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Here in the UK, we are blessed with an enormous variety of types | 0:00:02 | 0:00:04 | |
and styles of buildings that we call home, | 0:00:04 | 0:00:06 | |
from thatched cottages to 1930s Art Deco apartments, | 0:00:06 | 0:00:10 | |
Regency terraces to contemporary townhouses. | 0:00:10 | 0:00:13 | |
But sometimes while the exterior creates a wow factor, | 0:00:13 | 0:00:18 | |
the interior can be distinctly lacking. | 0:00:18 | 0:00:22 | |
So, we've gathered together some of the UK's most talented | 0:00:23 | 0:00:26 | |
amateur interior designers to show us what they're made of. | 0:00:26 | 0:00:30 | |
I'm actually raring to go. | 0:00:30 | 0:00:32 | |
That looks great. | 0:00:32 | 0:00:33 | |
Work quicker, come on. | 0:00:36 | 0:00:39 | |
In our first heat, three designers will transform a room each. | 0:00:39 | 0:00:44 | |
But only two will make it through to the next round. | 0:00:44 | 0:00:47 | |
I'm feeling a little bit nervous now. | 0:00:47 | 0:00:49 | |
Putting them through their paces and scrutinising their every move | 0:00:49 | 0:00:53 | |
are judges Daniel Hopwood - designer and a director | 0:00:53 | 0:00:55 | |
of the British Institute of Interior Design... | 0:00:55 | 0:00:59 | |
This year, we've got new challenges for the designers | 0:00:59 | 0:01:01 | |
that are really going to push them to the limit. | 0:01:01 | 0:01:04 | |
..and internationally renowned interior designer Kelly Hoppen. | 0:01:04 | 0:01:07 | |
As a judge in this competition, I want to see perfection. | 0:01:07 | 0:01:10 | |
'I think I will be quite a hard judge.' | 0:01:10 | 0:01:13 | |
But it's going to take a lot of creativity and hard work to be | 0:01:13 | 0:01:17 | |
crowned winner of The Great Interior Design Challenge. | 0:01:17 | 0:01:20 | |
We are in Saltaire, West Yorkshire, | 0:01:36 | 0:01:38 | |
a model village built for mill workers between 1851 and 1876. | 0:01:38 | 0:01:43 | |
This time, our amateur designers have been given the challenge of | 0:01:43 | 0:01:46 | |
transforming the living rooms of three former workers' cottages. | 0:01:46 | 0:01:50 | |
They'll have just 48 hours... | 0:01:53 | 0:01:55 | |
OK, oh! | 0:01:55 | 0:01:57 | |
It is going to look amazing. Yes. | 0:01:57 | 0:01:59 | |
£1,000. | 0:01:59 | 0:02:01 | |
Guys, are we going to be long with that door? | 0:02:01 | 0:02:03 | |
Let's get it hung. | 0:02:03 | 0:02:05 | |
..and a small team, including a builder and a decorator... | 0:02:05 | 0:02:07 | |
Work quicker, Jo, come on. | 0:02:07 | 0:02:09 | |
LAUGHTER | 0:02:09 | 0:02:11 | |
Oh! No! | 0:02:12 | 0:02:13 | |
..to complete their transformations. | 0:02:13 | 0:02:16 | |
Have we got any light green left? | 0:02:16 | 0:02:18 | |
Sugar! | 0:02:18 | 0:02:19 | |
I'm feeling really panicked. | 0:02:19 | 0:02:20 | |
Oh! | 0:02:20 | 0:02:22 | |
They'll need to work hard to impress... | 0:02:24 | 0:02:26 | |
I'm really hopeful that I've ticked all the boxes. | 0:02:26 | 0:02:29 | |
I've done as much as I can do. | 0:02:29 | 0:02:31 | |
Competitive spirit is starting to kick in. | 0:02:31 | 0:02:35 | |
'..as only two can go through.' | 0:02:35 | 0:02:37 | |
Saltaire is situated on the banks of the River Aire | 0:02:45 | 0:02:48 | |
and named after its creator, Sir Titus Salt. | 0:02:48 | 0:02:52 | |
Born in 1803, Sir Titus Salt was a wealthy and successful businessman | 0:02:52 | 0:02:56 | |
who made his fortune through cloth. | 0:02:56 | 0:02:58 | |
An innovator of his time, he built this super-sized mill in 1840, | 0:03:00 | 0:03:05 | |
believed to be the biggest factory space in the entire world, | 0:03:05 | 0:03:08 | |
and at its height, they produced 30,000 metres of fabric a day. | 0:03:08 | 0:03:13 | |
Titus also built the village of Saltaire for his workforce, | 0:03:13 | 0:03:16 | |
which meant that he could control every aspect of their lives, | 0:03:16 | 0:03:20 | |
from where they lived, slept and ate to when they worked, | 0:03:20 | 0:03:23 | |
and even when and where they washed. | 0:03:23 | 0:03:26 | |
150 years later, it's now the turn of our competitors to take charge. | 0:03:26 | 0:03:30 | |
The first designer is 63-year-old Nicholas, | 0:03:32 | 0:03:35 | |
an actor and theatre director from south London. | 0:03:35 | 0:03:38 | |
I think it's just in my blood to actually see something and go, | 0:03:38 | 0:03:42 | |
"That will go with that, that will go with that." | 0:03:42 | 0:03:45 | |
Whether or not it's what's called having an eye, maybe I've got it, | 0:03:45 | 0:03:50 | |
maybe people will hate it. | 0:03:50 | 0:03:52 | |
When it comes to his own home, | 0:03:52 | 0:03:54 | |
Nicholas likes to reflect his flair for the dramatic. | 0:03:54 | 0:03:57 | |
My style is, I suppose modern Baroque, | 0:03:57 | 0:04:01 | |
it's curves and it's shapes and it's opulence. | 0:04:01 | 0:04:05 | |
Although all the designers have had their briefs for just over a week, | 0:04:09 | 0:04:13 | |
this will be the first time they will be seeing the rooms in person. | 0:04:13 | 0:04:18 | |
Nicholas's task is to make over this shabby-chic living room | 0:04:18 | 0:04:21 | |
for homeowner Kelly. | 0:04:21 | 0:04:23 | |
It's very neutral, but doesn't really have much of a personality. | 0:04:23 | 0:04:27 | |
I've tried my best to add a few touches to it, | 0:04:27 | 0:04:30 | |
but I think that it could do with a lot more work. | 0:04:30 | 0:04:33 | |
High ceilings, which is nice. | 0:04:33 | 0:04:37 | |
I basically want to change it into a consulting and treatment room for me | 0:04:37 | 0:04:44 | |
to practise my hypnotherapy. | 0:04:44 | 0:04:46 | |
But because it is only a small house, | 0:04:46 | 0:04:48 | |
I also need it to double as a living room. | 0:04:48 | 0:04:50 | |
I want it to feel quite Zen and sort of Japanese teahouse. | 0:04:50 | 0:04:55 | |
That is enormous. | 0:04:55 | 0:04:57 | |
But I think I have worked out how we can compensate for that. | 0:04:57 | 0:05:01 | |
Judging his presentation will be industry experts | 0:05:08 | 0:05:11 | |
Daniel Hopwood and Kelly Hoppen. | 0:05:11 | 0:05:12 | |
They'll be assessing how well he puts forward his design, | 0:05:14 | 0:05:17 | |
and how adaptable he is to his client's needs. | 0:05:17 | 0:05:20 | |
This is your Japanese presented mood board. | 0:05:21 | 0:05:27 | |
-Wow. -So, if you would like to undo it yourself. | 0:05:27 | 0:05:32 | |
How exciting. | 0:05:32 | 0:05:33 | |
-There we go. -Wow. | 0:05:34 | 0:05:37 | |
So, Japanese tearoom and consultation room. | 0:05:37 | 0:05:42 | |
Slightly formal but relaxed and calming. | 0:05:42 | 0:05:45 | |
We have the Shoji screen with rice paper. | 0:05:45 | 0:05:51 | |
-Excellent. -So that, in fact, | 0:05:51 | 0:05:54 | |
when the light is coming through it, | 0:05:54 | 0:05:57 | |
-it will look like that. -Oh, fantastic. | 0:05:57 | 0:06:00 | |
Some bamboo, maybe a bonsai. | 0:06:00 | 0:06:02 | |
Barbara the fish will be in there with a new Oriental fish tank. | 0:06:02 | 0:06:08 | |
A diagonal design painted in contrasting greens is the backdrop | 0:06:08 | 0:06:12 | |
to Nicholas's theatrical Japanese room. | 0:06:12 | 0:06:15 | |
Is there anything that you see that you go, "Oh, my God, not that"? | 0:06:15 | 0:06:21 | |
Absolutely not, no, it's exceeded my expectations. | 0:06:21 | 0:06:26 | |
I'm very pleased. | 0:06:26 | 0:06:28 | |
-I can't wait. -Let's see if it does in three days' time. | 0:06:28 | 0:06:31 | |
Here's hoping. | 0:06:32 | 0:06:34 | |
Nicholas's presentation... | 0:06:34 | 0:06:36 | |
-slightly concerns me. -Really? | 0:06:36 | 0:06:38 | |
I think maybe he was creating a backdrop for her life rather than | 0:06:38 | 0:06:41 | |
her life being part of the environment she lives in. | 0:06:41 | 0:06:44 | |
And there is so much going on in that presentation. | 0:06:44 | 0:06:47 | |
This is a stage set for him and he's having a game with it. And he has | 0:06:47 | 0:06:51 | |
totally forgotten that this is someone's home. | 0:06:51 | 0:06:54 | |
She loved it, though, I think it's exactly what she wants | 0:06:54 | 0:06:56 | |
and she's going to be so thrilled with it. | 0:06:56 | 0:06:59 | |
But the judges might not be. | 0:06:59 | 0:07:01 | |
I know. | 0:07:01 | 0:07:02 | |
I think the balance... | 0:07:05 | 0:07:06 | |
With just 48 hours until curtains up, Nicholas is drawing on his | 0:07:06 | 0:07:10 | |
directorial experience and gets to work. | 0:07:10 | 0:07:13 | |
Guys, we've got a lot to do here. | 0:07:13 | 0:07:15 | |
We need to strip off curtains, blinds, the carpet needs to come up, | 0:07:15 | 0:07:19 | |
the sofa needs to go, and the moose needs to go upstairs somewhere. | 0:07:19 | 0:07:26 | |
That goes. | 0:07:31 | 0:07:33 | |
-Thank you. -That is gone. | 0:07:33 | 0:07:35 | |
Good. | 0:07:35 | 0:07:36 | |
Our next designer is 44-year-old James, | 0:07:38 | 0:07:41 | |
a marketing assistant from Kent. | 0:07:41 | 0:07:43 | |
I like minimalistic approaches. | 0:07:43 | 0:07:45 | |
Geometric shapes. | 0:07:45 | 0:07:46 | |
Clean lines. | 0:07:46 | 0:07:48 | |
This is basically a stripy wallpaper. | 0:07:48 | 0:07:50 | |
I chose to hang it from side to side, | 0:07:50 | 0:07:52 | |
it gives me the straight lines which I'm so fond of. | 0:07:52 | 0:07:54 | |
I believe that everything has a place, | 0:07:54 | 0:07:56 | |
everything has to be in a certain place. | 0:07:56 | 0:07:58 | |
James will need his eye for design to bring a sense of calm to this | 0:08:03 | 0:08:07 | |
cluttered living room for homeowner Tracey. | 0:08:07 | 0:08:10 | |
The style at the moment is quite contemporary, I would say, | 0:08:10 | 0:08:13 | |
but the room feels quite dark, so many greys and blacks. | 0:08:13 | 0:08:16 | |
So, I kind of want it to be softer. | 0:08:16 | 0:08:18 | |
My dream living room would probably be, like, Scandinavian Nordic look. | 0:08:18 | 0:08:23 | |
Clean lines, lots of textures, but, again, quite a light space. | 0:08:23 | 0:08:28 | |
Smaller than I thought it would be. | 0:08:28 | 0:08:30 | |
I'd say it's quite a tough challenge, | 0:08:30 | 0:08:32 | |
making it look like a space that will work. | 0:08:32 | 0:08:35 | |
You asked for a tranquil, modern Scandi-style lounge. | 0:08:37 | 0:08:39 | |
This is a wood, a light wood laminate flooring to replace the carpet. | 0:08:39 | 0:08:43 | |
-Yeah, I like that. -This is a textured wallpaper that's going to | 0:08:43 | 0:08:46 | |
run across sideways across the bottom of the walls. | 0:08:46 | 0:08:48 | |
That's just something that I tend to do. | 0:08:48 | 0:08:51 | |
Then you said that you like accents of dusky pink. | 0:08:51 | 0:08:55 | |
That, I don't particularly like that, that looks quite dull. | 0:08:55 | 0:08:57 | |
-I want, like, a pretty pink. -Right, yeah, if you have a sample. | 0:08:57 | 0:09:00 | |
-I'll get you a sample. -Yeah. -Yeah. -Then I can remember that. | 0:09:00 | 0:09:03 | |
James's minimal Scandi design also has a few nifty creations, | 0:09:03 | 0:09:07 | |
like a foldout writing desk. | 0:09:07 | 0:09:10 | |
-Great. -Cool. -Thank you. | 0:09:10 | 0:09:12 | |
-DANIEL: -James is about perfection. | 0:09:12 | 0:09:14 | |
That board that he created was absolutely stunning. | 0:09:14 | 0:09:17 | |
I think the presentation was beautifully done, | 0:09:17 | 0:09:19 | |
this immaculate 3-D model where you could open cupboards and everything | 0:09:19 | 0:09:23 | |
else. And I worry that practicality versus the experience and trying to | 0:09:23 | 0:09:28 | |
create something very new, | 0:09:28 | 0:09:30 | |
I think we could find that there is a bit of a problem. | 0:09:30 | 0:09:33 | |
With his 48 hours already ticking down, James gets to work. | 0:09:33 | 0:09:37 | |
OK, cool, we need to get the carpet up and get stuff out the way. | 0:09:37 | 0:09:42 | |
All right. Let's start. | 0:09:42 | 0:09:44 | |
Tracey didn't like my pink. | 0:09:47 | 0:09:48 | |
She felt that my dusky pink was a dirty pink. | 0:09:48 | 0:09:52 | |
-I found the pink. -OK. | 0:09:52 | 0:09:53 | |
I think. | 0:09:53 | 0:09:55 | |
That kind of pink. | 0:09:55 | 0:09:57 | |
All right, OK, well, I wouldn't say that was dusky pink. | 0:09:57 | 0:10:00 | |
-I would say that was light pink. -Powder pink. -Light pink. | 0:10:00 | 0:10:03 | |
THEY LAUGH | 0:10:03 | 0:10:05 | |
OK. Oh! | 0:10:05 | 0:10:07 | |
You destroyed my plant. | 0:10:07 | 0:10:09 | |
Cut. | 0:10:09 | 0:10:10 | |
You might as well keep it now, put it in a little glass. | 0:10:10 | 0:10:13 | |
At least now I know which pink it is. | 0:10:13 | 0:10:16 | |
The last designer is 42-year-old Anna, | 0:10:17 | 0:10:19 | |
an events stylist from Lincolnshire | 0:10:19 | 0:10:21 | |
who doesn't shy away from daring design. | 0:10:21 | 0:10:24 | |
I would describe my style as bold, fun and homely. | 0:10:24 | 0:10:28 | |
I love colour. I absolutely adore a gallery wall. | 0:10:28 | 0:10:31 | |
I'm always looking to inject some interest. | 0:10:31 | 0:10:36 | |
So, minimalism, for me, just doesn't fit with that at all. | 0:10:36 | 0:10:40 | |
Anna's brief is to breathe new life into this lacklustre living room | 0:10:45 | 0:10:49 | |
for homeowner Joseph. | 0:10:49 | 0:10:51 | |
It's my first home and I'd like it to have a unique print on it. | 0:10:51 | 0:10:55 | |
I want my friends and family to come round and go, "Wow." | 0:10:55 | 0:10:59 | |
Right, well, | 0:10:59 | 0:11:01 | |
smaller than I expected it to be. | 0:11:01 | 0:11:04 | |
Joseph's brief is not only to squeeze a dining area into his grand | 0:11:04 | 0:11:07 | |
bachelor pad, but also to give it a modern, masculine makeover. | 0:11:07 | 0:11:11 | |
I'm feeling a bit...just overwhelmed, I hope that we can squeeze | 0:11:11 | 0:11:14 | |
everything in that we had planned originally. | 0:11:14 | 0:11:16 | |
My preferred style is something that's quite modern. | 0:11:16 | 0:11:19 | |
Nothing that's too ornate, or fussy. | 0:11:19 | 0:11:21 | |
I don't want to see anything that's pink or purple. | 0:11:21 | 0:11:24 | |
I like neutral colours, straight lines, | 0:11:24 | 0:11:28 | |
no shabby chic, nothing like that. | 0:11:28 | 0:11:30 | |
Right, Joseph, I tried to keep it nice and light. | 0:11:32 | 0:11:36 | |
So, I've used lots of greys and whites with some black accents. | 0:11:36 | 0:11:40 | |
I've chosen a wallpaper that I'll use on both the fireplace wall | 0:11:40 | 0:11:44 | |
and the wall opposite. | 0:11:44 | 0:11:46 | |
Anna's bachelor pad also includes a cocktail bar | 0:11:46 | 0:11:49 | |
and a compact dining area. | 0:11:49 | 0:11:51 | |
I've introduced some clear, acrylic chairs, | 0:11:51 | 0:11:54 | |
so when they're not in use they look as if they are not actually | 0:11:54 | 0:11:57 | |
there. We're going to be making a coffee table from some sleepers. | 0:11:57 | 0:12:00 | |
-Right. -There will be a design on the top of it. | 0:12:00 | 0:12:03 | |
I'm going to make you some birdcage lampshades from wire with some birds | 0:12:03 | 0:12:07 | |
-sat on just for a bit of a fun element. -That sounds great. | 0:12:07 | 0:12:11 | |
I did think it was nicely laid out. | 0:12:11 | 0:12:14 | |
I just feel that perhaps she's taken it a little bit too far with | 0:12:14 | 0:12:19 | |
the fun bit and the sort of birdcage light. | 0:12:19 | 0:12:21 | |
It'll be interesting. | 0:12:21 | 0:12:23 | |
Anna's 48 hours have begun. | 0:12:25 | 0:12:27 | |
OK, guys, I want to inject as much light as possible. | 0:12:27 | 0:12:30 | |
So we're going to wallpaper | 0:12:30 | 0:12:31 | |
a couple of walls in a wood-effect wallpaper. | 0:12:31 | 0:12:33 | |
The other two are going to be painted light grey. | 0:12:33 | 0:12:36 | |
-Cool. -Right, let's go. OK. | 0:12:36 | 0:12:38 | |
If I could get some masking tape at some point, | 0:12:40 | 0:12:42 | |
just so we can pop that up. | 0:12:42 | 0:12:43 | |
And then there's the list of different jobs for people to do. | 0:12:43 | 0:12:47 | |
So we can all keep on track of what we need to do | 0:12:47 | 0:12:50 | |
throughout the process. | 0:12:50 | 0:12:51 | |
Such an important job. Is that OK? Thank you. | 0:12:53 | 0:12:55 | |
In 2001, Saltaire was added | 0:13:06 | 0:13:08 | |
to the list of World Heritage Sites by Unesco. | 0:13:08 | 0:13:11 | |
Its Grade II listed buildings | 0:13:11 | 0:13:13 | |
are a wonderful example of 19th-century workers' homes. | 0:13:13 | 0:13:16 | |
The whole area is immaculately preserved. | 0:13:16 | 0:13:19 | |
99% of the original buildings survive. | 0:13:19 | 0:13:22 | |
Interestingly, the streets of Saltaire were named after | 0:13:24 | 0:13:27 | |
Sir Titus's own family, | 0:13:27 | 0:13:29 | |
including his 11 children and his wife, Caroline. | 0:13:29 | 0:13:33 | |
Apparently some of the streets were named after his favourite maids, | 0:13:33 | 0:13:37 | |
or lovers, depending on who you ask. | 0:13:37 | 0:13:39 | |
Titus Street, named after the man himself, | 0:13:42 | 0:13:45 | |
is unsurprisingly one of the biggest and the best. | 0:13:45 | 0:13:49 | |
The houses here enjoy fine architectural detailing | 0:13:49 | 0:13:52 | |
and the extravagance of a front garden. | 0:13:52 | 0:13:55 | |
But even the cottages built for the lower-class workers | 0:13:55 | 0:13:57 | |
included little luxuries. | 0:13:57 | 0:13:59 | |
Titus provided small back yards for all of the homes, | 0:13:59 | 0:14:02 | |
something quite unusual at the time. | 0:14:02 | 0:14:04 | |
This extra space gave light and ventilation | 0:14:04 | 0:14:07 | |
for better living conditions. | 0:14:07 | 0:14:09 | |
Back in modern-day Saltaire, progress is slow going. | 0:14:18 | 0:14:22 | |
Bad news on the sander. | 0:14:22 | 0:14:24 | |
I thought it was going to be easier, but... | 0:14:24 | 0:14:26 | |
Nicholas has spent all morning trying to strip paint | 0:14:29 | 0:14:31 | |
from a salvaged table. | 0:14:31 | 0:14:33 | |
How long have we got? | 0:14:33 | 0:14:35 | |
Not long enough. | 0:14:35 | 0:14:36 | |
At home, Nicholas is a dab hand at turning trash into treasure. | 0:14:43 | 0:14:48 | |
This was found under the arches of Charing Cross | 0:14:48 | 0:14:51 | |
and it was literally going begging. | 0:14:51 | 0:14:56 | |
If I can find it cheaper or find it for free, or pick it off a skip, | 0:14:56 | 0:15:01 | |
I'll do it. | 0:15:01 | 0:15:02 | |
Unfortunately for Nicholas, there are no second-hand short cuts when | 0:15:07 | 0:15:11 | |
it comes to the sliding mechanism for his Japanese rice screen. | 0:15:11 | 0:15:15 | |
That has to be built from scratch. | 0:15:15 | 0:15:17 | |
By the end of today, I'd like to get the slider up on the ceiling | 0:15:17 | 0:15:22 | |
and get the ceiling painted. | 0:15:22 | 0:15:24 | |
I've not been to a Japanese tearoom. | 0:15:25 | 0:15:28 | |
You have to sit on the floor and if I sat on the floor I'd never get up | 0:15:28 | 0:15:31 | |
-again. -You can sit on the floor, but I want a proper pillow. | 0:15:31 | 0:15:35 | |
Good old builder's tea you want, don't you? | 0:15:35 | 0:15:38 | |
I'm on Lapsang Souchong, | 0:15:38 | 0:15:40 | |
so I suppose I'm getting in the spirit of things. | 0:15:40 | 0:15:43 | |
Yeah. Yeah. | 0:15:43 | 0:15:45 | |
'Slider is up and we are very happy.' | 0:15:45 | 0:15:49 | |
I think it's just a copy of Japanese style. | 0:15:49 | 0:15:51 | |
It's come from his head but there is nothing from his heart. | 0:15:51 | 0:15:54 | |
I disagree. I think he's been inventive using the Japanese themes. | 0:15:54 | 0:15:58 | |
To give his living room a modern Scandi makeover, | 0:16:04 | 0:16:07 | |
James is sticking with a very muted, minimal scheme. | 0:16:07 | 0:16:10 | |
-This is the wallpaper that we're using. -Where's the paper going? | 0:16:10 | 0:16:13 | |
It's going across sideways. | 0:16:13 | 0:16:16 | |
-OK. -Across the bottom of the wall. Like that. | 0:16:16 | 0:16:18 | |
All the way round the room? | 0:16:18 | 0:16:20 | |
-Yeah. -It looks great. | 0:16:20 | 0:16:21 | |
James may be brimming with imaginative ideas but when it comes | 0:16:23 | 0:16:27 | |
to assertiveness, he's in short supply. | 0:16:27 | 0:16:29 | |
I think that in order to be successfully creative, | 0:16:29 | 0:16:32 | |
you tend to have to have the opposite personality to what I have. | 0:16:32 | 0:16:35 | |
You have to be a little bit shouty, a little bit "look at me". | 0:16:35 | 0:16:40 | |
There's a part of me that wants to say, "Look at what I can do." | 0:16:40 | 0:16:43 | |
Then there's another part that's like, | 0:16:43 | 0:16:45 | |
"Shhh, no, I don't want the attention." | 0:16:45 | 0:16:48 | |
Part of the competition is me facing that fear head on. | 0:16:48 | 0:16:52 | |
Determined to prove his design capabilities, | 0:16:58 | 0:17:01 | |
James has come up with not only some shelving for the alcoves... | 0:17:01 | 0:17:04 | |
So basically, just put this cupboard onto the side of that. | 0:17:04 | 0:17:08 | |
..but also a cupboard door that transforms into a small desk. | 0:17:08 | 0:17:11 | |
-Be nice if it works. -Yeah, if it works. | 0:17:11 | 0:17:13 | |
-If I get time to do it all. -Right. | 0:17:13 | 0:17:16 | |
And if that wasn't enough of a workload, | 0:17:16 | 0:17:18 | |
James has an ambitious plan to fix his client's armchair. | 0:17:18 | 0:17:22 | |
I said to you, "Leave that there, don't touch anything." | 0:17:22 | 0:17:25 | |
And while I went to get my pinning gun, you ripped all the wood out. | 0:17:25 | 0:17:28 | |
I thought I was trying to help. I was trying to be helpful. | 0:17:28 | 0:17:30 | |
This is going to take me longer. | 0:17:30 | 0:17:32 | |
Sorry, I thought I was helping. | 0:17:32 | 0:17:34 | |
Things are running more smoothly over at Anna's. | 0:17:42 | 0:17:45 | |
It's going on really well, I'm really happy with that. | 0:17:45 | 0:17:47 | |
The faux wood wallpaper is already going up. | 0:17:47 | 0:17:51 | |
So Anna can start work on her pet project. | 0:17:51 | 0:17:54 | |
I'm making a birdcage lampshade to go on the ceiling. | 0:17:54 | 0:17:59 | |
So, lots of cutting and moulding of the wire. | 0:17:59 | 0:18:04 | |
I'm on schedule at the minute. | 0:18:04 | 0:18:05 | |
Happy with how things are going in terms of this, | 0:18:05 | 0:18:08 | |
that I want to be ready for when the electrician comes tomorrow. | 0:18:08 | 0:18:11 | |
When it comes to both her home and her work life, | 0:18:15 | 0:18:18 | |
Anna is a formidable planner. | 0:18:18 | 0:18:20 | |
I'm a great believer in a list. | 0:18:20 | 0:18:21 | |
I worked as a PA for many, many years, | 0:18:21 | 0:18:24 | |
so I had to manage not only my time but other people's time, as well, | 0:18:24 | 0:18:27 | |
and I'm quite good under pressure. | 0:18:27 | 0:18:29 | |
So when we're up against it, it's amazing what can be done. | 0:18:29 | 0:18:33 | |
Hello. | 0:18:37 | 0:18:39 | |
Hello. | 0:18:39 | 0:18:40 | |
What's going on here? You've got a stuffed budgie. | 0:18:40 | 0:18:42 | |
I have. I'm making a birdcage lamp to go on the ceiling. | 0:18:42 | 0:18:45 | |
I was quite surprised at that. | 0:18:45 | 0:18:47 | |
-Oh, really? -Yeah. | 0:18:47 | 0:18:48 | |
Especially for a young 30-year-old bachelor. | 0:18:48 | 0:18:53 | |
Do you think that you have covered the brief? | 0:18:53 | 0:18:55 | |
-I hope so. -Not hoping so, you've got to know so. | 0:18:55 | 0:18:57 | |
No, I know I have. | 0:18:57 | 0:18:59 | |
Kelly, I have done many apartments for young bachelors and, frankly, | 0:18:59 | 0:19:06 | |
I've never, ever heard one of them ask for a birdcage with stuffed | 0:19:06 | 0:19:09 | |
-budgerigars in. -Listen, you never know, | 0:19:09 | 0:19:12 | |
you never know, time will tell. | 0:19:12 | 0:19:14 | |
He might walk in and go, "Oh, my God, | 0:19:14 | 0:19:16 | |
"I've always wanted stuffed fake birds in a cage to look at." | 0:19:16 | 0:19:20 | |
Our designers are almost at the end of day one. | 0:19:24 | 0:19:27 | |
But with less than two days to go there's still a lot of work to do | 0:19:27 | 0:19:30 | |
before those rooms are ready for the judges. | 0:19:30 | 0:19:33 | |
Wow, five past six? | 0:19:33 | 0:19:34 | |
Seriously? It doesn't feel like I've done very much at all. | 0:19:34 | 0:19:38 | |
I'm sure you wouldn't normally upholster a sofa with gaffer tape. | 0:19:38 | 0:19:41 | |
But I don't know, I don't know. | 0:19:41 | 0:19:42 | |
Today's gone quick. | 0:19:44 | 0:19:46 | |
-ANNA: -Oh, wow, that looks great. | 0:19:46 | 0:19:47 | |
Yeah, it's coming along nicely now. | 0:19:47 | 0:19:49 | |
Hopefully that'll be done before we go home today. | 0:19:49 | 0:19:52 | |
I feel great. We've got two walls wallpapered. | 0:19:52 | 0:19:54 | |
Fitted cupboards nearly done in the alcoves. | 0:19:54 | 0:19:57 | |
Made a light fitting. | 0:19:57 | 0:19:58 | |
The team are all prepped and know what to do tomorrow morning, | 0:19:58 | 0:20:01 | |
so I'm feeling really positive. | 0:20:01 | 0:20:04 | |
-NICHOLAS: -That is brilliant. | 0:20:04 | 0:20:06 | |
It works. | 0:20:07 | 0:20:09 | |
'End of day one, exhausted,' | 0:20:09 | 0:20:14 | |
competitive spirit is starting to kick in. | 0:20:14 | 0:20:18 | |
HE HUMS TO HIMSELF | 0:20:18 | 0:20:20 | |
Oh, it's that way. | 0:20:23 | 0:20:24 | |
It's the start of day two | 0:20:48 | 0:20:49 | |
and our designers are keen to get back to work | 0:20:49 | 0:20:52 | |
to try and earn themselves a place in the next round. | 0:20:52 | 0:20:55 | |
-Hello. -Good morning. | 0:20:55 | 0:20:57 | |
Anna is starting the day with her list. | 0:20:57 | 0:20:59 | |
So, you're going to finish off the cupboard first of all, | 0:20:59 | 0:21:01 | |
-and then move on to the coffee table. -Yeah. -Brilliant. | 0:21:01 | 0:21:05 | |
Morning, men, morning, Johnny, morning, Dean. | 0:21:05 | 0:21:07 | |
Nicholas is waiting for his carpet to arrive. | 0:21:07 | 0:21:10 | |
The flooring is booked for as late as possible. | 0:21:10 | 0:21:14 | |
If they come earlier, that really is going to hold us up. | 0:21:14 | 0:21:18 | |
And perfectionist James is obsessing over details. | 0:21:18 | 0:21:22 | |
I would have just preferred it to be right in the centre. | 0:21:23 | 0:21:26 | |
That's just me being really picky. | 0:21:26 | 0:21:28 | |
Yeah, thank you. | 0:21:32 | 0:21:33 | |
OK, cool, thanks. | 0:21:36 | 0:21:38 | |
Top of Nicholas's to-do list this morning is to start building | 0:21:42 | 0:21:45 | |
his Japanese rice-paper screen. | 0:21:45 | 0:21:47 | |
I'm very happy, yes. This is... This is looking good. | 0:21:47 | 0:21:51 | |
This is looking Japanese at the moment. | 0:21:51 | 0:21:54 | |
-All right? -Hello, there. | 0:21:56 | 0:21:59 | |
Well, I think I've got my wonderful carpet fitter here... | 0:21:59 | 0:22:03 | |
..who I wasn't expecting until this afternoon. | 0:22:05 | 0:22:07 | |
-Really? -Yeah, the last job of the day, I was promised. | 0:22:07 | 0:22:12 | |
Well, that's the only job we've got today. | 0:22:12 | 0:22:15 | |
-So, it is your last job. -Yeah. | 0:22:15 | 0:22:18 | |
So you've only got one job today, | 0:22:18 | 0:22:20 | |
I suppose then it's pretty accurate that they're here now. | 0:22:20 | 0:22:24 | |
Just put it out in the alleyway. | 0:22:24 | 0:22:26 | |
So, it's out with the Shoji screen and in with the new flooring. | 0:22:26 | 0:22:30 | |
It is better than I expected. | 0:22:30 | 0:22:32 | |
It's going to look amazing. | 0:22:32 | 0:22:34 | |
Yes. | 0:22:34 | 0:22:35 | |
The transformation of Anna's bachelor pad is well under way. | 0:22:38 | 0:22:42 | |
So, she's cracking on with the soft furnishings. | 0:22:42 | 0:22:46 | |
I've got that gorgeous, big sofa downstairs, plain grey, | 0:22:46 | 0:22:49 | |
that needs a bit of livening up, in my opinion. | 0:22:49 | 0:22:52 | |
Do you know, it is quite girlie. | 0:22:52 | 0:22:54 | |
It's quite feminine. | 0:22:56 | 0:22:58 | |
I just love a shot of pink in interiors. | 0:22:58 | 0:23:00 | |
I'm conscious that obviously the homeowner is a single gentleman, | 0:23:00 | 0:23:04 | |
so I didn't want to use too much of it. | 0:23:04 | 0:23:06 | |
So, plough on and just get his reaction when he sees it. | 0:23:06 | 0:23:09 | |
Downstairs, the first coat of grey paint is going up. | 0:23:09 | 0:23:13 | |
It looks a bit bluer than I thought it would, actually. | 0:23:13 | 0:23:15 | |
-We both said. -It looks grey on the tin, doesn't it? | 0:23:15 | 0:23:18 | |
It looks a lot lighter. | 0:23:18 | 0:23:20 | |
It will dry back a bit. | 0:23:20 | 0:23:21 | |
Yeah, OK. | 0:23:21 | 0:23:24 | |
I'm hoping that it loses some of the blueness as it dries out. | 0:23:24 | 0:23:29 | |
-Hey. -Hello. -You've moved really quickly. | 0:23:33 | 0:23:35 | |
You've got the wallpaper on the walls. | 0:23:35 | 0:23:37 | |
Is that going on all the walls? | 0:23:37 | 0:23:38 | |
No, I've done grey on the other two walls. | 0:23:38 | 0:23:41 | |
Is that the undercoat for the corners? | 0:23:41 | 0:23:43 | |
-No. I am... -Are you sure that's...? | 0:23:43 | 0:23:45 | |
..a little concerned that it's too blue. | 0:23:45 | 0:23:48 | |
The problem with paint is, | 0:23:48 | 0:23:49 | |
until you actually, physically get it and put it up, | 0:23:49 | 0:23:52 | |
depending on where the light's coming from, | 0:23:52 | 0:23:53 | |
it's going to change colour. | 0:23:53 | 0:23:55 | |
But the colour of that wall and that wall | 0:23:55 | 0:23:57 | |
-is going to make or break your wallpaper. -Yeah. | 0:23:57 | 0:23:59 | |
That paint, it's not right, is it? | 0:23:59 | 0:24:02 | |
The paint is definitely not right. | 0:24:02 | 0:24:03 | |
Those walls are blue. | 0:24:03 | 0:24:05 | |
I don't care how you look at it, they are now blue. | 0:24:05 | 0:24:07 | |
The paint on Nicholas's table is also still causing trouble. | 0:24:13 | 0:24:17 | |
Up the creek without a paddle. | 0:24:19 | 0:24:22 | |
Bit like a G string, isn't it? | 0:24:24 | 0:24:26 | |
Even with the rougher sandpaper... | 0:24:28 | 0:24:30 | |
..it's still not smooth sailing. | 0:24:33 | 0:24:35 | |
Right, weary old person has to sit down. | 0:24:35 | 0:24:39 | |
And just to dampen Nicholas's spirit even further... | 0:24:39 | 0:24:43 | |
It's now raining. So, the famous coffee table is now soaking wet. | 0:24:43 | 0:24:48 | |
I just need ten more minutes of sunshine. | 0:24:48 | 0:24:52 | |
I have to find somewhere to paint under shelter. | 0:24:52 | 0:24:56 | |
Rain has also forced James indoors. | 0:24:56 | 0:24:58 | |
-Hi. -Hi. | 0:25:01 | 0:25:03 | |
-Busy? -Very. Yes, trying to get the undercoat on this. | 0:25:03 | 0:25:06 | |
You've had an entire day now. | 0:25:06 | 0:25:09 | |
You've got a fireplace painted and you've got some of the walls done, | 0:25:09 | 0:25:13 | |
but I think the corners haven't been cut in yet. | 0:25:13 | 0:25:15 | |
There's still quite a lot to do. | 0:25:15 | 0:25:17 | |
By the end of today, we should be a lot further down the line, so, | 0:25:17 | 0:25:22 | |
-fingers crossed. -Timing's an issue. | 0:25:22 | 0:25:24 | |
-Yeah. -You've got to keep on top of it. | 0:25:24 | 0:25:26 | |
OK, I'll keep that in mind. | 0:25:26 | 0:25:28 | |
It is really clear now that James is on the pursuit of perfection. | 0:25:28 | 0:25:33 | |
But the result could mean huge delays. | 0:25:33 | 0:25:36 | |
-I'm really worried about him. -I wish I was that laid-back. | 0:25:36 | 0:25:39 | |
I mean, life would just all seem so much better. | 0:25:39 | 0:25:42 | |
I would say that the judges are being overanxious on my behalf. | 0:25:42 | 0:25:48 | |
I have faith that it will come together | 0:25:48 | 0:25:50 | |
and everything will be on time. | 0:25:50 | 0:25:52 | |
LOUD CRASH | 0:25:52 | 0:25:55 | |
-Sugar. -I think the fireplace decided to throw itself on the floor. | 0:25:55 | 0:26:00 | |
-How did it fall? -It was freestanding. | 0:26:00 | 0:26:03 | |
You've not leaned it on the wall. | 0:26:03 | 0:26:05 | |
We now have minor damage to the edge | 0:26:05 | 0:26:09 | |
and a little bit here. | 0:26:09 | 0:26:11 | |
It's not the end of the world, | 0:26:12 | 0:26:14 | |
it just means that it needs to be painted again. | 0:26:14 | 0:26:16 | |
-Because there's plenty of time! -HE LAUGHS | 0:26:16 | 0:26:19 | |
Although the judges are keeping an eye on the designers' ability to | 0:26:25 | 0:26:29 | |
juggle budget and timings, | 0:26:29 | 0:26:31 | |
they're also keen to test their imaginations. | 0:26:31 | 0:26:34 | |
You know what it is, don't you? | 0:26:34 | 0:26:36 | |
It's what's called a creative challenge. | 0:26:36 | 0:26:39 | |
So, the competitors are about to be given something surprising to | 0:26:39 | 0:26:42 | |
creatively incorporate into their scheme. | 0:26:42 | 0:26:45 | |
-You are in a mill town. -Yes. -So, of course, | 0:26:45 | 0:26:49 | |
I'm going to give you bobbins | 0:26:49 | 0:26:51 | |
for you to do something beautifully creative. | 0:26:51 | 0:26:54 | |
-How does that sound? -Yeah, it sounds OK. | 0:26:54 | 0:26:57 | |
-You've got a lot to do. -I'm sure I can come up with something. | 0:26:57 | 0:27:01 | |
And you've got three hours. Grab those. | 0:27:01 | 0:27:03 | |
So no deliberating. You've got to start this now, OK? | 0:27:03 | 0:27:06 | |
Good luck. | 0:27:06 | 0:27:08 | |
Thank you. | 0:27:08 | 0:27:09 | |
Bobbins. | 0:27:11 | 0:27:13 | |
I have no idea, no idea at all. | 0:27:19 | 0:27:23 | |
Wow, OK. | 0:27:23 | 0:27:25 | |
Unlike the men, Anna knows exactly what she wants to do. | 0:27:25 | 0:27:28 | |
Use these as handles on the alcove doors. | 0:27:28 | 0:27:32 | |
We've got three hours before the judges come back. | 0:27:32 | 0:27:34 | |
Anna's simple solution is to use the head of the bobbin as a handle | 0:27:34 | 0:27:38 | |
for her cupboard doors. | 0:27:38 | 0:27:40 | |
Love it. | 0:27:40 | 0:27:41 | |
With the challenge in hand, Anna moves on to another crafty project, | 0:27:41 | 0:27:45 | |
decorating a table she's made from sleepers with a butterfly motif. | 0:27:45 | 0:27:50 | |
I am applying some decoupage to the top of this coffee table. | 0:27:50 | 0:27:55 | |
I go over it with my finger with more glue. | 0:27:55 | 0:27:59 | |
The more coats that you do, | 0:27:59 | 0:28:01 | |
the better seal you'll have for protecting the piece. | 0:28:01 | 0:28:05 | |
James, meanwhile, has finally had a flash of inspiration | 0:28:09 | 0:28:12 | |
for his challenge. | 0:28:12 | 0:28:14 | |
I'm thinking about incorporating the bobbins into the lamp | 0:28:14 | 0:28:17 | |
I was going to do with the copper piping. | 0:28:17 | 0:28:20 | |
By using a copper light shade he'd already purchased, | 0:28:20 | 0:28:23 | |
James plans to run an electrical wire through the bobbins | 0:28:23 | 0:28:26 | |
so they stack together and form a lamp stand. | 0:28:26 | 0:28:29 | |
It has kind of pushed time back a little bit, so, | 0:28:29 | 0:28:32 | |
we'll get this out of the way and crack back on with the plan. | 0:28:32 | 0:28:35 | |
A few doors down, | 0:28:36 | 0:28:38 | |
Nicholas has cut the tops off his bobbins and flipped the top of his | 0:28:38 | 0:28:42 | |
table to create an homage to a Japanese board game. | 0:28:42 | 0:28:46 | |
It solved my problem of the table | 0:28:46 | 0:28:48 | |
that didn't want to be sanded on the top. | 0:28:48 | 0:28:51 | |
And it's used up my leftover flooring. | 0:28:51 | 0:28:54 | |
I think we could say I'm quietly confident. | 0:28:54 | 0:28:57 | |
To add to the pressure, | 0:28:59 | 0:29:01 | |
judges Kelly and Dan will be taking into account the winner of the | 0:29:01 | 0:29:03 | |
creative challenge in their final deliberations. | 0:29:03 | 0:29:06 | |
Guys, are we going to be long with that door? Let's get it hung. | 0:29:06 | 0:29:09 | |
Got one left, so I'm just displaying it in this nice dome. | 0:29:09 | 0:29:13 | |
-Hi. -Hello. | 0:29:13 | 0:29:15 | |
Time's up. Three hours. | 0:29:15 | 0:29:17 | |
What have you got for the creative challenge? | 0:29:17 | 0:29:19 | |
Right, I've got some handles for my cupboards, | 0:29:19 | 0:29:21 | |
I've used the ends of the spools for those. | 0:29:21 | 0:29:24 | |
-So you've cut the ends off? -Yes. We had one bobbin left. | 0:29:24 | 0:29:27 | |
So, because this house is of the Victorian era, | 0:29:27 | 0:29:30 | |
I brought a couple of glass domes with me. | 0:29:30 | 0:29:32 | |
I love that. I love this idea. | 0:29:32 | 0:29:34 | |
I think that's really good. | 0:29:34 | 0:29:36 | |
While Nicholas has a dress rehearsal | 0:29:41 | 0:29:43 | |
with his ever so slightly made-up Japanese game... | 0:29:43 | 0:29:46 | |
I'm going to go there. | 0:29:47 | 0:29:50 | |
I didn't see that coming, I've got to say. | 0:29:50 | 0:29:52 | |
..James is perfecting his lamp. | 0:29:52 | 0:29:55 | |
-Sugar. -Don't keep twisting it, because you'll rip the wires out. | 0:29:55 | 0:29:59 | |
OK. Cool. | 0:29:59 | 0:30:01 | |
You've taken what you planned to do, | 0:30:01 | 0:30:02 | |
which was a copper light with a copper stand, | 0:30:02 | 0:30:05 | |
and put in the bobbins there instead. | 0:30:05 | 0:30:08 | |
I think it's inventive and creative. | 0:30:08 | 0:30:10 | |
-Hello, Nicholas. -Good afternoon. | 0:30:15 | 0:30:17 | |
Too much. | 0:30:18 | 0:30:20 | |
It's a Japanese tea house mind strategy game, | 0:30:20 | 0:30:24 | |
and you have these counters. | 0:30:24 | 0:30:27 | |
That's East and that is West. | 0:30:27 | 0:30:30 | |
Very convincing if it isn't true. | 0:30:30 | 0:30:32 | |
I think this looks beautiful. | 0:30:35 | 0:30:37 | |
I think we should conclude on the creative challenge competition | 0:30:37 | 0:30:41 | |
and I have a feeling you're going to agree with me. Nicholas. | 0:30:41 | 0:30:45 | |
Definitely. 100%. | 0:30:45 | 0:30:46 | |
I mean, it was the most creative. | 0:30:46 | 0:30:49 | |
It's that great lateral thinking... | 0:30:49 | 0:30:51 | |
He's thinking outside of the box, and it was, it was impressive, | 0:30:51 | 0:30:54 | |
and it was refreshing. | 0:30:54 | 0:30:56 | |
Nicholas isn't the first man to spin a yarn | 0:31:02 | 0:31:05 | |
or bring a little ingenuity to Saltaire, | 0:31:05 | 0:31:08 | |
Titus Salt was determined to put his village at the forefront | 0:31:08 | 0:31:11 | |
of healthy living. | 0:31:11 | 0:31:14 | |
Good hygeine was paramount when designing these homes. | 0:31:14 | 0:31:17 | |
Boot scrapers were built into every house to stop the outside world from | 0:31:17 | 0:31:21 | |
coming inside and spreading disease. | 0:31:21 | 0:31:23 | |
The homes had the added bonus of a built-in outside privy | 0:31:25 | 0:31:29 | |
like this one here. To keep his model village looking at its best, | 0:31:29 | 0:31:33 | |
Sir Titus refused to allow washing to be hung in back yards. | 0:31:33 | 0:31:37 | |
He considered it to be unsightly. | 0:31:37 | 0:31:39 | |
To stop such bad behaviour, he built a washhouse that his workers had to | 0:31:39 | 0:31:43 | |
use twice a week. | 0:31:43 | 0:31:45 | |
Caring humanist, or a bit of a control freak? | 0:31:46 | 0:31:49 | |
Though not quite as commanding as Titus, | 0:31:57 | 0:32:00 | |
some of the designers are also marshalling their delegation skills. | 0:32:00 | 0:32:04 | |
Cut in there. | 0:32:04 | 0:32:06 | |
Nicholas has the decorator | 0:32:06 | 0:32:07 | |
putting up the first coat of light green paint. | 0:32:07 | 0:32:10 | |
That's the cover. | 0:32:10 | 0:32:11 | |
And the electrician's constructing the new light fitting. | 0:32:11 | 0:32:14 | |
Then you just put your live and your neutral... | 0:32:14 | 0:32:17 | |
HE LAUGHS | 0:32:17 | 0:32:20 | |
..into that, aren't you? | 0:32:20 | 0:32:22 | |
I think the delegating aspect of my nature has | 0:32:22 | 0:32:25 | |
grown in volume as I've got older and more incapacitated. | 0:32:25 | 0:32:31 | |
And I just love to not be in charge, but to get things done. | 0:32:31 | 0:32:38 | |
Just don't look at me like that, just get on. | 0:32:38 | 0:32:40 | |
-Hi, Nicholas. -Hello. | 0:32:46 | 0:32:48 | |
Bit sticky hands from rubber gloves. | 0:32:48 | 0:32:50 | |
-Yeah, really. -I can see that there is a hive of industry going on here. | 0:32:50 | 0:32:54 | |
You've got everybody delegated and working. | 0:32:54 | 0:32:57 | |
This is because you're in production and theatre, isn't it? | 0:32:57 | 0:32:59 | |
Nobody stands still, and if they do stand still I do want to know why. | 0:32:59 | 0:33:04 | |
-And you'll put a brush in their hands. -Absolutely. | 0:33:04 | 0:33:06 | |
Well, you need to, because having looked at your presentation, there | 0:33:06 | 0:33:10 | |
is so much going on in there that, I have to say, I'm slightly concerned. | 0:33:10 | 0:33:15 | |
This is a very, very small room, and East meets West is very Zen, | 0:33:15 | 0:33:19 | |
minimalism, and then adding, you know, one amazing piece. | 0:33:19 | 0:33:23 | |
You like the stage, you like the show, | 0:33:23 | 0:33:27 | |
you like something that's one look. | 0:33:27 | 0:33:30 | |
And this is not East meets West, is it? | 0:33:30 | 0:33:32 | |
It's just East. | 0:33:32 | 0:33:33 | |
What is there to do? | 0:33:39 | 0:33:41 | |
We still need to do flooring, shelving. | 0:33:41 | 0:33:43 | |
At James', alarm bells are starting to ring. | 0:33:43 | 0:33:48 | |
-The beading. -The sofa. | 0:33:48 | 0:33:50 | |
Oh, yeah, the beading, and with the doors and the pull-out table, | 0:33:50 | 0:33:53 | |
and they will all need several coats of primer before the final coat. | 0:33:53 | 0:33:58 | |
Work quicker, Jo, come on. | 0:33:58 | 0:34:01 | |
Already halfway through the 48 hours | 0:34:01 | 0:34:03 | |
and James hasn't got his wallpaper up or his flooring down. | 0:34:03 | 0:34:07 | |
And the shelving hasn't even started. | 0:34:07 | 0:34:09 | |
The shelving itself, minus the doors, | 0:34:09 | 0:34:11 | |
what kind of timescale are we talking on that? | 0:34:11 | 0:34:14 | |
-To get them all up? -Yes. -That's probably going to take me until | 0:34:14 | 0:34:16 | |
the end of the day. You probably should start prioritising things, | 0:34:16 | 0:34:19 | |
because there is a hell of a lot to do and not much time. | 0:34:19 | 0:34:21 | |
OK, all right. | 0:34:21 | 0:34:23 | |
-No need to panic. -I'm not panicking, it's fine. | 0:34:23 | 0:34:26 | |
I've only got a little bit of time left. I do need to focus. | 0:34:26 | 0:34:29 | |
Things do need to come together a little bit quicker than they are | 0:34:29 | 0:34:31 | |
doing at present, so the pressure's building now, | 0:34:31 | 0:34:34 | |
and you might see me panic very soon. | 0:34:34 | 0:34:36 | |
It's not just James' delegation skills under pressure. | 0:34:36 | 0:34:39 | |
Basically, I don't think I have enough wood to put an entire strip | 0:34:39 | 0:34:43 | |
up the side here. | 0:34:43 | 0:34:44 | |
He also hasn't budgeted enough for materials. | 0:34:44 | 0:34:46 | |
We've got, like, two sets of sheet left | 0:34:46 | 0:34:48 | |
-and I haven't even started on that side. -OK. | 0:34:48 | 0:34:50 | |
We're probably going to need some more. | 0:34:50 | 0:34:52 | |
If we run out of wood there's not a lot more you can do, is there? | 0:34:52 | 0:34:54 | |
It's nearly the end of day two | 0:34:59 | 0:35:01 | |
and there's still plenty for our designers to do | 0:35:01 | 0:35:03 | |
if they want to earn a place in the quarterfinals. | 0:35:03 | 0:35:05 | |
To stay on track, Nicholas needs to get his two-tone green | 0:35:08 | 0:35:11 | |
geometric design painted up as quick as possible. | 0:35:11 | 0:35:15 | |
Have we got any light green left at all? | 0:35:15 | 0:35:18 | |
I've got hardly any at all. | 0:35:18 | 0:35:21 | |
Unfortunately, Nicholas is all out of light green paint. | 0:35:21 | 0:35:23 | |
Right, OK. | 0:35:23 | 0:35:27 | |
-Can't be helped. -It is what it is. | 0:35:27 | 0:35:29 | |
So that will get done tomorrow. | 0:35:29 | 0:35:30 | |
Too late in the day to order new paint, | 0:35:30 | 0:35:33 | |
it's a setback he could do without. | 0:35:33 | 0:35:35 | |
It's putting on a show. And the curtain is going to go up | 0:35:35 | 0:35:40 | |
and it's got to be ready. | 0:35:40 | 0:35:42 | |
Over at Anna's, it's the reverse story. | 0:35:42 | 0:35:45 | |
Her new grey paint has finally arrived. | 0:35:45 | 0:35:48 | |
That's a much nicer colour. | 0:35:48 | 0:35:49 | |
It's not blue. Let's get it on. | 0:35:49 | 0:35:51 | |
It's all hands on deck to get a coat on before the end of the day. | 0:35:51 | 0:35:55 | |
There's still really a lot to do. | 0:35:55 | 0:35:57 | |
Compared to yesterday, today has been quite stressful. | 0:35:57 | 0:36:01 | |
I think we're a little bit behind schedule. | 0:36:03 | 0:36:05 | |
Ideally, either the flooring or the shelving should have been finished | 0:36:05 | 0:36:09 | |
by the end of today. | 0:36:09 | 0:36:11 | |
Desperate to make up time, | 0:36:11 | 0:36:13 | |
James is in for a long night of upholstering back at the hotel. | 0:36:13 | 0:36:17 | |
I am panicking inside. | 0:36:17 | 0:36:19 | |
Tomorrow, you might see panicking on the outside. | 0:36:19 | 0:36:21 | |
You might see me actually running around screaming | 0:36:21 | 0:36:25 | |
and shouting and stuff. | 0:36:25 | 0:36:27 | |
It's the last day and with the prospect of a | 0:36:43 | 0:36:46 | |
place in the quarterfinals at stake, the pressure is on. | 0:36:46 | 0:36:49 | |
Today, the judges will have to decide which designer will be | 0:36:51 | 0:36:54 | |
leaving the competition. | 0:36:54 | 0:36:56 | |
-Morning, men. -Morning. | 0:36:56 | 0:36:58 | |
A little bit tired today. | 0:36:58 | 0:36:59 | |
I was up until quarter to six in the morning | 0:36:59 | 0:37:02 | |
upholstering an armchair. | 0:37:02 | 0:37:04 | |
Still lots to do. So I'll have to find energy from somewhere. | 0:37:04 | 0:37:08 | |
It was a late night, but I did manage to get most things done. | 0:37:08 | 0:37:11 | |
So, I'm feeling OK, I'm feeling positive. Everybody, | 0:37:11 | 0:37:14 | |
hopefully, is on track. So, | 0:37:14 | 0:37:16 | |
yeah, it'll all soon be over. | 0:37:16 | 0:37:18 | |
Are we going to get through? | 0:37:21 | 0:37:22 | |
At Nicholas's, the furniture has arrived. | 0:37:22 | 0:37:26 | |
Sayonara. | 0:37:26 | 0:37:27 | |
And so has a delivery of green paint. | 0:37:27 | 0:37:30 | |
Gentlemen, I personally am not worrying. Is anyone worrying? | 0:37:30 | 0:37:34 | |
-No. -I think we are absolutely on top of things. | 0:37:34 | 0:37:39 | |
Despite Nicholas's confidence, there's still plenty to do, | 0:37:39 | 0:37:42 | |
including using a laser level to draw a diagonal paint effect. | 0:37:42 | 0:37:46 | |
This is the most brilliant thing that I have ever seen. | 0:37:46 | 0:37:50 | |
My gob has never been so smacked. | 0:37:50 | 0:37:53 | |
Come on, chop chop. | 0:37:53 | 0:37:55 | |
That's Chinese. | 0:37:55 | 0:37:57 | |
Zhu zhong, zhu zhong! | 0:37:57 | 0:37:59 | |
With no time to wait for the paint to dry, | 0:37:59 | 0:38:01 | |
Nicholas pushes on with his fabric door hanging. | 0:38:01 | 0:38:04 | |
What does that look like at the bottom? | 0:38:04 | 0:38:07 | |
It looks good, it looks good, just get on with it. | 0:38:07 | 0:38:09 | |
Yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah. | 0:38:09 | 0:38:13 | |
So, here I am, holding the Oriental hanging, | 0:38:14 | 0:38:19 | |
because I have one craftsman on this side with a roller, | 0:38:19 | 0:38:25 | |
and I have one craftsman on this side with a varnish brush. | 0:38:25 | 0:38:31 | |
-ANNA: -I'm at the bottom if you want to pass me one. | 0:38:31 | 0:38:33 | |
Unsurprisingly, at Anna's bachelor pad, | 0:38:38 | 0:38:41 | |
everything is running with military precision. | 0:38:41 | 0:38:44 | |
I think that would be great, and then the mirror will | 0:38:44 | 0:38:47 | |
come to about there, which I think is perfect. | 0:38:47 | 0:38:48 | |
-Doable, isn't it? -Yeah. | 0:38:48 | 0:38:50 | |
We've got to get the blind up, we've got to get the pelmet up, | 0:38:50 | 0:38:53 | |
we've got to get the mirror finished and up. | 0:38:53 | 0:38:56 | |
We've just got to crack on and do as much as we can. | 0:38:56 | 0:39:00 | |
OK, lovely. Let's get this pelmet up. | 0:39:00 | 0:39:03 | |
Start at the centre, and the last bit is just popping the returns back. | 0:39:04 | 0:39:08 | |
Fabulous. | 0:39:10 | 0:39:11 | |
So, Anna's brief was to create a modern bachelor's pad. | 0:39:11 | 0:39:14 | |
What I'm worried about is that he's going to end up with something that | 0:39:14 | 0:39:17 | |
really doesn't suit him and is all about her. | 0:39:17 | 0:39:21 | |
Well, we're not sure, he might walk in and absolutely love it. | 0:39:21 | 0:39:23 | |
Do you know many men in this world that like a butterfly decoupage on | 0:39:23 | 0:39:28 | |
railway sleeper coffee tables? | 0:39:28 | 0:39:30 | |
In James' room, there's still much to do, | 0:39:32 | 0:39:35 | |
but two key features are under way. | 0:39:35 | 0:39:38 | |
The Scandi chic laminate floor is going down. | 0:39:39 | 0:39:42 | |
And the horizontal wallpaper is going up. | 0:39:44 | 0:39:47 | |
Do you not have any other wall? | 0:39:47 | 0:39:49 | |
-Yeah. -There's a point. | 0:39:49 | 0:39:51 | |
Sorry, Stu. Yeah, Stu can just hold the other end. | 0:39:56 | 0:39:59 | |
-How kind of high do you want the paper? -That's about right. | 0:39:59 | 0:40:03 | |
-Do you want it any higher than that? -No, that's fine. | 0:40:03 | 0:40:06 | |
Can you just give a rough pencil mark? Perfect. | 0:40:06 | 0:40:09 | |
Top priority today is everything. | 0:40:09 | 0:40:11 | |
I want the room to look the way it should look. | 0:40:11 | 0:40:13 | |
We need to get the flooring down. | 0:40:13 | 0:40:15 | |
We need to finish the shelving, paint the shelving, wallpaper, | 0:40:15 | 0:40:18 | |
wallpaper trim, we're going to be up against the wire, but... | 0:40:18 | 0:40:21 | |
What's your priorities in terms of getting everything done in time? | 0:40:23 | 0:40:26 | |
I need to get this floor down. | 0:40:26 | 0:40:29 | |
We've got a lot to do, but I've got a lot of faith in you, Stuart, | 0:40:29 | 0:40:32 | |
so don't let me down. | 0:40:32 | 0:40:33 | |
I guess. | 0:40:35 | 0:40:36 | |
THEY LAUGH | 0:40:36 | 0:40:38 | |
While the builder and decorator prioritise the big tasks... | 0:40:38 | 0:40:42 | |
..James is distracted by some blinds. | 0:40:45 | 0:40:48 | |
It's the least of our worries just yet, isn't it? | 0:40:50 | 0:40:53 | |
So... | 0:40:53 | 0:40:55 | |
No, it's about the little details. | 0:40:55 | 0:40:57 | |
Well, you know, we've got to get the paper on and everything else, first. | 0:40:57 | 0:41:01 | |
With the flooring finished, the builder can move to his next task, | 0:41:08 | 0:41:12 | |
constructing James's flip-out desk. | 0:41:12 | 0:41:15 | |
We still need to paint the shelving but I want to wait. | 0:41:15 | 0:41:18 | |
-You can do that now if you want. -I can do that now? -Yeah. | 0:41:18 | 0:41:21 | |
I'm going to do that now. | 0:41:21 | 0:41:23 | |
This is the piece de resistance. | 0:41:26 | 0:41:27 | |
It's a lift-up desk. | 0:41:27 | 0:41:30 | |
So, basically it stores away | 0:41:30 | 0:41:34 | |
and saves taking up the space all the time, | 0:41:34 | 0:41:38 | |
so she can pull it out to write on it, it's a writing desk, | 0:41:38 | 0:41:41 | |
and when she doesn't want to, she can just put it away. | 0:41:41 | 0:41:44 | |
So, Tracey wanted a minimalist room? | 0:41:44 | 0:41:46 | |
Well, she just wanted a nice, simple, classic, Scandinavian look, | 0:41:46 | 0:41:50 | |
slightly washed out. | 0:41:50 | 0:41:51 | |
But his presentation was immaculate. | 0:41:51 | 0:41:53 | |
It was almost like a book and he had sort of drawn everything up, | 0:41:53 | 0:41:57 | |
and created these semi-models where you could open cupboards. | 0:41:57 | 0:42:01 | |
A man who likes detail, then? | 0:42:01 | 0:42:03 | |
-Oh. -100%. -It became very clear. | 0:42:03 | 0:42:05 | |
The problem is, he is so slow. | 0:42:05 | 0:42:09 | |
And he is just not getting worried about the time factor. | 0:42:09 | 0:42:14 | |
Guys, can you clean the floor | 0:42:21 | 0:42:24 | |
so I can put rice paper all over it, please? | 0:42:24 | 0:42:28 | |
Really would be grateful. | 0:42:28 | 0:42:30 | |
With time running out, | 0:42:30 | 0:42:31 | |
Nicholas still has his rice-paper screen to make. | 0:42:31 | 0:42:34 | |
We're very narrow. | 0:42:34 | 0:42:36 | |
So I'm just praying. | 0:42:36 | 0:42:40 | |
A very tight margin. | 0:42:40 | 0:42:44 | |
Oh, no. | 0:42:45 | 0:42:47 | |
Are you ready for a full erection? | 0:42:47 | 0:42:49 | |
-I'm ready for it. -OK. | 0:42:49 | 0:42:51 | |
Well, I'm coming up. | 0:42:53 | 0:42:55 | |
So, how's Nick's Japanese room coming along? | 0:42:55 | 0:42:57 | |
He's a theatre guy. And he really has turned it into a production. | 0:42:57 | 0:43:01 | |
-Shoji screens. -Is it the full Mikado? | 0:43:01 | 0:43:04 | |
-Yes, it's a full Mikado. -100%. | 0:43:04 | 0:43:05 | |
We sort of loved the idea of seeing it, | 0:43:05 | 0:43:07 | |
but somebody's got to live with it. | 0:43:07 | 0:43:09 | |
Anna adds her final flourishes, | 0:43:13 | 0:43:16 | |
from floral cushions... | 0:43:16 | 0:43:18 | |
Butterflies facing that way. | 0:43:18 | 0:43:19 | |
..to her coffee table and birdcage lampshade. | 0:43:19 | 0:43:23 | |
I'm feeling really panicked, | 0:43:23 | 0:43:24 | |
because I want to get this last bird on here. | 0:43:24 | 0:43:28 | |
Her £1,000 budget is spent. | 0:43:28 | 0:43:30 | |
-If you could get this up for me, that would be amazing. -OK. | 0:43:30 | 0:43:33 | |
Anna's 48 hours are now up. | 0:43:33 | 0:43:36 | |
We're done. | 0:43:36 | 0:43:37 | |
We managed to get most things done | 0:43:38 | 0:43:40 | |
and the room just looks absolutely fabulous. | 0:43:40 | 0:43:43 | |
I'm really, really pleased. | 0:43:43 | 0:43:45 | |
Anna's brief was to create a grey and green bachelor pad | 0:43:47 | 0:43:50 | |
with a dining area. | 0:43:50 | 0:43:51 | |
48 hours ago, the room was basic with very little decoration. | 0:43:51 | 0:43:56 | |
Now it's got a contemporary feel. | 0:43:58 | 0:44:01 | |
Anna's muted grey scheme is reflected in her feature wallpaper. | 0:44:01 | 0:44:05 | |
And is complemented with bursts of greens. | 0:44:05 | 0:44:08 | |
Her spatial planning has allowed her to add a place for Joseph to eat | 0:44:08 | 0:44:12 | |
and a cocktail bar for entertaining. | 0:44:12 | 0:44:14 | |
Finally, Anna's signature craft touches. | 0:44:14 | 0:44:17 | |
Her handmade cushions, butterfly coffee table | 0:44:17 | 0:44:21 | |
and birdcage light add a natural twist to her scheme. | 0:44:21 | 0:44:24 | |
Wow. The paint colour looks OK. | 0:44:33 | 0:44:36 | |
It does, actually, and it's dark enough to set this wallpaper off. | 0:44:36 | 0:44:40 | |
It works very well. I think, also, just looking at the dining table, | 0:44:40 | 0:44:44 | |
clever idea to use a small, round table | 0:44:44 | 0:44:47 | |
because it means she could squeeze it in. | 0:44:47 | 0:44:49 | |
And the bar in the corner works beautifully well, as well. | 0:44:49 | 0:44:52 | |
And, again, having it there stretches the eye. | 0:44:52 | 0:44:55 | |
Absolutely. I love that whole corner. | 0:44:55 | 0:44:57 | |
I think it works. It's very masculine with the bar. | 0:44:57 | 0:45:00 | |
Having said that, there are a lot of things that I'm not happy with. | 0:45:00 | 0:45:04 | |
I mean, I'm sort of speechless. | 0:45:06 | 0:45:09 | |
It's very feminine. | 0:45:09 | 0:45:11 | |
Kelly, she's glued decoupage butterflies on his coffee table. | 0:45:11 | 0:45:14 | |
I don't understand how that comes into the brief. | 0:45:14 | 0:45:18 | |
This... I mean, you know, I'm sorry, she's not thinking about him at all. | 0:45:18 | 0:45:23 | |
As a designer, she's got two things right. | 0:45:23 | 0:45:26 | |
On time and on budget. | 0:45:26 | 0:45:28 | |
But she's taken it too far. | 0:45:28 | 0:45:30 | |
She's not thought about her client and has given a young man | 0:45:30 | 0:45:34 | |
a very feminine room. | 0:45:34 | 0:45:35 | |
The homeowner's opinion will be taken into consideration by | 0:45:35 | 0:45:38 | |
the judges when they make their final decision. | 0:45:38 | 0:45:41 | |
It's a really good reflection of the mood board that I presented | 0:45:41 | 0:45:45 | |
to the homeowner, | 0:45:45 | 0:45:46 | |
so hopefully there are not too many surprises there for him. | 0:45:46 | 0:45:51 | |
Yeah, I'm sure he'll love it. | 0:45:51 | 0:45:52 | |
-Welcome to your bachelor pad. -Wow. | 0:45:55 | 0:45:58 | |
It's amazing. | 0:46:01 | 0:46:03 | |
I'm slightly lost for words, as well, actually, yeah, | 0:46:03 | 0:46:07 | |
not what I expected at all. | 0:46:07 | 0:46:09 | |
So, what do you make of the, shall we call them, quirky features? | 0:46:09 | 0:46:12 | |
We've got the table here. | 0:46:12 | 0:46:14 | |
It wouldn't necessarily be something that I'd choose myself, | 0:46:14 | 0:46:18 | |
but it's quite a nice touch and it adds some colour. | 0:46:18 | 0:46:21 | |
And then above it? You can't avoid it. | 0:46:21 | 0:46:23 | |
No, it's very different, but...I really like it. | 0:46:23 | 0:46:27 | |
Nicholas's deadline is drawing close. | 0:46:29 | 0:46:33 | |
The paint has dried so the curtain, at last, | 0:46:33 | 0:46:36 | |
can be lifted on his theatrical Japanese room. | 0:46:36 | 0:46:38 | |
Who untied these? | 0:46:38 | 0:46:40 | |
Nicholas's 48 hours are up. | 0:46:41 | 0:46:43 | |
Seeing the room | 0:46:45 | 0:46:47 | |
complete, as I envisaged it, | 0:46:47 | 0:46:51 | |
was good. | 0:46:51 | 0:46:53 | |
Nicholas's homeowner asked for a Zen Japanese space to retreat to | 0:46:53 | 0:46:57 | |
and use as a therapy room. | 0:46:57 | 0:46:59 | |
Before, the room's style was cosy cottage. | 0:47:00 | 0:47:03 | |
Now, it's a heavenly homage to the Far East. | 0:47:05 | 0:47:08 | |
Nicholas has used a serene sage green on the walls | 0:47:09 | 0:47:12 | |
and a peaceful pale blue in the alcoves. | 0:47:12 | 0:47:16 | |
The large television has been hidden behind a draped kimono. | 0:47:16 | 0:47:20 | |
And the handmade Shoji screen filters the light from the window. | 0:47:20 | 0:47:24 | |
Touches of the Orient complete the look | 0:47:24 | 0:47:27 | |
from tied cushions to a water feature. | 0:47:27 | 0:47:29 | |
Wow. | 0:47:40 | 0:47:42 | |
There's so much to take in. | 0:47:43 | 0:47:45 | |
The cleverest thing for me that he's done is the Shoji panel, | 0:47:45 | 0:47:48 | |
because that just screams Japan. | 0:47:48 | 0:47:50 | |
Wow, wow, wow. | 0:47:50 | 0:47:53 | |
This is just so clever, actually. | 0:47:53 | 0:47:55 | |
I love that, because it's going to work as a curtain over the window, | 0:47:55 | 0:48:00 | |
and that slides out the way. | 0:48:00 | 0:48:02 | |
I also love this little short kimono we have here hiding the TV. | 0:48:04 | 0:48:08 | |
I love this, because it's very graphic and it's very modern. | 0:48:08 | 0:48:11 | |
And at the same time, by having it on an angle | 0:48:11 | 0:48:14 | |
it stretches the eye. | 0:48:14 | 0:48:16 | |
I certainly feel incredibly relaxed in here. | 0:48:16 | 0:48:19 | |
The only thing I really don't understand, | 0:48:19 | 0:48:21 | |
and it is a bit Chinese takeaway, | 0:48:21 | 0:48:24 | |
is this thing in the corner. What is it for? | 0:48:24 | 0:48:26 | |
And that tie-back at the top, it's just one bit too many. | 0:48:26 | 0:48:30 | |
In terms of a negative for me, the cushions, the colour doesn't work. | 0:48:30 | 0:48:34 | |
-It's too bright. -And I think this is not necessary. | 0:48:34 | 0:48:37 | |
I think the simpler the better if it's Japanese in design. | 0:48:37 | 0:48:40 | |
The question remains, though, | 0:48:40 | 0:48:42 | |
will the homeowner feel that this Far East design has gone too far? | 0:48:42 | 0:48:47 | |
This encapsulates everything that the brief required. | 0:48:47 | 0:48:52 | |
I think Kelly will be pleased. | 0:48:53 | 0:48:55 | |
Right, come into your little patch of Tokyo in Saltaire. | 0:48:55 | 0:48:59 | |
Wow. | 0:48:59 | 0:49:01 | |
It's amazing. | 0:49:03 | 0:49:05 | |
It feels completely different. | 0:49:05 | 0:49:08 | |
It is literally like walking into a different house. | 0:49:08 | 0:49:11 | |
Even the cushions have been wrapped in the same way | 0:49:13 | 0:49:16 | |
that my dream board was. I love it. | 0:49:16 | 0:49:18 | |
You'll have to get busy with the Japanese tea serving. | 0:49:18 | 0:49:20 | |
-That's what I'm going to do this evening. -Put the kettle on. | 0:49:20 | 0:49:24 | |
I will. | 0:49:24 | 0:49:25 | |
Now time is running out fast for James, | 0:49:27 | 0:49:29 | |
but the list of jobs hasn't. | 0:49:29 | 0:49:31 | |
The shelves and skirting boards still need painting, | 0:49:32 | 0:49:34 | |
the front door needs to go on, and the copper feature, the curtains | 0:49:34 | 0:49:38 | |
and floating shelves all still need to go up. | 0:49:38 | 0:49:41 | |
But for James, his 48 hours have finally run out. | 0:49:51 | 0:49:55 | |
It's not finished. So... | 0:49:55 | 0:49:56 | |
Yeah. | 0:49:58 | 0:50:00 | |
I've done as much as I can do in the time. | 0:50:03 | 0:50:06 | |
Bit disappointed we didn't finish, but we'll see. | 0:50:06 | 0:50:09 | |
James's brief was to create a calming, Scandi-chic living room. | 0:50:11 | 0:50:16 | |
Before, the space felt cramped by cluttered shelving | 0:50:16 | 0:50:19 | |
and dominated by dark sofas. | 0:50:19 | 0:50:22 | |
Now it feels light, airy and spacious. | 0:50:22 | 0:50:26 | |
The white wood laminate floor reflects light | 0:50:26 | 0:50:29 | |
and James' unusual horizontal wallpaper adds texture and interest. | 0:50:29 | 0:50:33 | |
The new seating and re-upholstered armchair | 0:50:34 | 0:50:37 | |
give a sense of calm and comfort. | 0:50:37 | 0:50:38 | |
And, finally, James has added hints of rose pink | 0:50:41 | 0:50:43 | |
and copper to the accessories, | 0:50:43 | 0:50:46 | |
with plenty of new shelving and a hidden writing desk. | 0:50:46 | 0:50:49 | |
Wow. | 0:50:55 | 0:50:56 | |
Isn't it extraordinary, actually, how much bigger this feels | 0:50:57 | 0:51:01 | |
to some of the other cottages? | 0:51:01 | 0:51:03 | |
Well, it's because it's lighter, | 0:51:03 | 0:51:05 | |
and he's made cupboards that are quite tall. | 0:51:05 | 0:51:08 | |
But the MDF's not painted. | 0:51:08 | 0:51:09 | |
I know, there is a lot that is not finished. | 0:51:09 | 0:51:11 | |
Door's missing. | 0:51:11 | 0:51:13 | |
It's not finished. | 0:51:14 | 0:51:15 | |
I know. | 0:51:15 | 0:51:17 | |
The wallpaper that he's done low down, that's really interesting. | 0:51:17 | 0:51:21 | |
Colours look great. I love the chair. | 0:51:21 | 0:51:24 | |
James has had a lot of really cool ideas. | 0:51:24 | 0:51:28 | |
A normal cupboard, but if you lift it up, | 0:51:28 | 0:51:31 | |
pull out the hinge... | 0:51:31 | 0:51:33 | |
I've got it, yeah. | 0:51:33 | 0:51:36 | |
This is the sort of innovation that we want from the designers, | 0:51:36 | 0:51:39 | |
not just dressing the space, but making it useful and practical. | 0:51:39 | 0:51:43 | |
It's very, very clever. Because it's a small space. | 0:51:43 | 0:51:46 | |
-I know. -His vision, I think, has been quite good. | 0:51:46 | 0:51:50 | |
And I think that he has listened to the brief, | 0:51:50 | 0:51:52 | |
it's just that it's not finished. | 0:51:52 | 0:51:55 | |
Hopefully the homeowner will like it, | 0:51:56 | 0:51:57 | |
but I am a little bit disappointed that not everything was finished. | 0:51:57 | 0:52:00 | |
It would have been really cool if everything was completed. | 0:52:00 | 0:52:05 | |
But...hey ho. | 0:52:05 | 0:52:07 | |
Oh, my goodness. | 0:52:09 | 0:52:11 | |
-Wow. -Well, you wanted something light and bright and it is light. | 0:52:12 | 0:52:16 | |
Yeah, it's definitely light, and it's definitely bright. | 0:52:16 | 0:52:19 | |
My God, it's a massive difference. | 0:52:19 | 0:52:21 | |
It feels bigger, as well. | 0:52:21 | 0:52:22 | |
Obviously, the elephant in the room is that it's not finished. | 0:52:22 | 0:52:25 | |
Yes. It's a shame, | 0:52:25 | 0:52:27 | |
because, obviously, | 0:52:27 | 0:52:29 | |
from that angle it's beautiful. | 0:52:29 | 0:52:33 | |
But, yeah, it's just a shame, from a time management point of view, | 0:52:33 | 0:52:36 | |
that hasn't been done. | 0:52:36 | 0:52:38 | |
So, have the designers wowed the judges? | 0:52:38 | 0:52:42 | |
What did you think of Anna's room? | 0:52:42 | 0:52:44 | |
She was very good with her spatial planning, I thought. | 0:52:44 | 0:52:46 | |
Plus she got a dining table and a bar in there. | 0:52:46 | 0:52:50 | |
It did feel cosy. And she had created a home. | 0:52:50 | 0:52:53 | |
And that is a hard thing to do. | 0:52:53 | 0:52:54 | |
But I just felt it was so feminine. | 0:52:54 | 0:52:57 | |
But I want to know, how did he like it when he walked in? | 0:52:57 | 0:53:00 | |
Medium-loved it. You know, the fact that he had a coffee table | 0:53:00 | 0:53:03 | |
with butterflies and caterpillars on it, | 0:53:03 | 0:53:05 | |
he said he could learn to like it. | 0:53:05 | 0:53:07 | |
What about Nicholas's room? You were both a little bit worried that it | 0:53:07 | 0:53:10 | |
might be a bit themey. | 0:53:10 | 0:53:12 | |
There were elements of it that I thought were overdone and it wasn't | 0:53:12 | 0:53:15 | |
-balanced enough. -It was a contrast. | 0:53:15 | 0:53:16 | |
Some of it was superb, but some of it was edging on tacky. | 0:53:16 | 0:53:19 | |
But overall, the quality was very high. | 0:53:19 | 0:53:23 | |
So, did she love it? | 0:53:23 | 0:53:24 | |
Loved it. | 0:53:25 | 0:53:28 | |
James, did he deliver Scandi style? | 0:53:28 | 0:53:30 | |
I think James gave an incredible presentation. | 0:53:30 | 0:53:35 | |
But where he really fell down and disappointed | 0:53:35 | 0:53:37 | |
was actually finishing the project. | 0:53:37 | 0:53:39 | |
What I will say is he was inventive. | 0:53:39 | 0:53:42 | |
And I thought that he made the room seem bigger than any of the other | 0:53:42 | 0:53:45 | |
-cottages that I'd been in. -Go on, what did she think? | 0:53:45 | 0:53:48 | |
She liked it, though she was obviously disappointed that it | 0:53:48 | 0:53:51 | |
wasn't finished, very disappointed it wasn't finished. | 0:53:51 | 0:53:53 | |
So, three really very different, | 0:53:53 | 0:53:55 | |
very imaginative schemes in three very small rooms. | 0:53:55 | 0:53:58 | |
Now all the designers can do is wait for the judges to decide who will be | 0:54:02 | 0:54:06 | |
leaving the competition. | 0:54:06 | 0:54:08 | |
I am quite nervous about what the judges will say. | 0:54:08 | 0:54:10 | |
I'm hoping they'll love it. | 0:54:10 | 0:54:12 | |
-NICHOLAS: -After all this work... | 0:54:12 | 0:54:14 | |
I really don't want to fail. | 0:54:14 | 0:54:19 | |
-JAMES: -Trying not to think about the outcome. | 0:54:19 | 0:54:21 | |
I wouldn't want to hazard a guess. | 0:54:21 | 0:54:23 | |
We'll just see what happens. | 0:54:23 | 0:54:24 | |
Sir Titus Salt built Saltaire | 0:54:28 | 0:54:30 | |
to improve the conditions for his workers. | 0:54:30 | 0:54:32 | |
I like to think you three have captured | 0:54:32 | 0:54:34 | |
just a little bit of his spirit. | 0:54:34 | 0:54:35 | |
Anna, I think you're brilliant at spatial planning. | 0:54:35 | 0:54:38 | |
I bet you didn't expect me to say that, actually, | 0:54:38 | 0:54:40 | |
but you absolutely are. You made that room work very well. | 0:54:40 | 0:54:44 | |
-Very impressed. -James... | 0:54:44 | 0:54:47 | |
your presentation was extraordinary. | 0:54:47 | 0:54:50 | |
Your detail in the presentation was unbelievable. | 0:54:50 | 0:54:54 | |
Nicholas, you're extremely organised, but you know that, | 0:54:54 | 0:54:58 | |
but, actually, as a result, | 0:54:58 | 0:55:00 | |
you are able to make very elegant and cohesive schemes. | 0:55:00 | 0:55:05 | |
Only two designers can go through to the next round. | 0:55:07 | 0:55:11 | |
And the first designer going through is... | 0:55:14 | 0:55:18 | |
Nicholas. | 0:55:21 | 0:55:23 | |
The second designer going through... | 0:55:29 | 0:55:32 | |
..is James. | 0:55:35 | 0:55:37 | |
So, Anna, I'm afraid we won't be seeing you in the next round. | 0:55:37 | 0:55:42 | |
I'm gutted to be leaving the competition. | 0:55:44 | 0:55:46 | |
I really had not hoped to go out in the first stage. | 0:55:46 | 0:55:52 | |
And I'd like you to know that I've really, really loved it. | 0:55:54 | 0:55:57 | |
It's been great. | 0:55:57 | 0:55:59 | |
-Hello. -Hello. -How are you? -I'm all right, do you like it? | 0:55:59 | 0:56:02 | |
I do, it's great. Thank you so much. | 0:56:02 | 0:56:05 | |
I'm so glad that you like it. | 0:56:05 | 0:56:08 | |
-DANIEL: -Anna's an extremely able designer. | 0:56:08 | 0:56:11 | |
And not only that, she got it on time and she got it on budget. | 0:56:11 | 0:56:14 | |
And it looks great. | 0:56:14 | 0:56:16 | |
But she was creating something that I've seen before. | 0:56:16 | 0:56:21 | |
And she was also designing for herself. | 0:56:21 | 0:56:23 | |
It was her sense of style. | 0:56:23 | 0:56:26 | |
Well done. | 0:56:26 | 0:56:27 | |
-JAMES: -'It's a mixed bag of emotions' | 0:56:27 | 0:56:29 | |
right now. There's a kind of | 0:56:29 | 0:56:32 | |
a disbelief and shock. | 0:56:32 | 0:56:34 | |
'I really did think I was going home.' | 0:56:34 | 0:56:37 | |
I didn't think I would get through because we didn't finish the room, | 0:56:37 | 0:56:40 | |
but, hey, here I am, and I intend to fight another day. | 0:56:40 | 0:56:43 | |
People at home might think that because he failed to deliver on time | 0:56:43 | 0:56:47 | |
that we've made the wrong decision. | 0:56:47 | 0:56:49 | |
But I disagree, because | 0:56:49 | 0:56:50 | |
I think somebody who has great design ability, it's really rare. | 0:56:50 | 0:56:55 | |
And, for me, you can't learn that. | 0:56:55 | 0:56:57 | |
You can learn to be on time. | 0:56:57 | 0:57:00 | |
Hello. | 0:57:00 | 0:57:02 | |
-Do you like it? -Yeah, I love it, I do, I really love it. | 0:57:02 | 0:57:05 | |
Shame... Shame it isn't finished. | 0:57:05 | 0:57:07 | |
-Yeah. I know, I know, I know. -But, yeah, no, it looks lovely. | 0:57:07 | 0:57:10 | |
Really lovely. | 0:57:10 | 0:57:11 | |
Bit shellshocked about the whole thing. | 0:57:13 | 0:57:16 | |
It's been one hell of a day. | 0:57:16 | 0:57:19 | |
'I think going through probably knocked me speechless.' | 0:57:19 | 0:57:24 | |
I was thrilled. | 0:57:24 | 0:57:26 | |
Was it everything you expected? | 0:57:27 | 0:57:29 | |
Everything and more. | 0:57:29 | 0:57:30 | |
I just love it so much. | 0:57:30 | 0:57:32 | |
Nicholas delivers in budget | 0:57:32 | 0:57:34 | |
and he delivered an extraordinary design concept. | 0:57:34 | 0:57:37 | |
But what I hope going forward is that Nicholas can show that he's | 0:57:37 | 0:57:40 | |
not only capable of doing a theme type of design, | 0:57:40 | 0:57:44 | |
because that is not always reality. | 0:57:44 | 0:57:47 | |
Sir Titus Salt cemented his legacy when he built Saltaire. | 0:57:50 | 0:57:53 | |
And in taking on these small living spaces and creating something really | 0:57:53 | 0:57:57 | |
special for the modern-day residents, | 0:57:57 | 0:57:59 | |
our designers have left behind their own small legacy | 0:57:59 | 0:58:02 | |
in this patch of West Yorkshire. | 0:58:02 | 0:58:04 | |
Next time, guest bedrooms in Gothic revival cottages. | 0:58:06 | 0:58:09 | |
-Wow. -What a serene space. | 0:58:09 | 0:58:13 | |
But reviving these bedchambers is beset with difficulties. | 0:58:13 | 0:58:17 | |
Ow! | 0:58:17 | 0:58:18 | |
I haven't actually done this before. | 0:58:18 | 0:58:20 | |
It sort of looks like a rather grand cat litter to me. | 0:58:20 | 0:58:23 |