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Here in the UK, we're 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 | 0:00:21 | |
So we've gathered together some of the UK's most talented amateur | 0:00:23 | 0:00:26 | |
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 | 0:00:31 | |
That looks great. | 0:00:31 | 0:00:33 | |
Argh! | 0:00:33 | 0:00:35 | |
Work quicker, come on! | 0:00:35 | 0:00:38 | |
In our first heat, three designers will transform a room each. | 0:00:39 | 0:00:43 | |
But only two will make it through to the next round. | 0:00:43 | 0:00:47 | |
I'm feeling a little bit nervous now. | 0:00:47 | 0:00:49 | |
Putting them through their paces and scrutinising | 0:00:49 | 0:00:52 | |
their every move are judges Daniel Hopwood, designer, | 0:00:52 | 0:00:55 | |
and a director 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 | 0:01:02 | |
so really going to push them to the limit. | 0:01:02 | 0:01:04 | |
..and internationally renowned interior designer Kelly Hoppen. | 0:01:04 | 0:01:08 | |
As a judge in this competition, I want to see perfection. | 0:01:08 | 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 | 0:01:13 | 0:01:17 | |
to be crowned winner of The Great Interior Design Challenge. | 0:01:17 | 0:01:20 | |
We're in Holly Village, | 0:01:34 | 0:01:36 | |
a unique collection of Grade II star listed properties in North London. | 0:01:36 | 0:01:39 | |
This time our three amateur interior designers have been given the task | 0:01:39 | 0:01:43 | |
of transforming a bedroom | 0:01:43 | 0:01:44 | |
each in these imposing Victorian gothic cottages. | 0:01:44 | 0:01:47 | |
They will have just 48 hours... | 0:01:52 | 0:01:54 | |
-Push! -I'm going to have fun with it. | 0:01:54 | 0:01:57 | |
..£1,000... | 0:01:57 | 0:01:59 | |
Oh, that's lovely. Oh! | 0:01:59 | 0:02:01 | |
..and a small team, including a builder and a decorator. | 0:02:01 | 0:02:04 | |
-Could we glue it? -No. | 0:02:04 | 0:02:06 | |
To complete their transformations... | 0:02:06 | 0:02:08 | |
-Ow! -Oh, shouldn't have done that. | 0:02:08 | 0:02:11 | |
I'm in my element. | 0:02:11 | 0:02:13 | |
I've already hit a light. | 0:02:13 | 0:02:15 | |
-And a switch! -Done. | 0:02:15 | 0:02:17 | |
..they'll need to impress... | 0:02:17 | 0:02:19 | |
I think I've done the best that I could do. | 0:02:19 | 0:02:21 | |
So hopefully it's enough. | 0:02:21 | 0:02:23 | |
I'm feeling a little bit nervous now, but it's all good. | 0:02:23 | 0:02:25 | |
-It's all good. -I've given it my best shot and it's a waiting game now. | 0:02:25 | 0:02:30 | |
..as one of them will be going home at the end of this round. | 0:02:30 | 0:02:33 | |
Holly Village was built around 1865 by Baroness Angela Burdett-Coutts | 0:02:46 | 0:02:51 | |
who, in her early 20s, inherited a vast fortune from her late | 0:02:51 | 0:02:55 | |
grandfather - the founder of Coutts Bank. | 0:02:55 | 0:02:57 | |
Included in the legacy was the private Holly Lodge Estate | 0:02:57 | 0:03:00 | |
in Highgate, five miles outside the City of London. | 0:03:00 | 0:03:04 | |
12 homes are grouped around a central, communal garden | 0:03:06 | 0:03:09 | |
with a wrought iron gate house at the entrance. | 0:03:09 | 0:03:13 | |
And no expense was spared in the construction | 0:03:13 | 0:03:15 | |
of this Gothic fantasy village. | 0:03:15 | 0:03:17 | |
Italian craftsmen carved materials like Portland stone and teak - | 0:03:17 | 0:03:22 | |
highly prized commodities of the time. | 0:03:22 | 0:03:25 | |
Fast forward 150 years and it's the turn of our designers to make an | 0:03:28 | 0:03:31 | |
impression on these elegant buildings. | 0:03:31 | 0:03:34 | |
Our first designer is 31-year-old Richard, | 0:03:36 | 0:03:39 | |
an artist from Kirklees in West Yorkshire. | 0:03:39 | 0:03:42 | |
My style is mainly influenced by my love of imperfection. | 0:03:42 | 0:03:46 | |
It's raw, a bit industrial - | 0:03:46 | 0:03:49 | |
graphics and geometric shapes, | 0:03:49 | 0:03:52 | |
eclectic things that don't really fit into any sort of style, | 0:03:52 | 0:03:55 | |
other than my style, I think. | 0:03:55 | 0:03:57 | |
Although the designers have had their briefs for just over a week, | 0:04:04 | 0:04:08 | |
this'll be the first time they'll be seeing the rooms in person. | 0:04:08 | 0:04:12 | |
Richard will be using his raw talents to makeover this rather | 0:04:12 | 0:04:15 | |
flamboyant guest bedroom for homeowner Danielle. | 0:04:15 | 0:04:19 | |
It's bright and gold, but it needs calming down and sophisticating. | 0:04:19 | 0:04:23 | |
Danielle's brief is to transform this room from gaudy Gothic | 0:04:23 | 0:04:27 | |
to global hotel room chic. | 0:04:27 | 0:04:29 | |
I'd like the room to reflect the kind of rooms that we stayed in when | 0:04:29 | 0:04:33 | |
we'd go on our travels. We're keen scuba divers and we have stayed in | 0:04:33 | 0:04:37 | |
some fantastic hotels in places like Bali and Zanzibar. | 0:04:37 | 0:04:42 | |
I think it'll be all right, size-wise. | 0:04:42 | 0:04:44 | |
The Grade II listing means it's important that Richard respects the room's historical features. | 0:04:44 | 0:04:49 | |
But the homeowner is also keen for some fresh additions. | 0:04:49 | 0:04:53 | |
I would very much look forward to having a new bed made. | 0:04:53 | 0:04:56 | |
Do something fantastic with the headboard. | 0:04:56 | 0:04:58 | |
Judging his presentation will be industry experts Kelly Hoppen | 0:05:04 | 0:05:07 | |
and Daniel Hopwood. | 0:05:07 | 0:05:09 | |
They'll be assessing how well he puts forward his design, | 0:05:09 | 0:05:13 | |
and how adaptable he is to his client's needs. | 0:05:13 | 0:05:16 | |
So this is the mood board that I've come up with. | 0:05:18 | 0:05:21 | |
I've taken your theme of global hotel chic. | 0:05:21 | 0:05:25 | |
And the walls are going to be this kind of off-white. | 0:05:25 | 0:05:29 | |
And then in a lot of the Balinese luxury hotels, | 0:05:29 | 0:05:33 | |
there's a lot of white fabric kind of draping over the beds and things. | 0:05:33 | 0:05:36 | |
It will almost give the illusion of a four-poster and it will be quite | 0:05:36 | 0:05:39 | |
-luxurious, hopefully. -Not keen on that at all. | 0:05:39 | 0:05:42 | |
-OK, all right. -Can we possibly knock that out? -Don't need it in. | 0:05:42 | 0:05:46 | |
Yeah. OK. | 0:05:46 | 0:05:47 | |
Richard plans to add original artwork for a splash of colour, and, | 0:05:47 | 0:05:50 | |
controversially, he wants to give | 0:05:50 | 0:05:52 | |
the 150-year-old wardrobes a modern makeover. | 0:05:52 | 0:05:56 | |
I thought I would cover the wardrobe with a floor to ceiling | 0:05:56 | 0:06:01 | |
carcass and it will be painted black. | 0:06:01 | 0:06:04 | |
It's one of my favourite materials. | 0:06:04 | 0:06:06 | |
It's OSB, so it's just like a chipboard. | 0:06:06 | 0:06:08 | |
-Hmm. -But I love the texture it's got. | 0:06:08 | 0:06:11 | |
I have a concern because they are original. | 0:06:11 | 0:06:13 | |
How are you going to attach that without damaging the woodwork? | 0:06:13 | 0:06:16 | |
That's a good question. | 0:06:16 | 0:06:18 | |
Um... | 0:06:18 | 0:06:19 | |
I was going to talk with the builders and which... | 0:06:19 | 0:06:22 | |
-what's the best way forward for it. -Right. | 0:06:22 | 0:06:25 | |
The bed is the most prominent piece. | 0:06:25 | 0:06:27 | |
And what he wanted to do was have this sort of gauze-like fabric, | 0:06:27 | 0:06:30 | |
which she didn't like. | 0:06:30 | 0:06:32 | |
So it will be interesting to see now how he interprets what she wants | 0:06:32 | 0:06:35 | |
at the back of the bed to give it some texture and some depth. | 0:06:35 | 0:06:39 | |
I'm still sad about losing that voile, because it | 0:06:39 | 0:06:41 | |
really softened that room and made it feel a little bit more feminine. | 0:06:41 | 0:06:45 | |
So, the whole room's going to be painted white. | 0:06:48 | 0:06:51 | |
-OK, no problem. -That wall, grey. | 0:06:51 | 0:06:54 | |
First to start, Richard has just 48 hours. | 0:06:54 | 0:06:57 | |
So his priority is his plan to modernise the wardrobe doors. | 0:06:57 | 0:07:00 | |
I was wanting to build some covers for the wardrobe doors here. | 0:07:00 | 0:07:05 | |
-OK. -The homeowner's a bit concerned about having to screw anything in. | 0:07:05 | 0:07:09 | |
-Yeah. -But I was wanting to have it just hiding it, | 0:07:09 | 0:07:12 | |
rather than being stuck to it. | 0:07:12 | 0:07:15 | |
But we can fix into the plaster work, presumably, | 0:07:15 | 0:07:17 | |
rather than the doorframe? | 0:07:17 | 0:07:19 | |
Excellent. | 0:07:19 | 0:07:20 | |
My concern is that he's got to remember that he's in a very charming | 0:07:20 | 0:07:24 | |
Gothic revival space with some original features in the room | 0:07:24 | 0:07:28 | |
and he seems to be blanking them out. | 0:07:28 | 0:07:30 | |
So actually we could end up with what is just, I think, a stage set. | 0:07:30 | 0:07:34 | |
-Take the bed apart. -Yeah. -Get that out of the room. | 0:07:36 | 0:07:40 | |
I've already hit a light. And a switch! | 0:07:42 | 0:07:46 | |
The next designer is Shaida, | 0:07:50 | 0:07:52 | |
a 37-year-old freelance make-up artist from Northampton. | 0:07:52 | 0:07:56 | |
I've always had this love for the Moroccan prints, and the themes, | 0:07:56 | 0:08:01 | |
and the colours, and everything. | 0:08:01 | 0:08:03 | |
At the same time, I love natural textures. | 0:08:03 | 0:08:07 | |
Stripping things back to their original form. | 0:08:07 | 0:08:09 | |
British country cottage. | 0:08:09 | 0:08:11 | |
I believe my style is me. | 0:08:11 | 0:08:13 | |
My past, my experiences, and my beliefs. | 0:08:13 | 0:08:17 | |
Shaida will be working with homeowner Kathleen, | 0:08:22 | 0:08:24 | |
a managing director from America. | 0:08:24 | 0:08:26 | |
My vision for the room would be comfortable, cosy, | 0:08:26 | 0:08:30 | |
and I would like clean lines cos the room's tiny. | 0:08:30 | 0:08:34 | |
Hmm. | 0:08:34 | 0:08:36 | |
Interesting. | 0:08:36 | 0:08:38 | |
So as not to overwhelm her compact spare bedroom, | 0:08:38 | 0:08:41 | |
Kathleen wants just a hint of the exotic. | 0:08:41 | 0:08:44 | |
I also think that a certain Moroccan style | 0:08:44 | 0:08:47 | |
actually integrates quite well with the Gothic revival. | 0:08:47 | 0:08:52 | |
The sofa's going! | 0:08:52 | 0:08:53 | |
When I see the mood boards for the first time, I will be extremely honest. | 0:08:54 | 0:08:59 | |
I'll either go, "Boom, boom, boom!" | 0:08:59 | 0:09:01 | |
Or, "Pfft!" | 0:09:01 | 0:09:02 | |
Fortunately, when it comes to Moorish style, | 0:09:02 | 0:09:06 | |
both designer and homeowner are on the same page. | 0:09:06 | 0:09:09 | |
You mentioned that you like this kind of subtle Gothic with a lot of | 0:09:09 | 0:09:13 | |
that kind of Moroccan feel as well. | 0:09:13 | 0:09:15 | |
-Mm-hmm. -I'd like to say that I absolutely loved your brief. | 0:09:15 | 0:09:18 | |
-Thank you. -Really happy, really happy to be doing this for you. | 0:09:18 | 0:09:22 | |
So I'm creating a lot of ambient lighting. | 0:09:22 | 0:09:24 | |
-I love it. -So a lot of candles, a lot of warmth. | 0:09:24 | 0:09:27 | |
For your windows, I've decided to create screens | 0:09:27 | 0:09:29 | |
made out of MDF with the Moorish kind of patterns. | 0:09:29 | 0:09:32 | |
-Oh, wow. -And then your wall colour for two of the walls is | 0:09:32 | 0:09:37 | |
going to be this deep olive. | 0:09:37 | 0:09:39 | |
As well as designing a unique Moroccan themed desk, | 0:09:39 | 0:09:43 | |
Shaida also wants to add a few frilly, romantic touches | 0:09:43 | 0:09:46 | |
to this Gothic room. | 0:09:46 | 0:09:48 | |
I'm also going to create a bed throw for you with lace | 0:09:48 | 0:09:52 | |
-and this fabric here. -Too much lace. | 0:09:52 | 0:09:54 | |
-I'm not a very girlie-girlie. -Yeah? -I think maybe if we can... | 0:09:54 | 0:09:57 | |
-Yeah, limit that? -I think that might be an idea. | 0:09:57 | 0:09:59 | |
-Lovely, lovely. -But I think you're right on course. | 0:09:59 | 0:10:01 | |
-This has been too easy, hasn't it? -Yeah! -Have we met before?! | 0:10:01 | 0:10:05 | |
Who'd have guessed that decision was pulled out of a hat | 0:10:05 | 0:10:08 | |
to put those two together? | 0:10:08 | 0:10:10 | |
-Yeah. -And it's a match made in heaven. | 0:10:10 | 0:10:12 | |
And Shaida loves Moorish design - | 0:10:12 | 0:10:14 | |
it's her thing - and the homeowner does, too. | 0:10:14 | 0:10:17 | |
The only thing that put me off was the black lace. | 0:10:17 | 0:10:20 | |
I thought that was looking at the Gothic too much and it just, for me, | 0:10:20 | 0:10:24 | |
doesn't go with this Moorish sort of East meets West kind of look. | 0:10:24 | 0:10:28 | |
Myself and yourself are going to remove everything from the room. | 0:10:28 | 0:10:32 | |
While we're doing that, you're going to crack on with the desk. | 0:10:32 | 0:10:36 | |
Shaida's 48 hours have begun | 0:10:36 | 0:10:39 | |
and, as she'll need to squeeze a romantic bed and a Moroccan desk | 0:10:39 | 0:10:43 | |
into this Gothic room, it's out with all the old furniture. | 0:10:43 | 0:10:46 | |
Push. | 0:10:46 | 0:10:47 | |
Oh, my goodness me. | 0:10:47 | 0:10:50 | |
Because we're going to have to stand it on top of you. | 0:10:50 | 0:10:53 | |
I think now we might need a man. | 0:10:53 | 0:10:56 | |
I think we need a man. | 0:10:56 | 0:10:57 | |
The last designer is 57-year-old Susanne, | 0:11:00 | 0:11:03 | |
a solicitor from Loch Lomond in Scotland. | 0:11:03 | 0:11:06 | |
I like clashing colours. | 0:11:06 | 0:11:09 | |
I do not follow trends. | 0:11:10 | 0:11:12 | |
Mix up your patterns, go for it. | 0:11:12 | 0:11:14 | |
Don't hang back with pattern. | 0:11:14 | 0:11:16 | |
You need as much as possible. | 0:11:16 | 0:11:18 | |
I've got a strong connection with the countryside. | 0:11:19 | 0:11:22 | |
I like to bring colours out from that, | 0:11:22 | 0:11:25 | |
particularly Scottish country style - that's my favourite. | 0:11:25 | 0:11:29 | |
Susanne is working for retired architect Colin and his wife Diana. | 0:11:32 | 0:11:36 | |
Their spare bedroom is in desperate need of design attention. | 0:11:36 | 0:11:40 | |
It's a small room. | 0:11:40 | 0:11:41 | |
It needs to be kept simple. | 0:11:41 | 0:11:43 | |
Always different when you see it for real. | 0:11:43 | 0:11:46 | |
I would like it to be calm, natural and airy. | 0:11:46 | 0:11:50 | |
A peaceful, muted, Zen-like room - | 0:11:50 | 0:11:52 | |
it's a testing brief for pattern-loving Susanne. | 0:11:52 | 0:11:55 | |
I think it should have a positive character, | 0:11:55 | 0:11:58 | |
but it's low key positiveness, if I can put it that way. | 0:11:58 | 0:12:02 | |
Even more challenging will be incorporating the homeowners' | 0:12:02 | 0:12:05 | |
rather bulky furniture and technology. | 0:12:05 | 0:12:08 | |
One of the key things is to accommodate the projector and a screen. | 0:12:08 | 0:12:12 | |
Quite a bit of work there. | 0:12:12 | 0:12:14 | |
This is your mood board - | 0:12:14 | 0:12:17 | |
a Zen, calm, serene space, | 0:12:17 | 0:12:20 | |
somewhere that not only do you sleep in at night, | 0:12:20 | 0:12:22 | |
but you are also able to use in the daytime. | 0:12:22 | 0:12:26 | |
I'm retaining your furniture, as you wish, | 0:12:26 | 0:12:30 | |
but I wish to bring in a new bed for you, which is a daybed. | 0:12:30 | 0:12:35 | |
-Right. -The palate is very soft blues and greens | 0:12:35 | 0:12:39 | |
and, to complement that, your ceiling will be cream. | 0:12:39 | 0:12:42 | |
The fabrics I'm using, I'm using a paisley fabric, | 0:12:42 | 0:12:45 | |
-gives it a bit of a zing. -Hmm. | 0:12:45 | 0:12:47 | |
I don't really want paisley pattern. | 0:12:47 | 0:12:50 | |
If you've got any alternatives, | 0:12:50 | 0:12:52 | |
I would be very interested in seeing them. | 0:12:52 | 0:12:54 | |
I would be tempted to push you towards accepting that fabric | 0:12:54 | 0:12:58 | |
-because I think, once it's in place, you will enjoy it. -OK. | 0:12:58 | 0:13:01 | |
Susanne also plans to add nature motifs and a shelf for Colin's | 0:13:01 | 0:13:05 | |
projector, but her biggest addition will be a Japanese Zen sand garden | 0:13:05 | 0:13:10 | |
in the fireplace hearth. | 0:13:10 | 0:13:12 | |
So you'll be able to practise the art of meditation and such. | 0:13:12 | 0:13:16 | |
Well, I find myself struggling to criticise what you're offering me. | 0:13:16 | 0:13:19 | |
-Oh, how lovely! -Go to it. -Go to it, go forwards! | 0:13:19 | 0:13:23 | |
There was a lot of energy on that board, actually, | 0:13:23 | 0:13:26 | |
and I would think that's going to reflect in a lot of passion | 0:13:26 | 0:13:29 | |
in the interior design. | 0:13:29 | 0:13:30 | |
And Susanne giving him a box of sand because it's some sort of | 0:13:30 | 0:13:34 | |
Zen-inspired thing that she wants to do. | 0:13:34 | 0:13:36 | |
Well, that would be about creating sand in a shallow tray, | 0:13:36 | 0:13:40 | |
where you then create this design | 0:13:40 | 0:13:43 | |
and possibly put a stone ball or a couple of stones, | 0:13:43 | 0:13:46 | |
that's very kind of Zen, Japanese, | 0:13:46 | 0:13:48 | |
but how does that relate to everything else that's going on in the room? | 0:13:48 | 0:13:52 | |
It will be really interesting to see how it all pans out. | 0:13:52 | 0:13:57 | |
The clock has started on Susanne's 48 hours and the clearout is underway. | 0:13:59 | 0:14:05 | |
Oh, that's lovely. | 0:14:05 | 0:14:07 | |
Including temporarily moving the homeowners' bulky arts | 0:14:07 | 0:14:10 | |
and crafts furniture. | 0:14:10 | 0:14:12 | |
But Susanne's top priority is working out where to fit the shelf | 0:14:12 | 0:14:15 | |
for Colin's beloved projector. | 0:14:15 | 0:14:18 | |
-It's basically attached to the wall. -Right. | 0:14:18 | 0:14:21 | |
-And it's a sort of C shape. -Cool. | 0:14:21 | 0:14:23 | |
As each designer faces the obstacles in their individual rooms, | 0:14:31 | 0:14:35 | |
it's easy to forget that these houses | 0:14:35 | 0:14:37 | |
have some individual faces of their own. | 0:14:37 | 0:14:40 | |
Think of Gothic architecture and gargoyles spring to mind - | 0:14:40 | 0:14:44 | |
you'll find them all over Holly Village. | 0:14:44 | 0:14:46 | |
Carved from stone, | 0:14:49 | 0:14:51 | |
gargoyles were used to funnel rainwater away to prevent erosion | 0:14:51 | 0:14:54 | |
to mortar and masonry walls. | 0:14:54 | 0:14:56 | |
Gargoyles were designed to ward off evil spirits and harm, | 0:14:58 | 0:15:01 | |
and protect those that they guarded, | 0:15:01 | 0:15:03 | |
so they tend to be pretty scary. | 0:15:03 | 0:15:05 | |
These, though, at Holly Village - they're quite a friendly bunch. | 0:15:05 | 0:15:08 | |
Another astonishing feature of the houses in Holly Village is the use | 0:15:09 | 0:15:13 | |
of William De Morgan tiles on the exterior walls. | 0:15:13 | 0:15:16 | |
De Morgan was a member of the influential arts and crafts | 0:15:16 | 0:15:19 | |
movement and head of tile production for William Morris. | 0:15:19 | 0:15:22 | |
They've even found discarded De Morgan tiles buried in the back garden, | 0:15:22 | 0:15:26 | |
stamped with the De Morgan seal. | 0:15:26 | 0:15:28 | |
As part of her brief, | 0:15:35 | 0:15:37 | |
Shaida's homeowner asked her to integrate some of these broken tiles | 0:15:37 | 0:15:41 | |
into her scheme. | 0:15:41 | 0:15:42 | |
The tiles, yeah, just there. This is this way. | 0:15:42 | 0:15:45 | |
These tiles are from the grounds of this house. | 0:15:45 | 0:15:48 | |
The homeowner found them and I've decided to incorporate them in a | 0:15:48 | 0:15:52 | |
very creative way, so I'm actually putting them onto bedside shelves. | 0:15:52 | 0:15:57 | |
In fact, Holly Village is crammed full of original features. | 0:16:01 | 0:16:06 | |
Here we go. | 0:16:06 | 0:16:07 | |
The floorboards in Richard's room have also remained untouched | 0:16:07 | 0:16:11 | |
for many years. | 0:16:11 | 0:16:12 | |
We've got old pine boards. | 0:16:12 | 0:16:15 | |
Unfortunately, the listed status of the property means they can't be | 0:16:15 | 0:16:19 | |
sanded without prior approval. | 0:16:19 | 0:16:21 | |
What's your thoughts on them? | 0:16:23 | 0:16:25 | |
I think... | 0:16:25 | 0:16:27 | |
We've got a massive rug, so, I mean, | 0:16:27 | 0:16:28 | |
that bit there's going to be covered up. | 0:16:28 | 0:16:30 | |
I mean, all the Balinese wood is kind of reclaimed and all aged and stuff. | 0:16:30 | 0:16:35 | |
I quite fancy the rough look anyway. | 0:16:35 | 0:16:38 | |
Happy to go with the raw look, | 0:16:41 | 0:16:42 | |
Richard moves on to his next challenge - | 0:16:42 | 0:16:45 | |
building his Balinese bed. | 0:16:45 | 0:16:47 | |
I'm trying to build the bed so that I can paint it, | 0:16:47 | 0:16:51 | |
but I've got the wrong bits in the box. | 0:16:51 | 0:16:54 | |
-You're joking? -No. | 0:16:54 | 0:16:56 | |
I've got two rights. | 0:16:56 | 0:16:58 | |
-Oh, yeah. -When I should have a left and a right. | 0:16:58 | 0:17:00 | |
Left and a right, yeah. And you've got to get it painted, haven't you? | 0:17:00 | 0:17:03 | |
-Yeah. -With his schedule dependent on getting his bed assembled and | 0:17:03 | 0:17:06 | |
painted by the end of the day, it's a delay Richard could do without. | 0:17:06 | 0:17:10 | |
Across the communal gardens, | 0:17:13 | 0:17:15 | |
Susanne is channelling the surrounding nature for her Zen room. | 0:17:15 | 0:17:18 | |
I'm taking a basic blind and, to enhance it, | 0:17:18 | 0:17:22 | |
I'm using fabric paint on a stamp, | 0:17:22 | 0:17:26 | |
which is a very quick way of putting paint onto fabric. | 0:17:26 | 0:17:30 | |
Stencilling can be fiddly and not always accurate, | 0:17:30 | 0:17:33 | |
and this actually comes out really well, so I'm in my element. | 0:17:33 | 0:17:37 | |
At home in Loch Lomond, | 0:17:39 | 0:17:41 | |
Susanne's textile trickery can be found just about everywhere. | 0:17:41 | 0:17:44 | |
I love this idea of fabric decoupage. | 0:17:44 | 0:17:47 | |
I'll start and see what it's like, then it's like, "Oh, to hang, | 0:17:47 | 0:17:50 | |
"I'm doing the whole lot. It's brilliant." | 0:17:50 | 0:17:53 | |
Susanne's love of textiles came from her childhood home. | 0:17:53 | 0:17:56 | |
I am a Paisley girl. | 0:17:56 | 0:17:58 | |
I grew up in Paisley and it goes through the centuries, | 0:17:58 | 0:18:01 | |
my family seem to have been involved with mills... | 0:18:01 | 0:18:04 | |
in the recent past and also in the distant past. | 0:18:04 | 0:18:07 | |
So it's lovely to have this connection with my heritage. | 0:18:07 | 0:18:10 | |
However, Susanne's resolution to use her favourite fabric in her Zen room | 0:18:12 | 0:18:16 | |
could be a risky decision. | 0:18:16 | 0:18:18 | |
I'm using the paisley pattern that my homeowner's not sure of, | 0:18:18 | 0:18:23 | |
but I've cut it into little pieces so it's not patently obvious that | 0:18:23 | 0:18:27 | |
it's the teardrop. I found this Danish mirror inside the house. | 0:18:27 | 0:18:31 | |
It's seen better days, there's wee chips and bashes round it, | 0:18:31 | 0:18:34 | |
but I'm going to make it pretty again. | 0:18:34 | 0:18:37 | |
Susanne, she's got a big challenge up there, actually. | 0:18:37 | 0:18:40 | |
It's a really tough one. There's a lot of furniture she's having to deal with. | 0:18:40 | 0:18:43 | |
She's also got a projector she needs to put in that's movable. | 0:18:43 | 0:18:46 | |
Well, fair enough. | 0:18:46 | 0:18:47 | |
Even if the homeowner says he doesn't particularly like Paisley, | 0:18:47 | 0:18:50 | |
she needs to make a bit of a mark. I just think we've got to let her | 0:18:50 | 0:18:53 | |
go and give her a chance to be expressive. | 0:18:53 | 0:18:55 | |
100%. I'm with you on that. | 0:18:55 | 0:18:57 | |
Also going against her homeowner's wishes, | 0:19:04 | 0:19:06 | |
Shaida is adding lashings of black lace. | 0:19:06 | 0:19:09 | |
So even though Kathleen did mention she doesn't want lace everywhere, | 0:19:09 | 0:19:12 | |
that's fine because the black lace is actually coming from the Gothic | 0:19:12 | 0:19:16 | |
theme with the romantic theme that the homeowner has asked for, | 0:19:16 | 0:19:19 | |
but it's got a backing to it, so it's not in your face. | 0:19:19 | 0:19:22 | |
Back home in Northampton, Shaida rarely shies away from a brave decision. | 0:19:25 | 0:19:29 | |
I'm confident within myself because | 0:19:29 | 0:19:32 | |
I'm a very determined and motivated person. | 0:19:32 | 0:19:35 | |
I've always been a bit of a perfectionist, | 0:19:35 | 0:19:37 | |
so, if there's something that I put my mind to, | 0:19:37 | 0:19:39 | |
I will make sure I achieve it. | 0:19:39 | 0:19:41 | |
Shaida will need to focus all her determination to achieve her ambitious scheme. | 0:19:44 | 0:19:49 | |
I'm trying to create a very nice kind of romantic, | 0:19:49 | 0:19:52 | |
Gothic, Moroccan feel, | 0:19:52 | 0:19:54 | |
bringing in all of the ideas that the homeowner gave. | 0:19:54 | 0:19:58 | |
And the black is very important in the theme, | 0:19:58 | 0:20:01 | |
as you will see when the room is done. | 0:20:01 | 0:20:03 | |
-Gothic. -Romantic. | 0:20:06 | 0:20:08 | |
And Moroccan. | 0:20:08 | 0:20:09 | |
Three looks in one small space. | 0:20:09 | 0:20:12 | |
She's trying to make the room do too many things. | 0:20:12 | 0:20:14 | |
But it's early days. | 0:20:14 | 0:20:16 | |
Let's be positive and hopeful that it's going to work out. | 0:20:16 | 0:20:19 | |
The end of day one is rapidly approaching and all the designers | 0:20:26 | 0:20:29 | |
are busy getting as much accomplished as possible. | 0:20:29 | 0:20:31 | |
These are pieces of timber that I've painted. | 0:20:31 | 0:20:34 | |
I'm using them as pendants on the light fitting, | 0:20:34 | 0:20:37 | |
which I've just attached the last one. | 0:20:37 | 0:20:40 | |
So that's that finished. Another job done. | 0:20:40 | 0:20:43 | |
In Shaida's room, the olive paint is going on. | 0:20:45 | 0:20:48 | |
Love it. First day is going a bit too smooth. | 0:20:48 | 0:20:51 | |
I'm feeling a little bit nervous now. | 0:20:51 | 0:20:54 | |
But it's all good, it's all good. | 0:20:54 | 0:20:56 | |
The missing parts of Richard's bed have finally arrived. | 0:20:57 | 0:21:00 | |
Now the pressure is on to get it assembled | 0:21:00 | 0:21:02 | |
and painted as quickly as possible. | 0:21:02 | 0:21:05 | |
I've had a few hiccups today that put me back a few hours, | 0:21:10 | 0:21:13 | |
but I would have hoped to have had it all painted by now and have less | 0:21:13 | 0:21:17 | |
of a rush because I won't have enough time to do it all tomorrow. | 0:21:17 | 0:21:21 | |
It's day two and, after a busy start yesterday, our designers still have | 0:21:41 | 0:21:44 | |
a lot to do if they're to make it through to the next round. | 0:21:44 | 0:21:47 | |
You're doing your grouting for the tiling. | 0:21:50 | 0:21:52 | |
-Yeah. -I'll come in and then do the beading. | 0:21:52 | 0:21:54 | |
I'm not as calm as I was yesterday because I know | 0:21:54 | 0:21:57 | |
I've got a lot to get through today. | 0:21:57 | 0:21:58 | |
Completing the projector's the main thing this morning. | 0:21:58 | 0:22:01 | |
-We've got the runners, the drawer runners for it. -OK. | 0:22:01 | 0:22:04 | |
Calm and relaxed still. | 0:22:04 | 0:22:05 | |
It's going to change though sometime soon. | 0:22:05 | 0:22:08 | |
I've got to finish painting the bed, | 0:22:08 | 0:22:09 | |
and then the table and the bed have got to be waxed. | 0:22:09 | 0:22:12 | |
Then there's the artwork base that's got to be made and then painted. | 0:22:12 | 0:22:16 | |
It's a lot to do. That was only half of it as well. | 0:22:16 | 0:22:20 | |
Yesterday's delay in getting his bed has pushed Richard's plan to have | 0:22:20 | 0:22:25 | |
the frame painted massively behind schedule. | 0:22:25 | 0:22:28 | |
It's doing my head in. | 0:22:28 | 0:22:30 | |
Absolutely no reason why it shouldn't be going in. | 0:22:30 | 0:22:32 | |
-It's just not doing it. -They go the same direction, don't they? | 0:22:32 | 0:22:35 | |
-Just plonk it on. -Yeah, you've got to undo that. | 0:22:35 | 0:22:38 | |
But now I've undone it, I can't get it back together again. | 0:22:38 | 0:22:41 | |
It seems this is one bed that won't let him rest easy. | 0:22:42 | 0:22:45 | |
It hasn't gone down, has it? | 0:22:45 | 0:22:47 | |
I don't understand why it won't. | 0:22:47 | 0:22:48 | |
Hammer. | 0:22:48 | 0:22:49 | |
Despite her homeowner's no-frills brief, | 0:22:55 | 0:22:58 | |
Shaida's adding yet more romantic black lace to a lampshade. | 0:22:58 | 0:23:01 | |
Meanwhile, the Moorish shutters are being constructed | 0:23:03 | 0:23:06 | |
and a replica Victorian ceiling rose is going up... | 0:23:06 | 0:23:10 | |
SHE GASPS | 0:23:10 | 0:23:12 | |
..and coming down. | 0:23:12 | 0:23:14 | |
-Hi, Shaida. -Oh, hi. | 0:23:14 | 0:23:16 | |
-How are you? -Good, thanks. | 0:23:16 | 0:23:18 | |
-How are you? -Good, I'm good. | 0:23:18 | 0:23:19 | |
You're doing two walls in one thing. | 0:23:19 | 0:23:21 | |
Absolutely. So those two walls are the green, the olive-green, | 0:23:21 | 0:23:24 | |
and then these are going to stay the way they are. | 0:23:24 | 0:23:26 | |
-Right, OK. -Sort of get that Moorish feel. | 0:23:26 | 0:23:29 | |
Yes, because I've got more than one theme running and I'm trying to kind | 0:23:29 | 0:23:32 | |
of merge them together. We've got the Gothic, very subtle, | 0:23:32 | 0:23:35 | |
we've got the romantic theme coming in, | 0:23:35 | 0:23:37 | |
and then we've got the Moroccan theme running through as well. | 0:23:37 | 0:23:40 | |
You're brave. SHAIDA LAUGHS | 0:23:40 | 0:23:42 | |
-Yes. -That's a lot, because it's not a big room, is it? | 0:23:42 | 0:23:44 | |
No, it's not. I've got to have the balance correct, basically. | 0:23:44 | 0:23:46 | |
-OK. Well, every faith. -Yeah. -Good luck. -Thank you. | 0:23:46 | 0:23:49 | |
-Good luck. -Thank you. | 0:23:49 | 0:23:50 | |
To be honest, I think that they will be very pleasantly surprised to see | 0:23:50 | 0:23:54 | |
the room when it's done. | 0:23:54 | 0:23:55 | |
It's all about creating that harmony with all of the themes | 0:23:55 | 0:23:59 | |
and all of the colours that I've got in there. | 0:23:59 | 0:24:01 | |
In Susanne's room, her choice of relaxing mint green paint is | 0:24:06 | 0:24:09 | |
-going up on the walls. -Colour's good. | 0:24:09 | 0:24:12 | |
Keeping with her Zen theme, | 0:24:15 | 0:24:17 | |
she's also inserting a Japanese garden into the fireplace hearth. | 0:24:17 | 0:24:20 | |
Constructed from MDF, the tray will eventually be filled with sand. | 0:24:22 | 0:24:26 | |
I'm cutting out the detail for the front of the tray | 0:24:26 | 0:24:30 | |
that's going in the fireplace. | 0:24:30 | 0:24:31 | |
Her scalloped edge pattern is inspired by the surrounding | 0:24:31 | 0:24:35 | |
Gothic revival architecture. | 0:24:35 | 0:24:37 | |
Gothic architecture emerged in the early Middle Ages and dominated | 0:24:44 | 0:24:47 | |
Europe until the 15th century. | 0:24:47 | 0:24:49 | |
The Victorians, who loved decorative surfaces, revived this Gothic style. | 0:24:49 | 0:24:55 | |
It's defined by the pointed arch, the ribbed vault, | 0:24:55 | 0:24:58 | |
the flying buttress, and you'll usually find this early version on | 0:24:58 | 0:25:01 | |
grand ceremonial halls, churches and cathedrals. | 0:25:01 | 0:25:04 | |
Barge boards, the wooden edging to gables, | 0:25:06 | 0:25:08 | |
were common across Victorian neo-Gothic houses. | 0:25:08 | 0:25:11 | |
Here in Holly Village, each building has its own particular design. | 0:25:11 | 0:25:15 | |
Some are intricate and delicate, | 0:25:15 | 0:25:17 | |
others simple and plain. | 0:25:17 | 0:25:19 | |
Pattern-loving Susanne has decided to err on the side of elaborate | 0:25:24 | 0:25:28 | |
when it comes to her Zen box. | 0:25:28 | 0:25:30 | |
This inset tray that's been made for the fireplace is now one of my | 0:25:30 | 0:25:35 | |
favourite pieces. Just get a coat of paint on this, | 0:25:35 | 0:25:38 | |
at least a coat's on it, and I can see how it looks. | 0:25:38 | 0:25:41 | |
Probably give it another coat. | 0:25:41 | 0:25:42 | |
Hi, there. | 0:25:42 | 0:25:44 | |
-Hello, Susanne. -Hi, there. | 0:25:44 | 0:25:47 | |
-Pale green. -Pale green. -It's quite ice cream colour, isn't it? | 0:25:47 | 0:25:50 | |
And this is your Zen box? | 0:25:50 | 0:25:53 | |
It's a Zen box, yeah. I'm going to fill it with sand. | 0:25:53 | 0:25:55 | |
Have, maybe, rocks and put in some nice plants. | 0:25:55 | 0:25:59 | |
And this green colour, is it just on these pieces of furniture, | 0:25:59 | 0:26:01 | |
or are you using it anywhere else in the room? | 0:26:01 | 0:26:04 | |
-Yes, it's on the walls. But it is toned down by the creams on the ceiling and the floor. -Super. | 0:26:04 | 0:26:08 | |
It sounds like you've got a plan. | 0:26:08 | 0:26:10 | |
-I can see it in my head, yeah. -Full steam ahead. -Full steam ahead. | 0:26:10 | 0:26:13 | |
I love Zen, but what she's done is take this idea and have it in | 0:26:15 | 0:26:19 | |
the fire hearth, but it's got a very ornate edge to it. | 0:26:19 | 0:26:23 | |
It's sort of looks like a rather grand cat litter to me. | 0:26:23 | 0:26:26 | |
The jury's up. I hope she pulls it off. | 0:26:26 | 0:26:28 | |
I'm going to have to wait and see. | 0:26:28 | 0:26:30 | |
After having his idea of a fabric canopy dismissed by the homeowner, | 0:26:40 | 0:26:44 | |
Richard needs to design a new headboard to fit with his scheme. | 0:26:44 | 0:26:47 | |
It's a lot easier to make decisions when I know I've got time to think | 0:26:47 | 0:26:52 | |
about it. Trying to make decisions quickly is not good for me | 0:26:52 | 0:26:56 | |
at the best of times, so it's an added challenge. | 0:26:56 | 0:27:00 | |
Drawing on his artistic skills, | 0:27:00 | 0:27:03 | |
Richard decides to do what he knows best. | 0:27:03 | 0:27:06 | |
So the stencils, although they're quite time-consuming, | 0:27:06 | 0:27:09 | |
the bit that I'm most used to, this is what I do pretty much most days. | 0:27:09 | 0:27:14 | |
It's going to be quite abstract and a bit random. | 0:27:14 | 0:27:19 | |
At home in Kirklees, Richard is a dab hand at urban art. | 0:27:21 | 0:27:25 | |
I create artworks using spray paint and hand-cut stencils, | 0:27:25 | 0:27:30 | |
almost as if it's a bit of graffiti in the street or something. | 0:27:30 | 0:27:32 | |
I do some work onto canvas and paper, but most of it I do onto OSB. | 0:27:32 | 0:27:37 | |
I think it probably says about me that maybe I'm a bit scruffy. | 0:27:37 | 0:27:41 | |
I don't know! | 0:27:41 | 0:27:43 | |
I'm quite used to criticism. | 0:27:43 | 0:27:45 | |
I get it with my artwork all the time. | 0:27:45 | 0:27:47 | |
But we'll see. | 0:27:47 | 0:27:49 | |
-One thing that I'm concerned about. -Oh, what are you concerned about? | 0:27:51 | 0:27:54 | |
Stencilling. | 0:27:54 | 0:27:56 | |
That word worries me because I sort of depict something that's very | 0:27:56 | 0:28:01 | |
girlie and it depends what his stencil is. | 0:28:01 | 0:28:04 | |
By and large, they're pretty naff. | 0:28:04 | 0:28:05 | |
Don't know if it's because it's too hot and it's getting too watery. | 0:28:10 | 0:28:13 | |
It's making it really difficult for me to see it to put on the next stencil. | 0:28:13 | 0:28:17 | |
Shaida's also decided to give stencilling a go. | 0:28:23 | 0:28:27 | |
I haven't actually done this before, | 0:28:27 | 0:28:29 | |
so... | 0:28:29 | 0:28:31 | |
Going to be quite interesting to see how this looks. | 0:28:31 | 0:28:35 | |
She's using some of her Moroccan-style fretwork | 0:28:35 | 0:28:38 | |
to create a pattern on the door glass. | 0:28:38 | 0:28:41 | |
Oh... OK. | 0:28:41 | 0:28:44 | |
Now that is good, isn't it? | 0:28:44 | 0:28:47 | |
That is good. | 0:28:47 | 0:28:49 | |
I like. | 0:28:49 | 0:28:51 | |
Oh, shouldn't have done that. | 0:28:51 | 0:28:52 | |
That was a silly idea, wasn't it? | 0:28:52 | 0:28:55 | |
While the stencilling dries, Shaida and her decorator have time | 0:28:55 | 0:28:59 | |
to embellish her mosaic tile shelves. | 0:28:59 | 0:29:01 | |
They're going off quite quick, actually, | 0:29:01 | 0:29:03 | |
so you need to get a move on. | 0:29:03 | 0:29:05 | |
I'll put them in. If you could just... | 0:29:05 | 0:29:07 | |
-Push them? -Yeah, please, yeah. | 0:29:07 | 0:29:08 | |
I'm merging three themes together to create one. | 0:29:08 | 0:29:11 | |
And the beads, that's coming from the Moroccan theme | 0:29:11 | 0:29:14 | |
because they use a lot of kind of embellishment and what have you. | 0:29:14 | 0:29:17 | |
This is my little touch, I guess. | 0:29:17 | 0:29:19 | |
-Looks good, doesn't it? -Yeah. I love it. -It's different. | 0:29:21 | 0:29:24 | |
Richard, come over, I've got something to show you. | 0:29:30 | 0:29:33 | |
The judges are keen for all the designers to demonstrate their | 0:29:33 | 0:29:36 | |
creativity on a level playing field. | 0:29:36 | 0:29:38 | |
-I'm now going to unveil it. -Lovely. | 0:29:38 | 0:29:40 | |
You will never guess what I've got under here. | 0:29:40 | 0:29:43 | |
So they've been given an identical object | 0:29:43 | 0:29:45 | |
to artistically incorporate into their scheme. | 0:29:45 | 0:29:48 | |
You have got three hours to do whatever you want with this. | 0:29:48 | 0:29:54 | |
It's very tasteful. | 0:29:54 | 0:29:56 | |
I can only think of a doorstop, or something to heave through a window. | 0:29:56 | 0:30:01 | |
I'm going to spray paint it... | 0:30:01 | 0:30:04 | |
..and then I'm going to attach some beads to it. | 0:30:05 | 0:30:08 | |
I'm going to use the same beads as I did with the tiles. | 0:30:10 | 0:30:14 | |
It's a little bit uninspiring. I can't really alter it too much, | 0:30:15 | 0:30:18 | |
well, apart from smashing it up. | 0:30:18 | 0:30:20 | |
Even an angle grinder is proving no match for this stony-faced | 0:30:22 | 0:30:26 | |
-garden ornament. -I'm just trying to sand concrete. | 0:30:26 | 0:30:29 | |
-You can feel the stones in it now. -It is proper concrete, isn't it? | 0:30:29 | 0:30:32 | |
Yeah, it is. | 0:30:32 | 0:30:33 | |
It does, kind of, fit in with the theme, a little bit. | 0:30:34 | 0:30:36 | |
I'm going to have fun with it. | 0:30:36 | 0:30:38 | |
He's got a little hat to put on, so it's going to be | 0:30:41 | 0:30:44 | |
a side table-type thing. | 0:30:44 | 0:30:45 | |
I decided that I would try and use him as a plant holder | 0:30:48 | 0:30:52 | |
and he will become functional. Maybe not beautiful, but functional. | 0:30:52 | 0:30:56 | |
-Could we glue it? -No. | 0:30:58 | 0:30:59 | |
Clarence the lion. I'm just defining him a wee bit. | 0:30:59 | 0:31:03 | |
What do you think? Do you want to give it a pat? | 0:31:06 | 0:31:08 | |
Do you recognise one of your own? Do you think it's good? | 0:31:08 | 0:31:11 | |
Or do you think I've done a really bad job? | 0:31:11 | 0:31:14 | |
While Clarence the lion's manicure dries... | 0:31:14 | 0:31:17 | |
..Susanne's client, Colin, | 0:31:18 | 0:31:20 | |
wants an update on the mechanism for the wall-mounted projector. | 0:31:20 | 0:31:23 | |
Yeah, so it's a great idea to have this sliding arrangement. | 0:31:24 | 0:31:29 | |
Unfortunately, it has to come out rather longer. | 0:31:29 | 0:31:33 | |
-Yeah? -Just have it freestanding? | 0:31:33 | 0:31:34 | |
I don't think you're going to screw it to the wall, frankly. What's wrong with it being mobile? | 0:31:34 | 0:31:39 | |
-Yes. -We can work something round, just putting it on top of something. | 0:31:39 | 0:31:42 | |
-OK? -OK. -Happy? -Rock and roll. | 0:31:42 | 0:31:45 | |
Decision made. Susanne will have to bring in another piece of furniture | 0:31:45 | 0:31:49 | |
to rest the projector on. | 0:31:49 | 0:31:52 | |
As long as he's happy with it not being fixed to the wall, | 0:31:52 | 0:31:56 | |
which is a shame, we go with that decision. | 0:31:56 | 0:32:00 | |
The time limit on the three-hour creative challenge is up. | 0:32:04 | 0:32:07 | |
How well the designers have done will be taken into | 0:32:07 | 0:32:10 | |
the judges' overall decision. | 0:32:10 | 0:32:12 | |
This is... | 0:32:12 | 0:32:13 | |
..the creative challenge done. | 0:32:14 | 0:32:16 | |
-A bejewelled lion. -Very, very cool. | 0:32:16 | 0:32:18 | |
It's tiny, little beads that I would have used when I was a little girl. | 0:32:18 | 0:32:22 | |
You thread them through a wire, is that right? | 0:32:22 | 0:32:24 | |
Yeah, absolutely. | 0:32:24 | 0:32:26 | |
I wanted to use the beads, so that I could incorporate it into the theme. | 0:32:26 | 0:32:31 | |
I feel a little bit underwhelmed. | 0:32:31 | 0:32:32 | |
But she said the lion is part of the bigger scheme in the room, | 0:32:32 | 0:32:36 | |
-so I might be impressed later on. -We can't say until we see it. | 0:32:36 | 0:32:40 | |
-Ooh! -Wow! -A pink lion with a yellow nose. | 0:32:42 | 0:32:45 | |
-Brilliant. -I think that's really cool. | 0:32:45 | 0:32:47 | |
Is this a clue to what your room's going to look like? | 0:32:47 | 0:32:50 | |
Is it going to fit very well in that space? | 0:32:50 | 0:32:53 | |
It will probably be a bit of a stand-out piece in the room. | 0:32:53 | 0:32:56 | |
I love Richard's creative challenge. | 0:32:56 | 0:32:57 | |
At last, we saw a bit of humour in him, as well, | 0:32:57 | 0:33:01 | |
-because that room is quite serious. -I think it's really impressive. | 0:33:01 | 0:33:04 | |
Susanne, what have you done to Clarence the lion? | 0:33:04 | 0:33:07 | |
Clarence the lion's had a makeover, basically! | 0:33:07 | 0:33:10 | |
The proud bearer of a spider plant. | 0:33:10 | 0:33:11 | |
The proud bearer of a beautiful spider plant. | 0:33:11 | 0:33:13 | |
She's actually made Clarence look very regal and very pretty. | 0:33:13 | 0:33:18 | |
If it was really obvious that she'd been a bit tongue in cheek with it, | 0:33:18 | 0:33:22 | |
slightly facetious, then I would have thought that was great. But it wasn't enough. | 0:33:22 | 0:33:25 | |
Just checking out the builder's handiwork. | 0:33:33 | 0:33:35 | |
It is exactly how I pictured it, so he's done a really good job. | 0:33:35 | 0:33:39 | |
At Richard's, the new cupboard doors have been constructed from oriented | 0:33:39 | 0:33:44 | |
strand board, or OSB - a composite similar to chipboard. | 0:33:44 | 0:33:47 | |
-Hello, Richard. -Hello. | 0:33:49 | 0:33:51 | |
I'll try not to spill paint all over you. | 0:33:53 | 0:33:56 | |
Why do you hide the...? | 0:33:56 | 0:33:57 | |
Oh, look, there's the original cupboard. | 0:33:57 | 0:33:59 | |
Why are you hiding those and covering them in this OSB? | 0:33:59 | 0:34:03 | |
The main reason was because I thought it just looked a bit busy. | 0:34:03 | 0:34:06 | |
I just thought it would look better just to have two nice | 0:34:06 | 0:34:10 | |
minimal panels on either side. | 0:34:10 | 0:34:12 | |
It's quite rough-looking wood, isn't it? | 0:34:12 | 0:34:14 | |
Yeah, I love the texture of it. | 0:34:14 | 0:34:16 | |
It's very industrial, when you see in its raw form. | 0:34:16 | 0:34:19 | |
It's a tiny, tiny room. | 0:34:19 | 0:34:21 | |
You're brave during those in black. | 0:34:21 | 0:34:24 | |
I think it makes it look quite luxurious. | 0:34:24 | 0:34:26 | |
We'll see how the whole thing pans out, | 0:34:26 | 0:34:29 | |
to see if that was a good move or not. | 0:34:29 | 0:34:32 | |
Don't panic. You looked terrified. | 0:34:32 | 0:34:34 | |
Just concentrate on the scheme and getting it done. | 0:34:34 | 0:34:37 | |
You don't have much time. | 0:34:37 | 0:34:39 | |
-Bye. -Thanks. | 0:34:39 | 0:34:40 | |
I think the time constraints are definitely starting to play | 0:34:42 | 0:34:46 | |
on my mind now because I've got a lot to do and I think | 0:34:46 | 0:34:49 | |
the judges mentioning it probably suggests that they think | 0:34:49 | 0:34:52 | |
I haven't got enough time - and they're possibly right. | 0:34:52 | 0:34:54 | |
I need to get a wriggle on. | 0:34:54 | 0:34:55 | |
Our designers are almost done for the day. | 0:35:02 | 0:35:04 | |
Tomorrow, their rooms will have to be finished, | 0:35:04 | 0:35:06 | |
ready for the two people who will decide their fate - the judges. | 0:35:06 | 0:35:09 | |
Shaida's room had these Moroccan shutters. | 0:35:11 | 0:35:14 | |
They were closed, so that evening sun, the light, was just beautiful. | 0:35:14 | 0:35:18 | |
Home time. | 0:35:18 | 0:35:19 | |
I'm concerned about this very dark green because it's already | 0:35:19 | 0:35:23 | |
-a small room. -We've got a schedule and we need to work with it, | 0:35:23 | 0:35:27 | |
but it's all under control. | 0:35:27 | 0:35:29 | |
-That's amazing! -Do you like it? -Yeah, I love it. | 0:35:29 | 0:35:33 | |
Exactly the feel that I wanted. | 0:35:33 | 0:35:36 | |
Susanne's got a lot of high demands on that project. | 0:35:36 | 0:35:39 | |
And it's all gone into that small room. | 0:35:39 | 0:35:41 | |
Mint green, the black, the sandbox, the projector, his furniture - | 0:35:41 | 0:35:47 | |
there's a lot going on. | 0:35:47 | 0:35:49 | |
Probably a bit tired now. It's been a long day today. | 0:35:49 | 0:35:53 | |
It's had its challenges. A few steps back, a few steps forward. | 0:35:53 | 0:35:57 | |
It just leaves tomorrow, to get the carpet in, the bed in | 0:35:57 | 0:36:00 | |
and start dressing the room, which is the bit I love. | 0:36:00 | 0:36:03 | |
Still needing to give his bed a coat of wax, | 0:36:04 | 0:36:07 | |
Richard is working right up to the last minute. | 0:36:07 | 0:36:11 | |
There's a lot. It's taken me... How long's it taken me? | 0:36:11 | 0:36:13 | |
It's taken a long time, yeah. | 0:36:13 | 0:36:15 | |
It's taken me a while to go over everything. | 0:36:15 | 0:36:17 | |
Richard, he's got the headboard done. | 0:36:17 | 0:36:19 | |
I was worried about the headboard because of all the colour. | 0:36:19 | 0:36:22 | |
Pleasantly surprised by those stencils, though. | 0:36:22 | 0:36:25 | |
-Yeah. -They're clever. -They're very creative. -He cut them himself. | 0:36:25 | 0:36:28 | |
Given the time constraints, I think I will be dropping | 0:36:28 | 0:36:32 | |
the dark wax idea for the bed. | 0:36:32 | 0:36:34 | |
I don't think I'd have had time to do it... | 0:36:34 | 0:36:36 | |
..given the amount of time that's left, so... | 0:36:38 | 0:36:41 | |
We've got three extremely-strong contenders | 0:36:44 | 0:36:48 | |
and if I'm really honest, which I always am, | 0:36:48 | 0:36:50 | |
I can't pick one, between them, which is my favourite. | 0:36:50 | 0:36:55 | |
It's the final day and. With a place in the next round at stake, | 0:37:15 | 0:37:19 | |
the designers need to make sure they're ready. | 0:37:19 | 0:37:21 | |
Today the judges have the unenviable task of deciding which two designers | 0:37:23 | 0:37:28 | |
will go through to the quarterfinals and who will leave the competition. | 0:37:28 | 0:37:31 | |
-Morning. -Morning. -All right? -Today's the day. | 0:37:31 | 0:37:35 | |
-That looks good. -Nothing I enjoy more in the morning | 0:37:35 | 0:37:38 | |
than scrubbing a floor(!) | 0:37:38 | 0:37:40 | |
Hopefully, I'll be kicking back and relaxing with ten minutes to go. | 0:37:40 | 0:37:44 | |
-I don't think that's going to happen. -Did you sleep well? | 0:37:44 | 0:37:47 | |
-Er, no. -Yeah, join the club. | 0:37:47 | 0:37:49 | |
I'm waiting for the carpet fitter to arrive. | 0:37:49 | 0:37:52 | |
He's running, probably, an hour over. | 0:37:52 | 0:37:55 | |
There they are. Yeah, it would be nice if he arrived. | 0:37:55 | 0:37:58 | |
-Have you got plenty of things to do? -Yeah, a bit too many, I think. | 0:37:58 | 0:38:01 | |
I'm feeling quite...nervous now. | 0:38:01 | 0:38:05 | |
I've got quite a bit of work still to do, | 0:38:05 | 0:38:08 | |
but hopefully everything will be fine. | 0:38:08 | 0:38:10 | |
Shaida's biggest job is to finish her Moroccan-inspired | 0:38:10 | 0:38:13 | |
desk and TV unit. | 0:38:13 | 0:38:15 | |
Two hours down... I can do this. | 0:38:15 | 0:38:18 | |
What I've done is used MDF and used a silver paint, | 0:38:19 | 0:38:23 | |
brown-coloured paint, and then an antique white paint. | 0:38:23 | 0:38:27 | |
And what I'm doing now is just rubbing into the surface | 0:38:27 | 0:38:30 | |
to bring out all of those colours beneath. | 0:38:30 | 0:38:32 | |
But all work has ground to a halt, as she's just discovered | 0:38:34 | 0:38:38 | |
she's £135 over budget. | 0:38:38 | 0:38:40 | |
And then, we have... | 0:38:40 | 0:38:43 | |
These items that we don't need. | 0:38:45 | 0:38:47 | |
I am over budget, so I'm going to go into the room and try to take | 0:38:47 | 0:38:50 | |
some things out or it will be marked against me. | 0:38:50 | 0:38:55 | |
That's a bit of a bummer, isn't it? | 0:38:55 | 0:38:58 | |
Now, Shaida was asked for quite a mixed bag of styles, wasn't she, | 0:38:58 | 0:39:01 | |
-in the brief? -Yeah, it was Gothic, it was Romantic | 0:39:01 | 0:39:04 | |
-and it was Moroccan. -Actually, I think if she can nail that Romantic, | 0:39:04 | 0:39:08 | |
she's nailed the scheme | 0:39:08 | 0:39:09 | |
because it will just soften the whole thing off. | 0:39:09 | 0:39:12 | |
-Except her Romantic piece on the board was black lace... -Oh, yeah. | 0:39:12 | 0:39:15 | |
-..and the homeowner didn't like it. -Neither did we. | 0:39:15 | 0:39:19 | |
And how's her project management? | 0:39:19 | 0:39:22 | |
Yeah, she's gone way over budget. She got carried away with | 0:39:22 | 0:39:24 | |
the accessories, so she's going to have to claw the back, | 0:39:24 | 0:39:26 | |
but I've no doubt that that room is going to be really full of things. | 0:39:26 | 0:39:30 | |
Hey! | 0:39:37 | 0:39:38 | |
Oh, comfy! | 0:39:39 | 0:39:40 | |
At Susanne's, the carpet fitter has finally arrived, two hours late. | 0:39:40 | 0:39:45 | |
-Carpet! -Shall we put this...? | 0:39:45 | 0:39:48 | |
Now, Susanne can set to work | 0:39:48 | 0:39:50 | |
rummaging through the homeowner's belongings | 0:39:50 | 0:39:53 | |
for fun items to go into her Zen garden. | 0:39:53 | 0:39:55 | |
He's clapping his hands because he thinks I've done a good job. | 0:39:56 | 0:39:59 | |
Lovely. | 0:40:00 | 0:40:02 | |
Oh, that's going in my Zen garden. | 0:40:02 | 0:40:05 | |
Oh, I just love when a plan comes together. | 0:40:05 | 0:40:09 | |
These sand gardens are supposed to be an aid to meditation. | 0:40:11 | 0:40:14 | |
I'm going to just place that there. It's quite Zen-looking, | 0:40:16 | 0:40:18 | |
catching the light, and it's very pretty. | 0:40:18 | 0:40:21 | |
And it seems it's already having the desired effect on the team. | 0:40:21 | 0:40:24 | |
I'm just letting the man concentrate. | 0:40:24 | 0:40:27 | |
He's in a Zen-inspired room, as you can see, sitting cross-legged. | 0:40:27 | 0:40:31 | |
He's now going to go into down dog. | 0:40:31 | 0:40:33 | |
So, is it all calm in Susanne's Zen room? | 0:40:33 | 0:40:36 | |
Susanne is sunshine, | 0:40:36 | 0:40:38 | |
but she's also firm and she knows what she wants to do. | 0:40:38 | 0:40:42 | |
She's got this very pale green, which I'm not sure about, | 0:40:42 | 0:40:46 | |
-but it might work, you know. -Yeah. -We'll see. -Can I say something? | 0:40:46 | 0:40:49 | |
There's a Zen box, where she wanted to put sand in and, sort of, put | 0:40:49 | 0:40:52 | |
some stones. But that, for me, should be very simple. | 0:40:52 | 0:40:56 | |
But it's, again, in this, kind of, green colour, | 0:40:56 | 0:40:59 | |
and then it's got scalloped, quite Gothic, edges. | 0:40:59 | 0:41:03 | |
And there's a lot of elements in there that, I think, for me, | 0:41:03 | 0:41:06 | |
just miss slightly. But I might be wrong. | 0:41:06 | 0:41:08 | |
In Richard's room, the original wood floor is being given a final clean. | 0:41:15 | 0:41:19 | |
Erm...all right, then. | 0:41:19 | 0:41:21 | |
One bit at a time. | 0:41:21 | 0:41:23 | |
And, at last, he can get that fiddly bedframe into place. | 0:41:23 | 0:41:28 | |
So, Richard's brief was to create a beachy, global hotel bedroom. | 0:41:35 | 0:41:40 | |
He had designed to have a, sort of, typical Balinese voile | 0:41:40 | 0:41:44 | |
sort of mosquito-type net over the bed. | 0:41:44 | 0:41:47 | |
She didn't want that, so that was taken out. | 0:41:47 | 0:41:49 | |
And then, the headboard was added on. | 0:41:49 | 0:41:51 | |
So, I think he's thought on his feet. | 0:41:51 | 0:41:53 | |
But the jury's out for me on those cupboards. | 0:41:53 | 0:41:56 | |
I need to see what they're going to look like in situ | 0:41:56 | 0:41:58 | |
because, I think, by blocking out those lovely period cupboards, | 0:41:58 | 0:42:01 | |
he's turning his back on the Victorian village that it's in. | 0:42:01 | 0:42:04 | |
I do think you need to respect the architecture somewhat. | 0:42:04 | 0:42:07 | |
Shaida's time is running out and she needs to get her desk finished. | 0:42:12 | 0:42:16 | |
Bit under pressure now. I've only got 45 minutes left. | 0:42:16 | 0:42:19 | |
-Hi, Shaida. -Oh, hi. | 0:42:21 | 0:42:23 | |
-Are you OK? -I'm good, how are you? -Yeah, just busy. | 0:42:23 | 0:42:26 | |
-Final touches and... -What about your budget? | 0:42:26 | 0:42:28 | |
-You were over. -I won't be in a few minutes cos I'm trying to sort out | 0:42:28 | 0:42:31 | |
-what I want to keep and what I don't want. -OK, so you're confident? | 0:42:31 | 0:42:34 | |
-Absolutely, yeah. -Right, I'll leave you to it, then. | 0:42:34 | 0:42:36 | |
-Excellent. Lovely. -See you later. -Thank you. -Bye! | 0:42:36 | 0:42:39 | |
That's it. | 0:42:40 | 0:42:41 | |
Shaida's 48 hours are up... | 0:42:43 | 0:42:46 | |
-On time, guys. -..and there's nothing more she can do. | 0:42:46 | 0:42:50 | |
Done. | 0:42:50 | 0:42:52 | |
Shaida's homeowner asked for a cosy room, with clean lines | 0:42:52 | 0:42:56 | |
and hints of Morocco. | 0:42:56 | 0:42:59 | |
48 hours ago, the room lacked both personality and purpose. | 0:42:59 | 0:43:03 | |
Now, it's overflowing with Moroccan opulence. | 0:43:06 | 0:43:09 | |
Shaida's Moorish theme is reflected in the North African-styled | 0:43:10 | 0:43:13 | |
window shutters and olive green walls. | 0:43:13 | 0:43:16 | |
Sumptuous cushions and black lace give a Romantic feel. | 0:43:18 | 0:43:22 | |
And there's a nod to the Gothic Revival, with mosaic shelves. | 0:43:24 | 0:43:27 | |
Finally, Shaida has designed a desk with stepped shelving | 0:43:30 | 0:43:32 | |
and cupboard to hide the television. | 0:43:32 | 0:43:34 | |
Wow. | 0:43:42 | 0:43:43 | |
I like the shutters - I think they're clever. | 0:43:43 | 0:43:47 | |
-Mm-hm. -They're very Moorish. | 0:43:47 | 0:43:49 | |
And I like the way they open and close, | 0:43:49 | 0:43:51 | |
because you've got the Gothic element, | 0:43:51 | 0:43:52 | |
but you've got the Moroccan. | 0:43:52 | 0:43:54 | |
I can imagine, at night, the light through that would be | 0:43:54 | 0:43:57 | |
-really beautiful. -Accessories and the way that she was | 0:43:57 | 0:43:59 | |
pulling together the room is clearly important to her, | 0:43:59 | 0:44:02 | |
and she's good at that. You know, she's got the Moroccan candle | 0:44:02 | 0:44:06 | |
in the corner. She's gone and put her lion on the mantelpiece there, | 0:44:06 | 0:44:09 | |
-which is really nice. -Remember the tiles. | 0:44:09 | 0:44:11 | |
-Where are they? -Well, I spotted them, actually, but they're | 0:44:11 | 0:44:14 | |
very hard to see. They're just hidden in that corner. | 0:44:14 | 0:44:16 | |
Come and have a look. She's done some shelves | 0:44:16 | 0:44:20 | |
and she's dropped them in. I think that's rather... | 0:44:20 | 0:44:23 | |
That's actually quite beautiful. It's a shame they're hidden. | 0:44:23 | 0:44:26 | |
-I would want to see them all, but it's subtle. -Very nice. | 0:44:26 | 0:44:28 | |
I love this step because it's a very ziggurat design, | 0:44:28 | 0:44:31 | |
which is a very Moorish design. That's really cool. | 0:44:31 | 0:44:34 | |
But washing down and ageing a brand-new piece of furniture, | 0:44:34 | 0:44:37 | |
it just looks fake. You know she said she didn't want black lace. | 0:44:37 | 0:44:41 | |
But there's still the lace on the lampshade over there and it's here, | 0:44:41 | 0:44:46 | |
and I just think it's unnecessary. | 0:44:46 | 0:44:48 | |
-Moroccan design is quite over the top. -Yeah. | 0:44:48 | 0:44:51 | |
So is Gothic and Romantic. | 0:44:51 | 0:44:54 | |
So, you've got three incredibly strong characters in a room. | 0:44:54 | 0:45:00 | |
You've got to be able to pare it down because otherwise, for me, | 0:45:00 | 0:45:03 | |
I feel, sort of, slightly breathless in here. | 0:45:03 | 0:45:06 | |
The homeowner's opinion will be taken into consideration | 0:45:06 | 0:45:09 | |
by the judges when they make their final decision. | 0:45:09 | 0:45:12 | |
-Wow, I feel like I'm on holiday! -Well, that's a good reaction! | 0:45:17 | 0:45:21 | |
-And you've got the tiles. -Oh, I didn't even see that. | 0:45:21 | 0:45:23 | |
-See in the corner - the little corner? -Oh, I love it. | 0:45:23 | 0:45:26 | |
And she's used colours that I normally would not go for. | 0:45:26 | 0:45:30 | |
-So she's pushed you? -She has pushed me, she really has. | 0:45:30 | 0:45:32 | |
The lace, definitely, almost pushed me over the edge. | 0:45:32 | 0:45:35 | |
HE LAUGHS | 0:45:35 | 0:45:36 | |
But she has... She's done a fascinating job. | 0:45:36 | 0:45:39 | |
In Susanne's Zen room, | 0:45:44 | 0:45:46 | |
time is almost up, so it's anything but calm. | 0:45:46 | 0:45:49 | |
We lost two hours this morning with the carpet fitter, | 0:45:49 | 0:45:52 | |
so this is just us rushing at the end. | 0:45:52 | 0:45:54 | |
Listen, if you weren't rushing at the end, | 0:45:54 | 0:45:57 | |
there's something wrong with you. | 0:45:57 | 0:45:59 | |
It's scary because, if I get this wrong, I'll be annoyed with myself. | 0:45:59 | 0:46:04 | |
-Susanne, half an hour. -Yeah. -Speed it up. -Yeah, will do, sir. -OK. | 0:46:08 | 0:46:12 | |
Go away and let me get on! | 0:46:12 | 0:46:14 | |
Susanne's 48 hours are up. | 0:46:18 | 0:46:20 | |
The room's done and... | 0:46:23 | 0:46:24 | |
..I've loved doing it. | 0:46:26 | 0:46:28 | |
I like making something new out of something old. | 0:46:28 | 0:46:31 | |
It's such a lovely building and I hope the building likes | 0:46:31 | 0:46:34 | |
what I've done to it, as well as the homeowners. | 0:46:34 | 0:46:37 | |
So, yeah, that's me. | 0:46:37 | 0:46:39 | |
Susanne's brief was to create an airy and natural room, | 0:46:39 | 0:46:42 | |
with Zen-like qualities. | 0:46:42 | 0:46:45 | |
Before, this spare room was cluttered, dark and fussy. | 0:46:45 | 0:46:49 | |
Now, it's been transformed into a calm and serene space. | 0:46:51 | 0:46:55 | |
Susanne's painted the walls a peaceful mint green and brought | 0:46:57 | 0:47:01 | |
the outside in, with leaf motifs on the blinds and cushions. | 0:47:01 | 0:47:04 | |
Her Paisley mirror and abstract light add a touch of playfulness... | 0:47:06 | 0:47:10 | |
..while the Zen garden brings a feeling of tranquillity. | 0:47:12 | 0:47:16 | |
I felt emotional in the room, which I didn't expect. | 0:47:21 | 0:47:24 | |
I've given it my best shot and it's a waiting game now. | 0:47:24 | 0:47:28 | |
-Quite a transformation. -Isn't it? It feels like a much happier room, | 0:47:30 | 0:47:34 | |
-in fact. -Yeah. I'm really quite surprised, actually. -Mm. | 0:47:34 | 0:47:39 | |
Working with three really important pieces of furniture. | 0:47:39 | 0:47:44 | |
Three very dominant pieces of furniture, in fact. | 0:47:44 | 0:47:46 | |
It's terribly hard for a designer in such a small space. | 0:47:46 | 0:47:50 | |
What I do love is this daybed. I think it's really nice. | 0:47:50 | 0:47:54 | |
-I love the colour. -Yeah. -I think it's quite genius, with the handles | 0:47:54 | 0:47:56 | |
that she's done. | 0:47:56 | 0:47:58 | |
What I find hard is the stencilling on the walls and on the voile. | 0:47:58 | 0:48:03 | |
It's just not generous enough. If you're going to do this, | 0:48:03 | 0:48:05 | |
be assertive with it - fill the wall with it. | 0:48:05 | 0:48:08 | |
It's all just a little bit polite. | 0:48:08 | 0:48:10 | |
I like the fact that she's painted the fireplace with the stripes - | 0:48:10 | 0:48:14 | |
that does give it that bit of weight. | 0:48:14 | 0:48:16 | |
For me, if the Zen garden had just been a black box, | 0:48:16 | 0:48:20 | |
the way she's painted out the fireplace would have been more Zen. | 0:48:20 | 0:48:24 | |
She's almost ticked every single box. | 0:48:24 | 0:48:25 | |
You know, she's got a good eye, she's just got to learn from this | 0:48:25 | 0:48:29 | |
that you can, actually, still do it and achieve something great, | 0:48:29 | 0:48:33 | |
but you don't have to do it all. | 0:48:33 | 0:48:34 | |
I had to work within the constraints of my brief and, yeah, | 0:48:35 | 0:48:39 | |
if it had been me doing it for me, it would have been...a bit bolder. | 0:48:39 | 0:48:45 | |
-Come on through. -Right. Thank you. | 0:48:53 | 0:48:56 | |
-First reactions? -Nice green. This is fun, isn't it? | 0:48:56 | 0:49:00 | |
Yes, I think this was a really clever surprise. | 0:49:00 | 0:49:04 | |
The way she has treated the leaf details is very nice. | 0:49:04 | 0:49:09 | |
And she said that we would find the Paisley acceptable | 0:49:09 | 0:49:13 | |
and it works very well. | 0:49:13 | 0:49:16 | |
-Yes. -So I think she's done extremely well on an extremely difficult task. | 0:49:16 | 0:49:20 | |
Richard's time is running out fast | 0:49:27 | 0:49:28 | |
and he still needs to finish assembling the bed. | 0:49:28 | 0:49:32 | |
If you can get that one to grip, it will go, but not the bottom one. | 0:49:32 | 0:49:35 | |
Lift it up. | 0:49:36 | 0:49:38 | |
Yeah, looks good. | 0:49:38 | 0:49:39 | |
Ow! | 0:49:41 | 0:49:42 | |
Luckily, I'm little. | 0:49:44 | 0:49:46 | |
-Richard's 48 hours are up. -Oh, are we done? | 0:49:46 | 0:49:49 | |
I think I've done the best that I could do. | 0:49:49 | 0:49:52 | |
So, hopefully, it's enough. | 0:49:52 | 0:49:54 | |
Richard's brief was to create a chic hotel-style bedroom, | 0:49:54 | 0:49:58 | |
reflecting far-away travels and white, sandy beaches. | 0:49:58 | 0:50:02 | |
Before, the room struggled, with gaudy gold walls | 0:50:03 | 0:50:05 | |
and clashing colours. | 0:50:05 | 0:50:08 | |
Now it embodies an exotic luxury hotel. | 0:50:10 | 0:50:14 | |
Richard went for fresh white on the walls, | 0:50:16 | 0:50:17 | |
with calming grey at one end to hug the bed head. | 0:50:17 | 0:50:21 | |
He created an original headboard and continued his colour theme | 0:50:22 | 0:50:26 | |
onto the cushions and stencilled artwork. | 0:50:26 | 0:50:30 | |
And floor-to-ceiling cupboards in bold black give the room an edgy, | 0:50:30 | 0:50:33 | |
raw feel. | 0:50:33 | 0:50:34 | |
And, finally, hints of far-off travels finish off the look. | 0:50:35 | 0:50:39 | |
I'll be pleased if they're happy that I've brought together | 0:50:42 | 0:50:45 | |
a good design, rather than just, maybe, | 0:50:45 | 0:50:47 | |
"That bit's good" or "That bit's good". | 0:50:47 | 0:50:49 | |
If the whole thing together works for them, I think I'll be pleased. | 0:50:49 | 0:50:53 | |
Wow. | 0:50:55 | 0:50:57 | |
What a serene space. | 0:50:58 | 0:50:59 | |
-Isn't it? -It's really calm and it's really elegant. | 0:50:59 | 0:51:04 | |
I love the headboard, the way he's placed it inside the frames, | 0:51:04 | 0:51:08 | |
and there's a small gap there. | 0:51:08 | 0:51:09 | |
The colours are muted. The stencilling's good. | 0:51:09 | 0:51:12 | |
What do you think of the piece of art? | 0:51:12 | 0:51:13 | |
I would have liked to have seen some texture in it | 0:51:13 | 0:51:16 | |
and maybe gone down a bit in his colour on it, as well. | 0:51:16 | 0:51:22 | |
He could have chosen any other colour, but you've got the pink, | 0:51:22 | 0:51:24 | |
the crimson, the pink, crimson, the pink, the crimson | 0:51:24 | 0:51:27 | |
and not enough of the neutrals, and I'm really disappointed by that. | 0:51:27 | 0:51:31 | |
I have to say, I do think the new cupboards are really | 0:51:31 | 0:51:34 | |
quite effective. They do lengthen the eye in the room. | 0:51:34 | 0:51:38 | |
Now, if this had been just any old room, | 0:51:38 | 0:51:41 | |
it would have been a great idea. But when you've got... | 0:51:41 | 0:51:45 | |
Oh, hang on a minute. This rug is in the way. | 0:51:45 | 0:51:48 | |
-Not thought about that, has he? -It's a shame he didn't have time | 0:51:48 | 0:51:50 | |
-to finish painting the inside. -That's a shame. -I would have painted | 0:51:50 | 0:51:53 | |
all of the inside black. | 0:51:53 | 0:51:54 | |
These lovely, original, Victorian cupboards in here | 0:51:54 | 0:51:57 | |
should be celebrated in this space. | 0:51:57 | 0:52:00 | |
I wonder if he's just ignored the building he's in. | 0:52:00 | 0:52:04 | |
Hopefully, the homeowner's pleased | 0:52:08 | 0:52:10 | |
with it and she's happy to have it in her house. | 0:52:10 | 0:52:12 | |
Come on in! | 0:52:13 | 0:52:15 | |
Wow. I think that's excellent. Love it. Like the bed, | 0:52:18 | 0:52:22 | |
-he's done a really good job. -Cupboards? | 0:52:22 | 0:52:25 | |
I'm not sure how you feel about opening a cupboard | 0:52:25 | 0:52:28 | |
to open another cupboard, functionally. | 0:52:28 | 0:52:30 | |
Well, it's a design feature. Not sure of the practicalities of it, | 0:52:30 | 0:52:33 | |
but it was very gold before, so now it's very chic, | 0:52:33 | 0:52:37 | |
which is actually what the brief was. | 0:52:37 | 0:52:39 | |
Shaida's brief asked for a Moorish look. | 0:52:45 | 0:52:47 | |
And the result was fabulous. | 0:52:47 | 0:52:49 | |
And these little Victorian, Gothic spaces | 0:52:49 | 0:52:52 | |
do lend themselves very well to Moorish style. | 0:52:52 | 0:52:54 | |
But I think it's quite difficult to put a Moorish design | 0:52:54 | 0:52:57 | |
in a Gothic house. You know, it's about slightly balancing, | 0:52:57 | 0:53:01 | |
so that you have enough of both, rather than overpowering. | 0:53:01 | 0:53:04 | |
We both loved those shutters, though, didn't we? | 0:53:04 | 0:53:06 | |
They were quite a triumph. What a great idea. | 0:53:06 | 0:53:08 | |
But there were some details that let it down for me | 0:53:08 | 0:53:11 | |
and that was the joinery finish. | 0:53:11 | 0:53:12 | |
You just do not try and age a modern piece of wood - | 0:53:12 | 0:53:16 | |
you're just not going to get away with it. | 0:53:16 | 0:53:18 | |
-It looked fake. -But I think she delivered, hopefully, | 0:53:18 | 0:53:21 | |
what the client wanted. | 0:53:21 | 0:53:22 | |
-Loved it. -Oh! -Yay! -Loved it, loved it. | 0:53:22 | 0:53:25 | |
Wasn't quite sure about the lace on the bed. | 0:53:25 | 0:53:27 | |
But, again, she could be convinced. | 0:53:27 | 0:53:29 | |
Susanne had a pretty tough brief. | 0:53:29 | 0:53:31 | |
She had some big lumps of furniture that dominate that room, | 0:53:31 | 0:53:34 | |
going back in there. She had this projector to deal with. | 0:53:34 | 0:53:37 | |
Yeah, it was very difficult. Her composure was extraordinary. | 0:53:37 | 0:53:42 | |
And she created this lovely scheme. | 0:53:42 | 0:53:44 | |
When you walked into that room, | 0:53:44 | 0:53:46 | |
the first feeling that you get is it's fresh and it's happy and very, | 0:53:46 | 0:53:51 | |
very welcoming, just like her. | 0:53:51 | 0:53:53 | |
I think the difficulty was, though, | 0:53:53 | 0:53:55 | |
she tried to tick all the boxes for the homeowner. | 0:53:55 | 0:53:58 | |
She decided to do a tray with sand in, | 0:53:58 | 0:54:01 | |
but, for me, it was just over the top. | 0:54:01 | 0:54:04 | |
Parts of the room, at times, just felt a little bit over-manicured. | 0:54:04 | 0:54:08 | |
So, I'm dying to know, more than ever. | 0:54:08 | 0:54:10 | |
Well, they were pleasantly surprised. | 0:54:10 | 0:54:12 | |
-Yay! -Really loved it, really loved it. | 0:54:12 | 0:54:13 | |
So, did Richard achieve that hotel chic? | 0:54:13 | 0:54:17 | |
I think what Richard did was really think outside of the box. | 0:54:17 | 0:54:19 | |
By putting in those modern cupboards on either side and painting the room | 0:54:19 | 0:54:24 | |
white, he did an extremely-brilliant job of it. | 0:54:24 | 0:54:27 | |
There was understanding the design rules and working with them. | 0:54:27 | 0:54:31 | |
For example, lengthening the eye, by making those cupboards taller. | 0:54:31 | 0:54:35 | |
And his use of colour, for me, was a little bit over the top, | 0:54:35 | 0:54:38 | |
-with the pink. -Absolutely. -That, for me, spoilt it. | 0:54:38 | 0:54:41 | |
Well, the homeowner...loved it. | 0:54:41 | 0:54:44 | |
Oh, well, that's good news. Happy homeowner. | 0:54:44 | 0:54:46 | |
The cupboard wasn't... She maybe could come round to. | 0:54:46 | 0:54:49 | |
Maybe a bit too radical for her, I thought. | 0:54:49 | 0:54:51 | |
Of course, she loves her Gothic house and wanted to retain | 0:54:51 | 0:54:54 | |
a little bit of that style, perhaps. | 0:54:54 | 0:54:55 | |
It's going to make us think, isn't it, really hard, | 0:54:57 | 0:54:59 | |
who we're going to pick? | 0:54:59 | 0:55:01 | |
I'm feeling quite excited. I think it's going to be quite nice | 0:55:04 | 0:55:07 | |
to actually get some feedback from the judges. | 0:55:07 | 0:55:09 | |
It will be nice to hear what they've got to say. | 0:55:09 | 0:55:11 | |
I've put my heart and soul into it and, sometimes, that's not enough. | 0:55:11 | 0:55:15 | |
But I think, as long as I know I've done my level best | 0:55:15 | 0:55:19 | |
to try and get into the next round, that's enough for me. | 0:55:19 | 0:55:22 | |
I would like to think that I've done enough to go through to | 0:55:23 | 0:55:26 | |
the next round. I think I've done the best that I could do, | 0:55:26 | 0:55:29 | |
so, hopefully, it's enough. | 0:55:29 | 0:55:30 | |
High Victorian Gothic, like this, is really strong architecture | 0:55:33 | 0:55:36 | |
-to have to work within. -Richard, you've played with the rules. | 0:55:36 | 0:55:41 | |
You know what the rules are in interior design. | 0:55:41 | 0:55:43 | |
Susanne, I think you had an incredibly-difficult brief | 0:55:43 | 0:55:47 | |
and you kept your poise and you kept on going | 0:55:47 | 0:55:50 | |
and it was a very cheerful room. | 0:55:50 | 0:55:52 | |
Shaida, I think what's stunning about that space | 0:55:52 | 0:55:55 | |
is something almost intangible because you created an atmosphere. | 0:55:55 | 0:56:00 | |
There is only room for two in the next round, I'm afraid. | 0:56:02 | 0:56:04 | |
First designer going through is... | 0:56:07 | 0:56:10 | |
..Richard. | 0:56:12 | 0:56:13 | |
The second designer going through... | 0:56:17 | 0:56:19 | |
..is Shaida. | 0:56:23 | 0:56:24 | |
So, Susanne, I'm sorry, it's goodbye. Sorry! | 0:56:25 | 0:56:28 | |
Sad to be leaving the competition. | 0:56:31 | 0:56:32 | |
I was up against two strong competitors, | 0:56:32 | 0:56:35 | |
so I'm delighted for them. All the best to them and I hope they win. | 0:56:35 | 0:56:39 | |
Well, I really loved it, so thank you very much, indeed. | 0:56:39 | 0:56:42 | |
You're most kind. I'm so pleased. | 0:56:42 | 0:56:44 | |
Susanne is leaving because I feel that her design was just too much. | 0:56:44 | 0:56:48 | |
She took everything on board with the brief, | 0:56:48 | 0:56:51 | |
but, instead of having an edit, it was all there. | 0:56:51 | 0:56:53 | |
I've got through. Really pleased. | 0:56:55 | 0:56:58 | |
I think all three of us did a really, really good job. | 0:56:58 | 0:57:00 | |
Fantastic job. And looking forward to the next challenge. | 0:57:00 | 0:57:05 | |
-You all right? -How are you? Boom, girl! | 0:57:05 | 0:57:08 | |
-You're the one! -I know, I got in! | 0:57:08 | 0:57:11 | |
It was absolutely beautiful room. Shaida is a really | 0:57:13 | 0:57:16 | |
clever artist, who can make a room have an atmosphere. | 0:57:16 | 0:57:20 | |
-Hiya, you all right? -Hi, how are you? Congratulations, well done. | 0:57:21 | 0:57:24 | |
-Thanks. -Good job. | 0:57:24 | 0:57:25 | |
I'm really pleased that the hard work and my design | 0:57:25 | 0:57:28 | |
hasn't gone unnoticed and it was appreciated. | 0:57:28 | 0:57:32 | |
For me, it's because he designs, literally, out of the box. | 0:57:32 | 0:57:35 | |
He does things that are different. He is not safe. | 0:57:35 | 0:57:37 | |
It was forward-thinking, it was modern, it was classic, | 0:57:37 | 0:57:41 | |
but, at the same time, it worked within an environment, | 0:57:41 | 0:57:43 | |
like a Gothic design. | 0:57:43 | 0:57:44 | |
I particularly like what you did with the board. | 0:57:44 | 0:57:47 | |
-That's great. Are you pleased with that? -Yeah, I am really pleased. | 0:57:47 | 0:57:50 | |
In Holly Village, Angela Burdett-Coutts' | 0:57:50 | 0:57:53 | |
flight of fancy created a fantastical design that has truly | 0:57:53 | 0:57:56 | |
stood the test of time. Now, our designers, too, | 0:57:56 | 0:57:59 | |
have taken inspiration and added their own unique marks | 0:57:59 | 0:58:02 | |
to these most eccentric of cottages. | 0:58:02 | 0:58:05 | |
Next time, in mock-Tudor homes in Worsley, Salford, | 0:58:11 | 0:58:15 | |
-who's faking it... -This is, kind of, a rip off. | 0:58:15 | 0:58:17 | |
It's not the vision that I had in my head. | 0:58:17 | 0:58:20 | |
..and who's losing it... | 0:58:20 | 0:58:21 | |
I'm freaking out now. | 0:58:23 | 0:58:24 | |
..when James and Daniella go head-to-head? | 0:58:24 | 0:58:27 | |
Oh, I feel like I've just had a baby! | 0:58:27 | 0:58:29 |