:18 | |
I mean, this isn't a super-expensive floor. | 0:49:18 | 0:49:21 | |
This is a fairly generic porcelain tile that is used | 0:49:21 | 0:49:24 | |
everywhere in the ground floor. | 0:49:24 | 0:49:26 | |
And actually, it's great, isn't it, | 0:49:26 | 0:49:28 | |
having this really beautiful dark floor everywhere. | 0:49:28 | 0:49:31 | |
I quite like the idea of having one floor all the way | 0:49:31 | 0:49:34 | |
through from your living room on to your hallway. | 0:49:34 | 0:49:36 | |
This isn't a super-expensive one-off house. | 0:49:36 | 0:49:39 | |
This is a generic house | 0:49:39 | 0:49:40 | |
and what's clever about it is that | 0:49:40 | 0:49:43 | |
everything is pushed and pulled to make it better than normal. | 0:49:43 | 0:49:46 | |
All these materials that are used in this house, | 0:49:46 | 0:49:49 | |
it's working really well as well. | 0:49:49 | 0:49:51 | |
This seems as though it's affordable within our budget. | 0:49:52 | 0:49:55 | |
Little tricks like don't have | 0:49:55 | 0:49:57 | |
a door strip, just let it continue and flow through. | 0:49:57 | 0:50:01 | |
Little tricks like that that we've picked up on... | 0:50:01 | 0:50:03 | |
I think we'll employ. | 0:50:03 | 0:50:05 | |
Hardeep and Rupinder have had a really tough time with their house | 0:50:07 | 0:50:10 | |
and part of the reason for that is that they've taken on too much. | 0:50:10 | 0:50:13 | |
They've been too ambitious. | 0:50:13 | 0:50:15 | |
But coming here today and seeing these beautiful, | 0:50:15 | 0:50:17 | |
simple, straightforward houses, | 0:50:17 | 0:50:19 | |
I think that they | 0:50:19 | 0:50:21 | |
will take some of these lessons and finish their house for good. | 0:50:21 | 0:50:24 | |
In London, it's the final push to complete the interior | 0:50:31 | 0:50:34 | |
of Adam's narrow home. | 0:50:34 | 0:50:36 | |
Determined to keep the space sleek and clutter-free, | 0:50:37 | 0:50:41 | |
he's invested over £4,000 on a contemporary kitchen. | 0:50:41 | 0:50:44 | |
Still quite a bit to do. | 0:50:44 | 0:50:46 | |
It's nice to see the kitchen sort of coming together but...yeah. | 0:50:46 | 0:50:51 | |
Oh. | 0:50:53 | 0:50:54 | |
Soft! | 0:50:54 | 0:50:55 | |
But with new flooring costing £800 | 0:50:57 | 0:51:00 | |
and unforeseen building work to replace floor joists, | 0:51:00 | 0:51:03 | |
he's blown his budget, | 0:51:03 | 0:51:04 | |
spending 52 grand. | 0:51:04 | 0:51:06 | |
As of last night, I've got quite worried about money... | 0:51:06 | 0:51:10 | |
..which is not a particularly comfortable feeling | 0:51:12 | 0:51:15 | |
but getting it to those next steps is also going to be | 0:51:15 | 0:51:18 | |
a sort of another challenge altogether. | 0:51:18 | 0:51:20 | |
But Adam's not going to give up on his dream | 0:51:22 | 0:51:24 | |
of a stunning home | 0:51:24 | 0:51:26 | |
and has some ideas for cheap lighting for the ground floor. | 0:51:26 | 0:51:29 | |
So I've got these, like, four light points all in a row. | 0:51:31 | 0:51:34 | |
I was going to have these... I mean, these are so cheap. | 0:51:34 | 0:51:37 | |
They are like 20p and having spent hardly anything on the fitting, | 0:51:37 | 0:51:41 | |
I can spend a little bit more on the bulb | 0:51:41 | 0:51:43 | |
so all in all, that's probably about £3.70 wall light. | 0:51:43 | 0:51:47 | |
But with all floors needing decorating | 0:51:48 | 0:51:50 | |
and plenty left to do, | 0:51:50 | 0:51:51 | |
there's a long way to go | 0:51:51 | 0:51:53 | |
before this house is complete. | 0:51:53 | 0:51:55 | |
One week later, Katy and I are back to see | 0:52:08 | 0:52:11 | |
just how far Adam has come. | 0:52:11 | 0:52:13 | |
When Katy Marks first met Adam, she faced the enormous challenge | 0:52:13 | 0:52:17 | |
of creating a sense of space in one of Britain's thinnest homes. | 0:52:17 | 0:52:21 | |
Desperate for a foot on the London property ladder, | 0:52:24 | 0:52:26 | |
Adam bought a home which was just five feet wide in places. | 0:52:26 | 0:52:30 | |
It was cramped, awkward and starved of daylight. | 0:52:30 | 0:52:34 | |
Ordinary items of furniture swamped the house, | 0:52:34 | 0:52:37 | |
which was also dominated by a heavy-set staircase. | 0:52:37 | 0:52:40 | |
'So with Katy's help, | 0:52:41 | 0:52:43 | |
'has Adam overcome this seemingly impossible challenge | 0:52:43 | 0:52:46 | |
'and created a bright and practical home?' | 0:52:46 | 0:52:49 | |
-Come on in. -I'd love to. -Come in. | 0:52:49 | 0:52:51 | |
-Wow. -Wow! | 0:52:59 | 0:53:00 | |
I can't believe how much you've done! | 0:53:02 | 0:53:05 | |
I mean, this was a really dark, dingy space | 0:53:05 | 0:53:08 | |
and it feels light and airy | 0:53:08 | 0:53:09 | |
and so much bigger than it was before. | 0:53:09 | 0:53:14 | |
Yeah. | 0:53:14 | 0:53:16 | |
The new layout allows light to pour into the heart of the ground floor. | 0:53:18 | 0:53:23 | |
A streamlined kitchen sits along one wall | 0:53:23 | 0:53:26 | |
and the new bespoke stairs no longer dominate. | 0:53:26 | 0:53:29 | |
Before, you were opening the front door | 0:53:31 | 0:53:34 | |
and literally falling into a sofa. | 0:53:34 | 0:53:36 | |
Adam learnt lessons from the barge | 0:53:37 | 0:53:39 | |
and put them to good use with his floorboards. | 0:53:39 | 0:53:42 | |
And the fact that you have laid it across the space rather | 0:53:42 | 0:53:44 | |
than along the space gives it a little bit of elbow room | 0:53:44 | 0:53:47 | |
and pushes the walls out and it genuinely feels a little bit bigger. | 0:53:47 | 0:53:50 | |
It does. | 0:53:50 | 0:53:51 | |
And this is just super-cheap pine, isn't it? | 0:53:51 | 0:53:53 | |
Actually, the cheapest material | 0:53:53 | 0:53:55 | |
did work out genuinely to be the best. | 0:53:55 | 0:53:57 | |
No space has been added here, | 0:53:59 | 0:54:01 | |
but the reorganisation and the combination of materials | 0:54:01 | 0:54:03 | |
makes it feel far bigger. | 0:54:03 | 0:54:05 | |
A nook for dining has been created | 0:54:07 | 0:54:09 | |
under the staircase - | 0:54:09 | 0:54:10 | |
another efficient use of space in a tiny room. | 0:54:10 | 0:54:13 | |
-Shall we have a seat? -Yes, yes. Come on in. | 0:54:14 | 0:54:16 | |
So what does it feel like to have a table | 0:54:16 | 0:54:18 | |
that you can actually have people around for dinner at? | 0:54:18 | 0:54:21 | |
I can't tell you. It's such a difference. | 0:54:21 | 0:54:23 | |
I was previously sort of cooking here and passing things, | 0:54:23 | 0:54:25 | |
-you know, on a rotation. -You can be the host. -Exactly. | 0:54:25 | 0:54:29 | |
That's the thing. We can be the host with your guests. | 0:54:29 | 0:54:31 | |
So what are we having for dinner? | 0:54:31 | 0:54:33 | |
Well... | 0:54:33 | 0:54:34 | |
'Upstairs, there was only room for a tiny bedroom | 0:54:37 | 0:54:40 | |
'and a long, narrow corridor.' | 0:54:40 | 0:54:42 | |
Wow. It's incredible to be able to see to the top of the house. | 0:54:48 | 0:54:52 | |
And this light flooding down makes such a big difference. | 0:54:54 | 0:54:58 | |
-It's great, isn't it? -It's also incredibly beautiful. | 0:54:58 | 0:55:01 | |
I mean, this is a beautiful space, isn't it? | 0:55:01 | 0:55:04 | |
Using that loft, | 0:55:09 | 0:55:11 | |
taking down the walls has just completely transformed this space | 0:55:11 | 0:55:15 | |
-and it feels sociable and you can actually sit down! -Yeah. | 0:55:15 | 0:55:19 | |
Left-over ply from his stairs has been used | 0:55:21 | 0:55:23 | |
to make a bespoke seating area, tying everything together. | 0:55:23 | 0:55:27 | |
Were you ever unconvinced about Katy's plan to do this? | 0:55:30 | 0:55:33 | |
There was some scepticism about losing space. | 0:55:33 | 0:55:35 | |
About losing space in such a small house. | 0:55:35 | 0:55:38 | |
You know, there are people who think, you know, | 0:55:38 | 0:55:40 | |
why would you possibly want to reduce the full | 0:55:40 | 0:55:43 | |
-amount of floor space that you can have? -This is why. | 0:55:43 | 0:55:46 | |
Exactly. | 0:55:46 | 0:55:47 | |
There's still work to do to finish the new stairs | 0:55:51 | 0:55:53 | |
and Adam will also raise the backrest on the bench seat, | 0:55:53 | 0:55:56 | |
but he does now have a bed platform at the top of the house. | 0:55:56 | 0:56:01 | |
It's amazing to come up the stairs into what used to be a dark, | 0:56:01 | 0:56:05 | |
low loft and suddenly you've got an amazing space that feels | 0:56:05 | 0:56:09 | |
really cosy and intimate. | 0:56:09 | 0:56:11 | |
You've managed to get this incredible | 0:56:11 | 0:56:13 | |
-view down into your living space. -Yeah, I love it. | 0:56:13 | 0:56:16 | |
And it's giving you this really beautiful framed | 0:56:16 | 0:56:18 | |
view of a tree outside | 0:56:18 | 0:56:19 | |
that almost perfectly fits the width of the bed. | 0:56:19 | 0:56:23 | |
Positioning a window to frame a view | 0:56:23 | 0:56:25 | |
connects you with the world beyond. | 0:56:25 | 0:56:27 | |
That's a real bonus. | 0:56:29 | 0:56:31 | |
I don't think I could have really planned for that. | 0:56:31 | 0:56:33 | |
All corridors and clutter have been removed, | 0:56:33 | 0:56:36 | |
activating every inch of his house. | 0:56:36 | 0:56:40 | |
Bespoke furniture and storage | 0:56:40 | 0:56:42 | |
has been incorporated into the way you cleverly access each part. | 0:56:42 | 0:56:46 | |
The whole home has been utterly transformed | 0:56:49 | 0:56:51 | |
but I want to know how much it has cost. | 0:56:51 | 0:56:53 | |
So, Adam, tell me, how much money did you have to start with | 0:56:56 | 0:56:59 | |
and how much have you spent? | 0:56:59 | 0:57:01 | |
Well, I started off with £50,000 | 0:57:01 | 0:57:04 | |
but I have probably just crept over that to around 54. | 0:57:04 | 0:57:09 | |
I don't think I really factored in things like the kitchen | 0:57:09 | 0:57:13 | |
but the overspend is negligible, basically. | 0:57:13 | 0:57:15 | |
I love the fact that here is a house that most people wouldn't | 0:57:15 | 0:57:19 | |
think could be a beautiful, | 0:57:19 | 0:57:21 | |
light-filled generous spacious house. | 0:57:21 | 0:57:24 | |
And here it is, the thinnest house in London, | 0:57:24 | 0:57:27 | |
probably, and it's amazing. | 0:57:27 | 0:57:29 | |
I can't wait to start living in it. | 0:57:31 | 0:57:33 | |
I mean, you can see now, as we're talking, | 0:57:33 | 0:57:36 | |
the sun is just streaming in here in a way that you never | 0:57:36 | 0:57:39 | |
could have imagined. | 0:57:39 | 0:57:40 | |
It's really beautiful. | 0:57:40 | 0:57:42 | |
I'm really amazed and proud | 0:57:47 | 0:57:50 | |
that it's come off like this... and relieved. | 0:57:50 | 0:57:53 | |
At the end of the day, he's had the kind of sense of poise | 0:57:55 | 0:57:59 | |
and not panicked | 0:57:59 | 0:58:00 | |
and everybody has held it together. | 0:58:00 | 0:58:03 | |
Great. | 0:58:03 | 0:58:04 | |
In the era where we're constantly told | 0:58:05 | 0:58:07 | |
there isn't enough space to build houses in cities, | 0:58:07 | 0:58:11 | |
this is an amazing lesson for everyone. | 0:58:11 | 0:58:14 | |
And yet, it's beautiful and uplifting | 0:58:15 | 0:58:17 | |
and generous and full of light. | 0:58:17 | 0:58:19 | |
I mean, what could be better? | 0:58:19 | 0:58:21 |