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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 | 0:00:14 | |
But sometimes, while the exterior creates a wow factor, | 0:00:14 | 0:00:17 | |
the interior can be distinctly lacking. | 0:00:17 | 0:00:19 | |
So we've gathered some of the UK's most talented amateur | 0:00:22 | 0:00:26 | |
interior designers to show us what they're made of. | 0:00:26 | 0:00:28 | |
Let's get started, guys. | 0:00:29 | 0:00:30 | |
Time is ticking. | 0:00:30 | 0:00:32 | |
We're in the quarterfinals, and the pressure is mounting. | 0:00:32 | 0:00:35 | |
That's it now - I'm really happy. | 0:00:36 | 0:00:39 | |
I may die of exhaustion. | 0:00:39 | 0:00:41 | |
I really don't need this. | 0:00:41 | 0:00:43 | |
Pressure's on. | 0:00:43 | 0:00:45 | |
Putting them through their paces and scrutinising | 0:00:45 | 0:00:47 | |
their every move are judges Daniel Hopwood, | 0:00:47 | 0:00:50 | |
designer and a director of the British Institute | 0:00:50 | 0:00:52 | |
of Interior Design... | 0:00:52 | 0:00:53 | |
This year, we've got new challenges for the designers that are really | 0:00:55 | 0:00:58 | |
going to push them to the limit. | 0:00:58 | 0:00:59 | |
..and internationally-renowned interior designer Kelly Hoppen. | 0:00:59 | 0:01:03 | |
As a judge in this competition, I want to see perfection. | 0:01:03 | 0:01:06 | |
I think I will be quite a hard judge. | 0:01:06 | 0:01:09 | |
But it's going to take a lot of creativity and hard work | 0:01:09 | 0:01:12 | |
to be crowned winner of the Great Interior Design Challenge. | 0:01:12 | 0:01:15 | |
This time, we're in the pretty coastal town of Aberaeron | 0:01:29 | 0:01:32 | |
in West Wales. | 0:01:32 | 0:01:33 | |
Two designers from the first round | 0:01:33 | 0:01:34 | |
will be competing for a place in the semifinals, | 0:01:34 | 0:01:36 | |
only, this time, they haven't just got one room | 0:01:36 | 0:01:38 | |
to do each, they've got two in neighbouring houses. | 0:01:38 | 0:01:41 | |
It's the quarterfinals, and the designers will have just | 0:01:43 | 0:01:47 | |
48 hours over three days, | 0:01:47 | 0:01:50 | |
£2,000... | 0:01:50 | 0:01:51 | |
..and, this time, their teams have doubled - | 0:01:53 | 0:01:55 | |
there'll be two builders and two decorators to manage. | 0:01:55 | 0:01:58 | |
-Yeah, that one needs to come up a bit. -Come up a bit, yeah? | 0:01:58 | 0:02:01 | |
And, in their toughest challenge yet, | 0:02:01 | 0:02:03 | |
their first room must be finished and judged on day two. | 0:02:03 | 0:02:08 | |
I'm going to cry. I'm going to cry. | 0:02:08 | 0:02:10 | |
They'll need to work hard to impress... | 0:02:10 | 0:02:13 | |
He's, kind of, almost frozen. | 0:02:13 | 0:02:15 | |
He looks so nervous. | 0:02:15 | 0:02:17 | |
..because it'll be goodbye for one of them at the end of this round. | 0:02:17 | 0:02:21 | |
I want to prove that my designs are special enough to win this heat. | 0:02:21 | 0:02:26 | |
I'm going to say that I'm confident, even though I'm possibly not. | 0:02:26 | 0:02:30 | |
Throughout the 1700s, Aberaeron was a bustling fishing port, | 0:02:39 | 0:02:43 | |
but it had a bigger future ahead of it | 0:02:43 | 0:02:45 | |
thanks to local landowner Rev. Alban Thomas Jones Gwynne. | 0:02:45 | 0:02:50 | |
He blew a huge inheritance from his wife's cousin on a single dream - | 0:02:50 | 0:02:54 | |
to create a successful port on Wales' West Coast to take advantage | 0:02:54 | 0:02:59 | |
of Cardigan Bay's thriving herring industry. | 0:02:59 | 0:03:01 | |
The vision was for warehouses, shops, | 0:03:03 | 0:03:05 | |
and elegant houses to line broad streets laid out in a grid pattern. | 0:03:05 | 0:03:09 | |
Merchants started to develop their trade, exporting coal, slate, | 0:03:10 | 0:03:14 | |
and limestone from Britain, | 0:03:14 | 0:03:16 | |
and importing coffee and sugar from South America, | 0:03:16 | 0:03:19 | |
and timber from Canada. | 0:03:19 | 0:03:20 | |
Aberaeron began to boom. | 0:03:20 | 0:03:21 | |
And today, in this picturesque seaside town, | 0:03:24 | 0:03:27 | |
with two rooms to transform, | 0:03:27 | 0:03:28 | |
things have also stepped up a notch for our budding designers. | 0:03:28 | 0:03:31 | |
In a pair of sunshine yellow Georgian-style houses, | 0:03:33 | 0:03:36 | |
they'll each be handed a study... | 0:03:36 | 0:03:38 | |
..and a bedroom. | 0:03:40 | 0:03:41 | |
The first designer returning is 63-year-old actor, director | 0:03:47 | 0:03:51 | |
and writer Nicholas. | 0:03:51 | 0:03:53 | |
My style is a mixture of modern Baroque, | 0:03:53 | 0:03:57 | |
Monet's house in Giverny, | 0:03:57 | 0:04:00 | |
and the influence of Oriental | 0:04:00 | 0:04:04 | |
and textiles. | 0:04:04 | 0:04:06 | |
His love of opulence is reflected in his own South London home. | 0:04:06 | 0:04:10 | |
The fact that I have lived through | 0:04:10 | 0:04:13 | |
quite a few decades of design, | 0:04:13 | 0:04:16 | |
I think I can pull on all those different influences, | 0:04:16 | 0:04:20 | |
and create something that fits, | 0:04:20 | 0:04:23 | |
and deal with people and understand what people want. | 0:04:23 | 0:04:28 | |
Last time, he wowed the judges | 0:04:29 | 0:04:31 | |
with a tranquil Japanese-themed room in Saltaire. | 0:04:31 | 0:04:34 | |
And his flamboyance won him a place in the quarterfinals. | 0:04:34 | 0:04:37 | |
What did Nicholas do last time that impressed you so much? | 0:04:40 | 0:04:42 | |
He researches the period, the style, | 0:04:42 | 0:04:45 | |
everything that he wants to do to such a T, | 0:04:45 | 0:04:48 | |
and it was really sensational. | 0:04:48 | 0:04:51 | |
But I was very concerned, as I think we both were, | 0:04:51 | 0:04:53 | |
that, because of his theatrical background, | 0:04:53 | 0:04:56 | |
it was going to be too over-staged, too much going on. | 0:04:56 | 0:04:59 | |
So the danger zone for Nicholas is not to over-egg the pudding, | 0:04:59 | 0:05:01 | |
not to make it too themey and stagy. That's the worry? | 0:05:01 | 0:05:05 | |
Yeah, exactly. | 0:05:05 | 0:05:06 | |
Nicholas has been given the task of treading the boards | 0:05:08 | 0:05:10 | |
in the vibrant house homeowner Diana shares with her son and daughter. | 0:05:10 | 0:05:14 | |
First up, it's the study. | 0:05:15 | 0:05:17 | |
My children, Tom and Emma, who are 17 and 22, | 0:05:17 | 0:05:21 | |
want somewhere where they can hang out with their mates. | 0:05:21 | 0:05:24 | |
So I want it to be modern, colourful, but not babyish. | 0:05:24 | 0:05:29 | |
The designers have had their briefs for just over a week, | 0:05:29 | 0:05:32 | |
but today is the first time they're seeing their houses in person. | 0:05:32 | 0:05:36 | |
It's a nice-size room. | 0:05:36 | 0:05:38 | |
Very good blank canvas for what I want. | 0:05:38 | 0:05:40 | |
The second room Nicholas is taking on his upstairs. | 0:05:41 | 0:05:45 | |
Ah-ha. | 0:05:45 | 0:05:47 | |
The bedroom. | 0:05:47 | 0:05:48 | |
My bedroom is lacking in a bit of character. | 0:05:48 | 0:05:51 | |
I'd like it to be bright and elegant. | 0:05:51 | 0:05:54 | |
A lot of wood in here. A lot of wood. | 0:05:54 | 0:05:57 | |
I don't want all the walls the same colour - | 0:05:57 | 0:06:00 | |
I would like one accent wall. | 0:06:00 | 0:06:02 | |
Working to Diana's brief, Nicholas has created a mood board | 0:06:04 | 0:06:08 | |
of his ideas which he'll present to her. | 0:06:08 | 0:06:10 | |
On hand to assess his performance are industry experts | 0:06:13 | 0:06:16 | |
Kelly Hoppen and Daniel Hopwood. | 0:06:16 | 0:06:18 | |
They'll be looking out for strong presentation skills and an ability | 0:06:19 | 0:06:23 | |
to adapt to his client's wishes. | 0:06:23 | 0:06:25 | |
To make Diana feel at ease, he's kicking things off | 0:06:26 | 0:06:29 | |
in her native tongue... | 0:06:29 | 0:06:30 | |
-Bore da, Diana. -Oh, bore da. | 0:06:30 | 0:06:32 | |
..and begins with his ideas for the study. | 0:06:32 | 0:06:35 | |
Two of the elements that were mentioned | 0:06:35 | 0:06:39 | |
-were beanbags and the hanging pod seat... -Oh, yeah. Yeah. | 0:06:39 | 0:06:42 | |
..and I immediately thought '60s, '70s. | 0:06:42 | 0:06:46 | |
So...white neutral on the walls, | 0:06:46 | 0:06:50 | |
so that the accent is with the accessories | 0:06:50 | 0:06:53 | |
-around the room and the bits and pieces. -OK. | 0:06:53 | 0:06:56 | |
You wouldn't like to do one orange wall, would you? | 0:06:56 | 0:06:59 | |
I could do one orange wall. | 0:06:59 | 0:07:00 | |
-I'd like an accent wall. -Absolutely, if you'd... | 0:07:00 | 0:07:03 | |
-If you'd like. -I'd like that. -Yes. | 0:07:03 | 0:07:06 | |
On the long wall, I've designed | 0:07:06 | 0:07:09 | |
some shelves in real wood, | 0:07:09 | 0:07:11 | |
which is a triangular structure. | 0:07:11 | 0:07:15 | |
Oh, light fitting - they're going to be made from dustbin lids... | 0:07:15 | 0:07:19 | |
SHE LAUGHS | 0:07:19 | 0:07:20 | |
..with enormous bulbs inside. | 0:07:20 | 0:07:24 | |
OK, I like it. I like it. | 0:07:24 | 0:07:26 | |
-OK, let's move on. -Yeah, let's move on. | 0:07:26 | 0:07:28 | |
In complete contrast to your very classical | 0:07:28 | 0:07:32 | |
and elegant bedroom... | 0:07:32 | 0:07:34 | |
What I want to do is keep the walls neutral tone. | 0:07:34 | 0:07:39 | |
I do like light grey. I think it's very classy. | 0:07:39 | 0:07:41 | |
You're a classy person. | 0:07:41 | 0:07:42 | |
-We want you to go classy. -Oh, I don't know about that! | 0:07:42 | 0:07:45 | |
As a feature wall, | 0:07:46 | 0:07:49 | |
I wanted to use this paper, which is silk. | 0:07:49 | 0:07:53 | |
-Is it going to be that colour? -It's... I was going to keep it | 0:07:53 | 0:07:56 | |
in tones of white. | 0:07:56 | 0:07:58 | |
Because I wanted one wall...colour. Teal. Blue teal. | 0:07:58 | 0:08:01 | |
We can...we can...we can do that. | 0:08:01 | 0:08:04 | |
I can do you a teal wall as well... | 0:08:04 | 0:08:07 | |
with it. | 0:08:07 | 0:08:08 | |
The light fitting, I want to use quartz crystals. | 0:08:08 | 0:08:13 | |
I found that every square metre of the surface of the Welsh landscape | 0:08:13 | 0:08:18 | |
-has some quartz present. -Oh, really? Yeah, nice. | 0:08:18 | 0:08:21 | |
A new look, a new feel, a new start. | 0:08:21 | 0:08:24 | |
Yeah. All I need is a man now. | 0:08:24 | 0:08:27 | |
Do you know, no matter what Nicholas is doing, | 0:08:27 | 0:08:30 | |
I like the fact that he tells a really, really good story. | 0:08:30 | 0:08:34 | |
When he is there doing his presentation, | 0:08:34 | 0:08:36 | |
-he engulfs the homeowner... -Oh, doesn't he sell it? | 0:08:36 | 0:08:39 | |
..into the experience, and that's his theatre background. | 0:08:39 | 0:08:42 | |
But my concerns are, being the theatrical person that he is, | 0:08:42 | 0:08:45 | |
that he loves a theme, | 0:08:45 | 0:08:47 | |
and he's done that in that study, going for that '60s look. | 0:08:47 | 0:08:50 | |
You don't have to have the whole room look retro. | 0:08:50 | 0:08:53 | |
Exactly, but Nicholas' scheme for the bedroom | 0:08:53 | 0:08:56 | |
is completely different from the study. | 0:08:56 | 0:08:59 | |
But I think that he's going to have a problem on his hands as to where | 0:08:59 | 0:09:02 | |
that feature wall is actually going to end up. | 0:09:02 | 0:09:04 | |
The clock has started on Nicholas' 48 hours. | 0:09:06 | 0:09:09 | |
The homeowner has requested that there's more of an accent wall... | 0:09:09 | 0:09:14 | |
which I want to put on this wall here - just a slightly, | 0:09:14 | 0:09:19 | |
slightly pale teal colour. | 0:09:19 | 0:09:21 | |
We have a monumental task ahead of us in both rooms. | 0:09:21 | 0:09:25 | |
So...let's get to it. | 0:09:25 | 0:09:28 | |
But with the study to be completed tomorrow, | 0:09:29 | 0:09:32 | |
it's the tangerine feature wall that's up first. | 0:09:32 | 0:09:35 | |
Whoa! That's bright. | 0:09:36 | 0:09:38 | |
That is quite some colour. | 0:09:38 | 0:09:40 | |
Our second designer is 31-year-old transport artist Richard. | 0:09:45 | 0:09:49 | |
I would say my style is... It's raw, imperfect... | 0:09:49 | 0:09:53 | |
It's a bit industrial... | 0:09:53 | 0:09:56 | |
..and eclectic. Very much eclectic, actually. | 0:09:57 | 0:10:00 | |
His career sketching cars has evolved into redesigning the home | 0:10:00 | 0:10:04 | |
he shares with his wife and baby son in West Yorkshire. | 0:10:04 | 0:10:06 | |
I have so many things that I'm interested in | 0:10:07 | 0:10:09 | |
and so many areas of design that I like | 0:10:09 | 0:10:12 | |
that, when they all mould together, | 0:10:12 | 0:10:14 | |
they don't really fit in to any sort of style other than... | 0:10:14 | 0:10:18 | |
-my style, I think. -HE LAUGHS | 0:10:18 | 0:10:20 | |
In the first heat, Richard impressed the judges with a bedroom lavished | 0:10:21 | 0:10:25 | |
with hotel chic in North London. | 0:10:25 | 0:10:28 | |
And his unique vision won him a place in the next round. | 0:10:28 | 0:10:31 | |
What did Richard do the first time that so impressed you? | 0:10:34 | 0:10:36 | |
I think what was great about him, | 0:10:36 | 0:10:38 | |
cos he's an industrial designer | 0:10:38 | 0:10:40 | |
and he was asked to do hotel chic, and he really delivered that. | 0:10:40 | 0:10:43 | |
And I was seriously impressed by him. | 0:10:43 | 0:10:45 | |
So what are you expecting from Richard this time? | 0:10:45 | 0:10:47 | |
One of the things that I really want is to see his confidence come out. | 0:10:47 | 0:10:51 | |
Verbally, he's very timid. | 0:10:51 | 0:10:53 | |
My fear is that we know he's a perfectionist, | 0:10:53 | 0:10:57 | |
and the classic trait of a perfectionist | 0:10:57 | 0:10:59 | |
is actually not finishing things. | 0:10:59 | 0:11:01 | |
Because they're spending too much time focusing | 0:11:01 | 0:11:04 | |
on one thing at a time. | 0:11:04 | 0:11:05 | |
And he's got two rooms this time, and that might defeat him. | 0:11:05 | 0:11:08 | |
Richard's challenge is to take the helm | 0:11:10 | 0:11:12 | |
of the former sea captain's house | 0:11:12 | 0:11:14 | |
that homeowners Lynne and Dai have lived in for 27 years. | 0:11:14 | 0:11:17 | |
He's also got a study to revamp, but with a nautical theme. | 0:11:18 | 0:11:21 | |
Yeah, this is a nice room, this. | 0:11:22 | 0:11:24 | |
-I might just leave it as it is. -HE LAUGHS | 0:11:24 | 0:11:27 | |
It's a room where...where I usually go and chill out. | 0:11:27 | 0:11:30 | |
Although it's fairly functional, | 0:11:30 | 0:11:32 | |
it's not a very inspiring room to sit in. | 0:11:32 | 0:11:35 | |
I'd like it to be sort of traditional. | 0:11:35 | 0:11:37 | |
I don't want anything garish. | 0:11:37 | 0:11:39 | |
The curtains we've got, they're sort of a light blue, creamy colour, | 0:11:39 | 0:11:42 | |
which I want to keep. Lynne's mother made them, | 0:11:42 | 0:11:45 | |
-so we can't throw those. -HE LAUGHS | 0:11:45 | 0:11:47 | |
I can't upset the mother-in-law. | 0:11:47 | 0:11:49 | |
The office chair is an old armchair, | 0:11:49 | 0:11:51 | |
which we would like recovered, | 0:11:51 | 0:11:53 | |
but, apart from that, everything can go. | 0:11:53 | 0:11:56 | |
And upstairs it's the couple's bedroom | 0:11:57 | 0:11:59 | |
that needs a new lease of life. | 0:11:59 | 0:12:01 | |
It's a bit smaller than I thought, but then so is the furniture, | 0:12:01 | 0:12:04 | |
so that's good. | 0:12:04 | 0:12:06 | |
We want the bedroom to remain fairly traditional, | 0:12:06 | 0:12:08 | |
but we're open to a bit of quirkiness. | 0:12:08 | 0:12:10 | |
Yeah, fresh, more modern. | 0:12:10 | 0:12:12 | |
But Richard's task might not be as straightforward as it sounds. | 0:12:12 | 0:12:16 | |
I think our designer has got a challenge. | 0:12:16 | 0:12:18 | |
Our tastes are fairly traditional and it might be hard to please us. | 0:12:18 | 0:12:22 | |
HE LAUGHS | 0:12:22 | 0:12:23 | |
This is the mood board I've done for your study. | 0:12:24 | 0:12:29 | |
So, yeah, I tried to get the colours | 0:12:29 | 0:12:31 | |
from the curtains that you've got in there. | 0:12:31 | 0:12:33 | |
Then, you said you liked a little bit of a nautical theme. | 0:12:33 | 0:12:36 | |
So these shelves here, they're rope shelves. | 0:12:36 | 0:12:39 | |
They're kind of like that sort of idea. | 0:12:39 | 0:12:42 | |
With your chair, I thought that I would reupholster it | 0:12:42 | 0:12:45 | |
-in a kind of hessian material. -Right, OK. -Yeah. | 0:12:45 | 0:12:48 | |
And then, in that same hessian material, I want to make you | 0:12:48 | 0:12:52 | |
-a little window seat as well. -Yeah, yeah, looks good. -Yeah? | 0:12:52 | 0:12:56 | |
-Yeah, yeah. -Yeah. -Then this is the ideas I've got for the bedroom. | 0:12:56 | 0:13:01 | |
I suppose the biggest thing that I'm thinking about in here | 0:13:01 | 0:13:04 | |
-is the headboard - I've gone big. -HE LAUGHS | 0:13:04 | 0:13:06 | |
-It does look big. -So it's most of the wall. | 0:13:06 | 0:13:09 | |
In three sections, it'll be padded. | 0:13:09 | 0:13:12 | |
And then, these two bits either side of here, | 0:13:12 | 0:13:15 | |
I was going to do in chipboard. | 0:13:15 | 0:13:17 | |
Painted in white - that first of all - and then sanded back, | 0:13:17 | 0:13:20 | |
-so it'll be like that. -OK. | 0:13:20 | 0:13:21 | |
Bit different. | 0:13:21 | 0:13:23 | |
-Yeah, it's a bit quirky. -Yeah, yeah. | 0:13:23 | 0:13:25 | |
It's my favourite material. It's amazing stuff. I love it. | 0:13:25 | 0:13:28 | |
HE LAUGHS | 0:13:28 | 0:13:29 | |
I've got pendants dangling on fabric cord. | 0:13:29 | 0:13:33 | |
They'll be either side of the bed, | 0:13:33 | 0:13:34 | |
and they'll just hang down and sit in | 0:13:34 | 0:13:37 | |
these two vase lantern things. | 0:13:37 | 0:13:40 | |
So after the little quirks of the lantern, | 0:13:40 | 0:13:43 | |
I'm going to come to the more quirky | 0:13:43 | 0:13:45 | |
and a little bit more bold... | 0:13:45 | 0:13:47 | |
HE LAUGHS | 0:13:47 | 0:13:48 | |
..dressing table, which I was hoping to paint pink. | 0:13:48 | 0:13:52 | |
-OK. -HE LAUGHS | 0:13:52 | 0:13:53 | |
I just think it really adds something. | 0:13:53 | 0:13:55 | |
Hopefully, a big wow factor when you walk in. | 0:13:55 | 0:13:57 | |
-Yeah, I'm impressed with that. -Yeah? -Yeah. -Pleased? -Yeah. -Yes, yes. | 0:13:57 | 0:14:00 | |
-Excellent. -HE LAUGHS | 0:14:00 | 0:14:01 | |
Excellent. | 0:14:01 | 0:14:02 | |
I love Richard's schemes because you can recognise | 0:14:02 | 0:14:05 | |
-that they're his style. -He's done something very modern | 0:14:05 | 0:14:08 | |
by painting the walls in two colours. And then, the bedroom - | 0:14:08 | 0:14:11 | |
I love the headboard, that it's high. | 0:14:11 | 0:14:13 | |
He's made that very grand. | 0:14:13 | 0:14:15 | |
The only thing that really concerns me is this kind of coral pink. | 0:14:15 | 0:14:18 | |
But we asked him to start looking at layering a scheme, | 0:14:18 | 0:14:21 | |
adding texture and colour. | 0:14:21 | 0:14:23 | |
I mean, he has. He's becoming much more playful. | 0:14:23 | 0:14:25 | |
First thing I need from you is... | 0:14:28 | 0:14:31 | |
-the headboard. -OK, yeah. | 0:14:31 | 0:14:34 | |
At the start of his 48 hours, Richard's got big plans for | 0:14:34 | 0:14:38 | |
the bedroom... | 0:14:38 | 0:14:39 | |
It's going to be three different panels. | 0:14:39 | 0:14:41 | |
-Oh, OK. -And in terms of painting... | 0:14:41 | 0:14:45 | |
erm, it's all going to be one colour. | 0:14:45 | 0:14:48 | |
..but his team needs to know what to do first. | 0:14:48 | 0:14:51 | |
-I don't know - paint the walls... -Paint the ceiling? | 0:14:51 | 0:14:53 | |
-..paint the ceilings. -HE LAUGHS | 0:14:53 | 0:14:55 | |
Is that hessian or something? | 0:14:55 | 0:14:57 | |
And he's struggling to provide answers in the study too. | 0:14:57 | 0:15:00 | |
Is there a timetable to get this done by? | 0:15:00 | 0:15:03 | |
Yeah, this one needs to be done by tomorrow. | 0:15:03 | 0:15:06 | |
Tomorrow when, roughly? | 0:15:06 | 0:15:07 | |
-That's a good question I don't know the answer to. -OK, we don't know. | 0:15:07 | 0:15:10 | |
None the wiser, the team get to work. | 0:15:12 | 0:15:15 | |
And, for Richard, his biggest job is reupholstering the study chair. | 0:15:15 | 0:15:19 | |
The chair used to belong to the homeowner's grandfather, | 0:15:19 | 0:15:23 | |
so I guess it's quite old. It's also a bit of added pressure | 0:15:23 | 0:15:27 | |
as well, with it being a family heirloom. | 0:15:27 | 0:15:30 | |
I've not upholstered anything before. | 0:15:31 | 0:15:33 | |
I've watched a few videos on the internet before coming down here, | 0:15:33 | 0:15:37 | |
just to see what the... | 0:15:37 | 0:15:40 | |
-what deal is, so... -HE LAUGHS | 0:15:40 | 0:15:43 | |
With both designers off the starting blocks, | 0:15:46 | 0:15:48 | |
tomorrow's deadline to have their studies finished | 0:15:48 | 0:15:51 | |
is inching ever nearer in this charming Welsh town. | 0:15:51 | 0:15:53 | |
Known as the jewel of Cardigan Bay, | 0:15:57 | 0:16:00 | |
Aberaeron is a rare example of 19th century urban planning. | 0:16:00 | 0:16:03 | |
The town was mostly built in the Victorian era, | 0:16:05 | 0:16:08 | |
but it looks even older. | 0:16:08 | 0:16:09 | |
The houses were designed in a Georgian style with sash windows, | 0:16:09 | 0:16:13 | |
decorative lintels, and harmonious neoclassical proportions. | 0:16:13 | 0:16:16 | |
Houses were built two rooms wide and only one room deep, | 0:16:19 | 0:16:23 | |
a twist on the usual two-up, two-down model. | 0:16:23 | 0:16:26 | |
This gave the illusion of width and grandeur, | 0:16:26 | 0:16:29 | |
a modest nod to the Georgian country villa - | 0:16:29 | 0:16:31 | |
something that would have appealed to the middle-class aspirational | 0:16:31 | 0:16:34 | |
merchants that lived inside. | 0:16:34 | 0:16:35 | |
Some people think that the bright colours of the houses were so that | 0:16:38 | 0:16:41 | |
the fishermen could identify their homes when they were out at sea. | 0:16:41 | 0:16:44 | |
The rather less romantic truth is that the colour wash protected the | 0:16:44 | 0:16:48 | |
houses from the salty air and hid the cheap stone underneath. | 0:16:48 | 0:16:52 | |
In any case, these kinds of bright colours didn't turn up | 0:16:52 | 0:16:55 | |
until the mid-20th century. | 0:16:55 | 0:16:56 | |
And behind this colourful facade | 0:17:02 | 0:17:03 | |
Nicholas is working on his trash can light fittings, | 0:17:03 | 0:17:06 | |
which will illuminate his '60s study. | 0:17:06 | 0:17:08 | |
They are going to hang from the ceiling | 0:17:09 | 0:17:13 | |
with enormous bulbs in them. | 0:17:13 | 0:17:15 | |
He's drilling a hole where the light cord will thread through. | 0:17:15 | 0:17:19 | |
You don't have to buy the whole dustbin. You can just buy the lids. | 0:17:19 | 0:17:23 | |
If we can thread those through each one, | 0:17:26 | 0:17:30 | |
we just need to get them up and running, yeah? | 0:17:30 | 0:17:34 | |
While the electricians are left to bring Nicholas's creation to life... | 0:17:34 | 0:17:38 | |
It's very slightly bigger than eight foot. | 0:17:38 | 0:17:41 | |
..the design of his intricate shelving unit needs some explaining. | 0:17:41 | 0:17:45 | |
I think if we start at the bottom and get this height in this shelf, | 0:17:45 | 0:17:49 | |
so it's a good worktop height, | 0:17:49 | 0:17:51 | |
and you could actually sit on a high stool at a computer. | 0:17:51 | 0:17:55 | |
Looking at the designs, it looks huge, | 0:17:55 | 0:17:57 | |
and I'm just wondering how it's going to fit into such a small room. | 0:17:57 | 0:18:00 | |
This looks really good, | 0:18:02 | 0:18:05 | |
and the shelving is coming on quite brilliantly. | 0:18:05 | 0:18:09 | |
Nearby, in Richard's nautical-themed study, | 0:18:12 | 0:18:14 | |
as the paint goes on the walls, he's all at sea. | 0:18:14 | 0:18:18 | |
I need to get my chair finished, as well as... | 0:18:19 | 0:18:22 | |
What else do I need to do? Erm... | 0:18:23 | 0:18:25 | |
What else do I need to do? | 0:18:29 | 0:18:31 | |
And while Richard's pondering... | 0:18:31 | 0:18:34 | |
at least his second room upstairs hasn't been totally forgotten. | 0:18:34 | 0:18:38 | |
The bedroom's been painted, | 0:18:38 | 0:18:40 | |
and, outside, the feature headboard's being cut. | 0:18:40 | 0:18:42 | |
But he's got to get back to work on the family chair. | 0:18:45 | 0:18:47 | |
I expected the upholstering of the chair to be quite a challenge | 0:18:51 | 0:18:55 | |
and it hasn't disappointed. | 0:18:55 | 0:18:57 | |
But it's going all right. | 0:18:57 | 0:18:58 | |
It's just taking a bit more time than I was expecting. | 0:18:58 | 0:19:01 | |
Richard is spending so much time reupholstering the chair. | 0:19:03 | 0:19:07 | |
Fantastic to do that, but he is running out of time. | 0:19:07 | 0:19:10 | |
The end of the first day is in sight, | 0:19:14 | 0:19:17 | |
and a retro desk Nicholas has chosen for the study | 0:19:17 | 0:19:20 | |
is getting a face-lift. | 0:19:20 | 0:19:22 | |
I have to start wallpapering the fronts of the drawers | 0:19:22 | 0:19:27 | |
using quite a retro wallpaper. | 0:19:27 | 0:19:29 | |
I think the only technique you need is a steady hand, | 0:19:29 | 0:19:32 | |
and getting the pattern right, | 0:19:32 | 0:19:34 | |
because the pattern has got to be centred. | 0:19:34 | 0:19:36 | |
Otherwise, it could look a bit of a pig's bottom. | 0:19:36 | 0:19:41 | |
In Richard's house, his final task of the day | 0:19:43 | 0:19:46 | |
is to paint the arms of the study chair, | 0:19:46 | 0:19:49 | |
but he's taking a gamble and making chalk paint for the first time. | 0:19:49 | 0:19:53 | |
The recipe I got off the internet said a tablespoon of warm water | 0:19:53 | 0:19:59 | |
to a tablespoon of chalk powder | 0:19:59 | 0:20:02 | |
for a cup of paint. | 0:20:02 | 0:20:03 | |
Chalk paint is supposed to be handy | 0:20:06 | 0:20:08 | |
for painting on to furniture and things. | 0:20:08 | 0:20:11 | |
You don't have to sand it or do too much prepping of the woodwork | 0:20:11 | 0:20:15 | |
before you put it on. | 0:20:15 | 0:20:16 | |
It's going to make it a bit more contemporary | 0:20:16 | 0:20:19 | |
than if I just left the arms wooden. A bit more unique. | 0:20:19 | 0:20:22 | |
Yeah, it's going on all right. | 0:20:22 | 0:20:24 | |
The paint may be going on, | 0:20:26 | 0:20:28 | |
but the upholstery will have to wait until tomorrow. | 0:20:28 | 0:20:31 | |
Right, so we're all done for today. | 0:20:34 | 0:20:37 | |
I think we are so... | 0:20:37 | 0:20:39 | |
I'm not going to say ahead of time. | 0:20:40 | 0:20:42 | |
I think we are well on schedule. | 0:20:42 | 0:20:43 | |
Hello, you all right? | 0:20:51 | 0:20:52 | |
Yeah, I'm good. | 0:20:52 | 0:20:53 | |
-HE PANTS -How's it going? | 0:20:53 | 0:20:55 | |
-All right. All right. -All right? | 0:20:55 | 0:20:57 | |
I think it was a...a productive day. | 0:20:57 | 0:21:00 | |
We got a fair bit done, which I was pleased about. | 0:21:00 | 0:21:04 | |
Have you progressed to where you want to? | 0:21:04 | 0:21:08 | |
Mostly, yeah. | 0:21:08 | 0:21:09 | |
-Yeah. -Yeah? -I'm upholstering a chair, which I've never done before, | 0:21:09 | 0:21:12 | |
-so that's taken a long time. -Ooh, that's... | 0:21:12 | 0:21:15 | |
HE LAUGHS | 0:21:15 | 0:21:17 | |
'There is a lot to do tomorrow.' | 0:21:17 | 0:21:18 | |
I think I'm going to have to really keep an eye on the time. | 0:21:18 | 0:21:22 | |
I don't want to leave the competition | 0:21:22 | 0:21:24 | |
because I just couldn't keep control of how much stuff I had to do. | 0:21:24 | 0:21:28 | |
-Good morning. -Morning. -How are you? | 0:21:41 | 0:21:43 | |
How are we doing with the shelves? | 0:21:43 | 0:21:45 | |
Yeah, fine. | 0:21:45 | 0:21:46 | |
It's the start of day two, and, by the end of today, | 0:21:46 | 0:21:48 | |
Nicholas and Richard need to have finished a room each. | 0:21:48 | 0:21:51 | |
Better get a move on. | 0:21:51 | 0:21:52 | |
I'm sort of ready for today. | 0:21:54 | 0:21:56 | |
I've not slept very well thinking about getting the room finished. | 0:21:56 | 0:22:01 | |
And talking to Nicholas yesterday... | 0:22:01 | 0:22:04 | |
I think he's certainly more confident than I am! | 0:22:04 | 0:22:06 | |
Probably the extra push I need, maybe. | 0:22:06 | 0:22:08 | |
OK, so... | 0:22:11 | 0:22:13 | |
Nicholas is busy directing his builder | 0:22:13 | 0:22:15 | |
in his soon-to-be retro study. | 0:22:15 | 0:22:17 | |
If I had a sort of old record player arm, | 0:22:17 | 0:22:20 | |
I could hang it from the ceiling. | 0:22:20 | 0:22:22 | |
No, too fussy. | 0:22:23 | 0:22:25 | |
He's using old records to dress the window. | 0:22:25 | 0:22:27 | |
And then the tiebacks have a real jukebox one with no centre. | 0:22:27 | 0:22:32 | |
That goes on there, like that, | 0:22:32 | 0:22:36 | |
-and then that goes there. -Mm-hm. | 0:22:36 | 0:22:40 | |
Yeah? And then that line drops | 0:22:40 | 0:22:43 | |
-with that bar a moment. -OK. | 0:22:43 | 0:22:46 | |
-Shall I just put these on the window? -Yeah. | 0:22:46 | 0:22:48 | |
I'm just about to put the records on to the curtain tiebacks, | 0:22:49 | 0:22:55 | |
and for this I'm going to use a glue gun. | 0:22:55 | 0:22:58 | |
63-year-old Nicholas isn't fazed | 0:22:58 | 0:23:00 | |
designing for the youth of today. | 0:23:00 | 0:23:02 | |
I couldn't tell you what music they now listen to, | 0:23:03 | 0:23:07 | |
but I could actually find things | 0:23:07 | 0:23:10 | |
that the younger generation are going to think are cool. | 0:23:10 | 0:23:14 | |
And, of course, who could beat the '60s? | 0:23:14 | 0:23:18 | |
There has never been a decade like it. | 0:23:18 | 0:23:20 | |
I don't know what we did before glue guns. | 0:23:21 | 0:23:24 | |
Done. | 0:23:25 | 0:23:27 | |
So what do you think about the height of these and the sort of | 0:23:30 | 0:23:33 | |
spacing between the shelves? | 0:23:33 | 0:23:34 | |
In Richard's nautical-themed study, there's still a lot to do. | 0:23:34 | 0:23:38 | |
His builder's working on the shelves | 0:23:38 | 0:23:40 | |
he's designed using his trademark OSB - | 0:23:40 | 0:23:43 | |
a type of chipboard. | 0:23:43 | 0:23:44 | |
Thank you very much. | 0:23:44 | 0:23:46 | |
But with the all-consuming study chair to finish, | 0:23:46 | 0:23:49 | |
he's leaving his builder to it. | 0:23:49 | 0:23:51 | |
The idea was to sow the hessian to this padding panel | 0:23:52 | 0:23:56 | |
that's behind here. | 0:23:56 | 0:23:58 | |
I might give up on this idea very quickly and try something else. | 0:23:58 | 0:24:02 | |
-In fact, I'm going to do that. -HE LAUGHS | 0:24:03 | 0:24:05 | |
I'm going to give up on this idea and try something else. | 0:24:05 | 0:24:07 | |
Popping by to keep an eye on proceedings are the judges. | 0:24:12 | 0:24:16 | |
Hi, Richard. | 0:24:16 | 0:24:18 | |
-How's it going? -I've got a lot to do. | 0:24:18 | 0:24:21 | |
-Are you a bit behind? -Yeah, a little bit. | 0:24:21 | 0:24:23 | |
Why do you think you're a bit behind? | 0:24:23 | 0:24:25 | |
This chair that I'm upholstering has taken | 0:24:25 | 0:24:28 | |
a lot longer than I thought it was going to take. | 0:24:28 | 0:24:30 | |
Have you upholstered chair before? | 0:24:30 | 0:24:32 | |
-No. -OK. | 0:24:32 | 0:24:33 | |
Breathe. | 0:24:33 | 0:24:35 | |
If there is a person that can give you Zen peace, it's Kelly, so there you go. | 0:24:35 | 0:24:38 | |
No, but I think when you're in a state like this, | 0:24:38 | 0:24:41 | |
if you get too worked up, it just creates more anxiety. | 0:24:41 | 0:24:45 | |
You're better off just, like, sitting down and just | 0:24:45 | 0:24:47 | |
taking a deep breath. | 0:24:47 | 0:24:48 | |
Cos you know what time you've got, | 0:24:48 | 0:24:50 | |
you've just got to allocate and delegate. | 0:24:50 | 0:24:52 | |
Yeah. Yeah, I'm calm. | 0:24:52 | 0:24:54 | |
SHE LAUGHS | 0:24:54 | 0:24:56 | |
Every minute counts... | 0:24:56 | 0:24:58 | |
-Thank you. -..and good luck with it. -Thanks. | 0:24:58 | 0:25:00 | |
Kelly, I'm really concerned with Richard - he looks so nervous. | 0:25:00 | 0:25:03 | |
We've seen this before with perfectionists. | 0:25:03 | 0:25:06 | |
When they're under stress, they freeze up | 0:25:06 | 0:25:08 | |
rather than actually start going for it and just speeding up. | 0:25:08 | 0:25:11 | |
And I'm praying that he's going to pull it off. | 0:25:11 | 0:25:14 | |
The sea has played a major role in shaping Aberaeron. | 0:25:18 | 0:25:21 | |
In its infancy, the town's residents included merchants, | 0:25:21 | 0:25:25 | |
shipbuilders and captains. | 0:25:25 | 0:25:27 | |
Ships were believed to be saved from the perils of the sea by the power | 0:25:27 | 0:25:30 | |
of prayer, so worship played a vital role in the life of the town. | 0:25:30 | 0:25:34 | |
So much so that Colonel Gwyn set aside land | 0:25:34 | 0:25:36 | |
for two Methodist chapels here. | 0:25:36 | 0:25:38 | |
This one, their Tabernacle, | 0:25:38 | 0:25:40 | |
is built in the same austere, neoclassical style | 0:25:40 | 0:25:42 | |
as the rest of the town. | 0:25:42 | 0:25:43 | |
One of the elders of this chapel was also a master of one of the ships. | 0:25:47 | 0:25:51 | |
He was said to enforce a strict moral code on board. | 0:25:51 | 0:25:54 | |
There was no sailing on a Sunday, swearing was strictly prohibited, | 0:25:54 | 0:25:58 | |
and he even forced members of the crew to learn passages | 0:25:58 | 0:26:01 | |
from the Bible by heart. They were even tested on it. | 0:26:01 | 0:26:03 | |
For Nicholas, his first test will come later on today | 0:26:11 | 0:26:15 | |
when his retro study must be complete. | 0:26:15 | 0:26:18 | |
This man is a genius. | 0:26:18 | 0:26:20 | |
I come up with an impossible dream, | 0:26:20 | 0:26:23 | |
and he makes it come true. | 0:26:23 | 0:26:25 | |
Wow, wow, wow. | 0:26:25 | 0:26:27 | |
-Hi, there. -Hello! -Hello, Nicholas. -Hello again. | 0:26:30 | 0:26:34 | |
Wow, speedy. It's coming together really quickly. | 0:26:34 | 0:26:36 | |
I'm very, very pleased. | 0:26:36 | 0:26:37 | |
It's actually... | 0:26:37 | 0:26:39 | |
It's gone according to plan. | 0:26:39 | 0:26:41 | |
Any lessons learnt from last time? | 0:26:41 | 0:26:44 | |
Uh, yes, and I took on board | 0:26:44 | 0:26:47 | |
not to be too thematic with my design. | 0:26:47 | 0:26:51 | |
-So you've got two rooms this time? -Yes. | 0:26:51 | 0:26:54 | |
-All on plan? -Absolutely. | 0:26:54 | 0:26:56 | |
-He's so calm. It's all under control, he's happy with it. -Wait till we walk out the door... | 0:26:56 | 0:27:00 | |
-I've tried to dig, dig, dig. -..he'll be going, "Ahhh!" | 0:27:00 | 0:27:02 | |
-Like a swan - underneath... -Yeah. | 0:27:02 | 0:27:04 | |
Do you know what? Looking at this room, | 0:27:04 | 0:27:06 | |
I would say you're under control. | 0:27:06 | 0:27:08 | |
While Nicholas has been drawing inspiration | 0:27:10 | 0:27:13 | |
from the '60s downstairs, | 0:27:13 | 0:27:14 | |
upstairs, in the bedroom, | 0:27:14 | 0:27:16 | |
the classical elegance he wants to create is beginning to emerge. | 0:27:16 | 0:27:20 | |
Oh, wow. | 0:27:20 | 0:27:23 | |
What a difference. | 0:27:23 | 0:27:26 | |
I love this blue. That is fabulous. | 0:27:26 | 0:27:28 | |
The feature wall requested by the homeowner has turned teal... | 0:27:28 | 0:27:32 | |
It's working. | 0:27:32 | 0:27:34 | |
..and Nicholas's pure silk feature wall is up. | 0:27:34 | 0:27:37 | |
To come in and see a room that... | 0:27:37 | 0:27:40 | |
..I have... | 0:27:41 | 0:27:42 | |
..designed come, sort of, to life, | 0:27:43 | 0:27:48 | |
yeah... | 0:27:48 | 0:27:50 | |
I'm emotional. | 0:27:50 | 0:27:51 | |
With time running out, | 0:27:52 | 0:27:53 | |
for Richard, the bedroom's the last thing on his mind. | 0:27:53 | 0:27:56 | |
STAPLER CLICKS | 0:27:56 | 0:27:57 | |
At the minute, the bedroom's very much on the back burner. | 0:27:57 | 0:27:59 | |
Everybody is in the study, | 0:28:01 | 0:28:03 | |
desperately trying to get things finished in time. | 0:28:03 | 0:28:07 | |
Meanwhile, I'm fiddling about with the chair, | 0:28:07 | 0:28:11 | |
-which doesn't make me very happy. -HE LAUGHS | 0:28:11 | 0:28:13 | |
But finally, with little more than an hour to go until time is up | 0:28:18 | 0:28:22 | |
on the study, the chair is done... | 0:28:22 | 0:28:24 | |
Right. | 0:28:24 | 0:28:25 | |
..and Richard can turn his attention to his team. | 0:28:25 | 0:28:27 | |
Are you happy with the spacing just as they are now? | 0:28:27 | 0:28:29 | |
Yeah, that one needs to come up a bit. | 0:28:29 | 0:28:31 | |
Come up a bit, yeah? Obviously, I'll put this just bang in the middle. | 0:28:31 | 0:28:34 | |
Just in the middle, yeah. | 0:28:34 | 0:28:35 | |
So these shelves have been made using | 0:28:41 | 0:28:44 | |
some thick rope and some OSB, | 0:28:44 | 0:28:46 | |
and then they've been secured by cable ties underneath, | 0:28:46 | 0:28:50 | |
just to stop the shelves falling down. | 0:28:50 | 0:28:52 | |
Behind schedule in his first room, | 0:28:54 | 0:28:56 | |
Richard's about to be thrown a curveball. | 0:28:56 | 0:28:58 | |
LAUGHTER | 0:28:58 | 0:28:59 | |
Keen to get the designers thinking on their feet, | 0:29:00 | 0:29:02 | |
the judges are on their way to give them an item | 0:29:02 | 0:29:05 | |
that's rather at home in their seaside location. | 0:29:05 | 0:29:08 | |
Their task is to imaginatively work it into one of their room designs. | 0:29:08 | 0:29:11 | |
-Hello, Richard. -Hello. | 0:29:11 | 0:29:12 | |
You know at some stage you're going to get a creative challenge? | 0:29:12 | 0:29:15 | |
-Yes. -Well, I've got it. Are you ready for this? | 0:29:15 | 0:29:17 | |
-Hello, Kelly. -HE LAUGHS | 0:29:17 | 0:29:19 | |
The creative challenge moment. | 0:29:19 | 0:29:21 | |
-And here it is. -Yeah. | 0:29:21 | 0:29:23 | |
You're going to be slightly annoyed. | 0:29:23 | 0:29:25 | |
OK. | 0:29:27 | 0:29:28 | |
-So it just needs to feature in one of your two rooms. -Yes. | 0:29:28 | 0:29:31 | |
There's no time limit. | 0:29:31 | 0:29:32 | |
-Come up with something really interesting... -All right. | 0:29:32 | 0:29:35 | |
..like making shelves out of rope. Sorry. Good luck. | 0:29:35 | 0:29:38 | |
-THEY LAUGH -Cheers. | 0:29:38 | 0:29:40 | |
HE SIGHS | 0:29:40 | 0:29:41 | |
With a lot on his mind already, | 0:29:43 | 0:29:45 | |
Richard has decided to put his rope aside for the bedroom. | 0:29:45 | 0:29:49 | |
But Nicholas has had no trouble deciding where his will go. | 0:29:49 | 0:29:52 | |
What I want to do is fix it there, | 0:29:52 | 0:29:56 | |
and I think we can pin it, | 0:29:56 | 0:29:59 | |
as in very fine panel pins, through, | 0:29:59 | 0:30:02 | |
which won't... | 0:30:02 | 0:30:04 | |
But we're going to have to do it every three inches, | 0:30:04 | 0:30:10 | |
that sort of... So that it doesn't roll about. | 0:30:10 | 0:30:13 | |
For Nicholas, time is almost up on the study. | 0:30:17 | 0:30:19 | |
After a lot of hard graft bringing his design to life, | 0:30:22 | 0:30:25 | |
he has just a few last details to accentuate his retro room. | 0:30:25 | 0:30:29 | |
You see, you do that, and you give it a shape. | 0:30:30 | 0:30:33 | |
Now, look, could an old person get out of a seat like that? | 0:30:35 | 0:30:38 | |
My work here is done. | 0:30:43 | 0:30:45 | |
I'm hoping that when the judges see the room... | 0:30:49 | 0:30:53 | |
anything that they might have had | 0:30:53 | 0:30:57 | |
doubts about... | 0:30:57 | 0:30:59 | |
will evaporate. | 0:30:59 | 0:31:02 | |
Nicholas was given the task of creating a funky chill-out den | 0:31:03 | 0:31:06 | |
for the homeowner's children. | 0:31:06 | 0:31:09 | |
Yesterday, it was a drab and overcrowded study | 0:31:09 | 0:31:11 | |
with no clear direction. | 0:31:11 | 0:31:13 | |
Now, it's got a strong and bold identity. | 0:31:19 | 0:31:22 | |
Nicholas chose a retro theme, | 0:31:25 | 0:31:28 | |
reflected in his original-but-updated desk, | 0:31:28 | 0:31:31 | |
sunburst rug | 0:31:31 | 0:31:33 | |
and hanging pod chair. | 0:31:33 | 0:31:34 | |
His ingenious shelving unit created storage and work space | 0:31:36 | 0:31:40 | |
with a clever use of the rope from his creative challenge. | 0:31:40 | 0:31:43 | |
And he used bursts of tangerine to tie his scheme together, | 0:31:44 | 0:31:48 | |
right down to the centres of his jukebox records. | 0:31:48 | 0:31:51 | |
-Blimey. -Wow. | 0:31:56 | 0:31:57 | |
This is not what I expected. | 0:31:57 | 0:32:00 | |
-It's better. -It's much better. | 0:32:00 | 0:32:02 | |
It pulls together beautifully well. | 0:32:02 | 0:32:04 | |
His styling is exemplary, | 0:32:04 | 0:32:07 | |
and I think that that unit, | 0:32:07 | 0:32:09 | |
that could have been very imposing in the room, actually is genius. | 0:32:09 | 0:32:13 | |
And, look - the creative challenge. Very clever. | 0:32:13 | 0:32:16 | |
-Where is it? Where is it? -There, look. -I can't see it. -There. | 0:32:16 | 0:32:19 | |
How clever. So the rope is used to finish the edging on it. | 0:32:19 | 0:32:23 | |
And you could work at it - you could stand here with a laptop, | 0:32:23 | 0:32:26 | |
-or with a stool. -You could have stools here. -Yeah. | 0:32:26 | 0:32:28 | |
It's not invasive because it goes backwards, above and below. | 0:32:28 | 0:32:31 | |
There's only one thing that I don't like, | 0:32:31 | 0:32:34 | |
and that is the use of these records everywhere. | 0:32:34 | 0:32:38 | |
I think it's a bit themey for me. | 0:32:38 | 0:32:40 | |
-Can I add one to that one? -Yeah. | 0:32:40 | 0:32:41 | |
I'm not in love with these. | 0:32:41 | 0:32:43 | |
They're a nice idea, but they're just | 0:32:43 | 0:32:45 | |
a little bit too urban for a seaside town. | 0:32:45 | 0:32:49 | |
Nicholas has been working to the homeowner's brief. | 0:32:51 | 0:32:54 | |
And Diana and her children Tom and Emma's reactions to his room design | 0:32:54 | 0:32:58 | |
will be taken into consideration in the judges' final decision. | 0:32:58 | 0:33:01 | |
-Oh! -Oh, my. | 0:33:04 | 0:33:05 | |
Wow. | 0:33:07 | 0:33:08 | |
-It's sick. -Oh, my God, it's not our room any more. | 0:33:08 | 0:33:11 | |
These are fantastic. | 0:33:12 | 0:33:13 | |
-These look amazing. -And the rope's like, kind of beachy. | 0:33:13 | 0:33:16 | |
And the orange wall, just one orange wall. | 0:33:16 | 0:33:18 | |
-Yeah. -That's nice. | 0:33:18 | 0:33:20 | |
Like, these are just so cool. | 0:33:20 | 0:33:21 | |
What do you make of those? They're very unusual. | 0:33:21 | 0:33:23 | |
-I actually love it. This is so cool. -SHE LAUGHS | 0:33:23 | 0:33:26 | |
It's got a kind of '60s retro kind of feel. | 0:33:26 | 0:33:28 | |
Yep, my era. | 0:33:28 | 0:33:30 | |
But it wasn't in the brief, and here it is. | 0:33:30 | 0:33:32 | |
-No... -But it works, it does work. | 0:33:32 | 0:33:34 | |
The clock's about to stop for Richard, | 0:33:41 | 0:33:43 | |
but his study is far from finished. | 0:33:43 | 0:33:45 | |
It looks a bit of a state at the minute, | 0:33:45 | 0:33:47 | |
but I think it should be able to come together. | 0:33:47 | 0:33:49 | |
Just a unit to put together, | 0:33:50 | 0:33:52 | |
which looks horrendously complicated. | 0:33:52 | 0:33:55 | |
-It's going to be tight. -HE LAUGHS | 0:33:55 | 0:33:59 | |
-How do we fix these on? -Right, well, on this. | 0:33:59 | 0:34:02 | |
The last-minute flatpack cabinet is foxing everyone... | 0:34:02 | 0:34:05 | |
..and Richard is concentrating on finishing | 0:34:06 | 0:34:08 | |
his hessian-covered window seat. | 0:34:08 | 0:34:10 | |
And with seconds to go... | 0:34:15 | 0:34:17 | |
..the family chair proudly takes its place. | 0:34:18 | 0:34:21 | |
So time's up, and there's still quite a bit to do, so... | 0:34:24 | 0:34:27 | |
..I failed. | 0:34:29 | 0:34:30 | |
There's still the display cabinet to put together, | 0:34:33 | 0:34:35 | |
and the rug to put down, and then another chair to be brought in. | 0:34:35 | 0:34:37 | |
I think it's just poor time management, | 0:34:38 | 0:34:40 | |
to be honest, on my part, I think. | 0:34:40 | 0:34:42 | |
This is what I said I didn't want to happen, so, yeah... | 0:34:42 | 0:34:44 | |
..bit annoyed about it, to be honest. | 0:34:45 | 0:34:47 | |
HE SIGHS | 0:34:48 | 0:34:49 | |
Richard's brief was to design a dual-purpose study | 0:34:52 | 0:34:55 | |
for both working and relaxing, | 0:34:55 | 0:34:57 | |
with a nod to the seaside location. | 0:34:57 | 0:34:59 | |
Yesterday, it was dreary | 0:35:01 | 0:35:03 | |
and overshadowed by a super-size work station. | 0:35:03 | 0:35:05 | |
Now, it has a subtle nautical theme... | 0:35:10 | 0:35:13 | |
..with two-tone blue walls... | 0:35:17 | 0:35:19 | |
..and hanging rope shelves. | 0:35:20 | 0:35:22 | |
A bespoke fold-down desk is unobtrusive, | 0:35:23 | 0:35:27 | |
and the hessian covering the newly-upholstered family chair | 0:35:27 | 0:35:30 | |
is mirrored in both the window seat and the radiator cover, | 0:35:30 | 0:35:33 | |
giving the room a contemporary edge. | 0:35:33 | 0:35:35 | |
SHE GASPS | 0:35:37 | 0:35:39 | |
Whoa. | 0:35:39 | 0:35:40 | |
Hang on a minute, there's half a flatpack down here. | 0:35:43 | 0:35:45 | |
OK, let's be positive - let's look at all the good things. | 0:35:45 | 0:35:47 | |
-I love the chair. -Chair's gorgeous. | 0:35:47 | 0:35:49 | |
The curtains were existing. I love the window seat. | 0:35:49 | 0:35:52 | |
-And I love the way he's got the colour, you know, divided it... -Mm. | 0:35:52 | 0:35:55 | |
-..I think it's great. -OK, is it a scheme that works? | 0:35:55 | 0:35:58 | |
Does it look right? | 0:35:58 | 0:36:00 | |
-Facing this way, I'm happy. -Yeah. | 0:36:00 | 0:36:02 | |
Turning this way, | 0:36:04 | 0:36:05 | |
for me, it's a little bit childish for a grown man's study | 0:36:05 | 0:36:09 | |
to have hanging shelves with... | 0:36:09 | 0:36:11 | |
-With ropes on it. -..with ropes on it. | 0:36:11 | 0:36:13 | |
I just don't think he has thought about the person | 0:36:13 | 0:36:15 | |
who's going to live in this space. | 0:36:15 | 0:36:17 | |
He's got a flatpack sort of desk sitting in the corner. | 0:36:17 | 0:36:20 | |
What I'm so disappointed | 0:36:20 | 0:36:23 | |
is that he hasn't finished it. | 0:36:23 | 0:36:25 | |
Because he's good, Richard, you know? | 0:36:25 | 0:36:27 | |
He's shown us that he's good, and he's got integrity, | 0:36:27 | 0:36:30 | |
he's authentic in what he does. | 0:36:30 | 0:36:32 | |
But it's... I'm really surprised. | 0:36:32 | 0:36:34 | |
Richard's incomplete nautical study | 0:36:35 | 0:36:38 | |
has yet to be seen by the homeowners. | 0:36:38 | 0:36:40 | |
-Wow, this is... -What a difference. -SHE LAUGHS | 0:36:47 | 0:36:50 | |
Yeah, this is really, really nice. | 0:36:50 | 0:36:52 | |
I mean, obviously, it's not finished, | 0:36:52 | 0:36:54 | |
which must be disappointing. | 0:36:54 | 0:36:55 | |
It is a little bit, yeah, yeah. | 0:36:55 | 0:36:57 | |
I know there's not masses to do, erm, but, yeah, | 0:36:57 | 0:37:00 | |
he's done quite a lot in the time given. | 0:37:00 | 0:37:03 | |
I'm very pleased to see that chair done. | 0:37:03 | 0:37:05 | |
It's been needing done for the last donkey's years. | 0:37:05 | 0:37:08 | |
And what we've seen, it looks really nice. | 0:37:08 | 0:37:12 | |
Yeah, very pleased. Very pleased. | 0:37:12 | 0:37:14 | |
With one room behind them, | 0:37:20 | 0:37:22 | |
the designers can now give their full attention to their bedrooms, | 0:37:22 | 0:37:25 | |
which will be revealed and judged tomorrow. | 0:37:25 | 0:37:28 | |
Now the study is finished/unfinished, | 0:37:28 | 0:37:32 | |
I need to get on with the bedroom. | 0:37:32 | 0:37:34 | |
Both the decorators are working on sanding down the furniture, | 0:37:34 | 0:37:38 | |
so that's ready to be painted. | 0:37:38 | 0:37:40 | |
I think tomorrow I've only got three hours left, | 0:37:40 | 0:37:42 | |
so I'm going to start work on painting the headboard. | 0:37:42 | 0:37:45 | |
-Richard, how's it going? -Hello. | 0:37:49 | 0:37:51 | |
Are you feeling the pressure a bit now, then, | 0:37:51 | 0:37:53 | |
-to get this next one done? -Yeah, yeah. | 0:37:53 | 0:37:55 | |
What is it? Is it the getting two rooms done? | 0:37:55 | 0:37:57 | |
Yeah, I think trying to get the first one done meant | 0:37:57 | 0:38:00 | |
I was putting a lot of effort into that one, | 0:38:00 | 0:38:02 | |
which meant that this next one's been neglected, so... | 0:38:02 | 0:38:04 | |
Oh, God. | 0:38:04 | 0:38:06 | |
So, going forward, what are you going to do? | 0:38:06 | 0:38:08 | |
-What's your plan of action? -Delegation is something | 0:38:08 | 0:38:11 | |
I'm really not very good at, cos I want to do everything myself. | 0:38:11 | 0:38:14 | |
So, yeah, delegate - I've just got to do that better. | 0:38:14 | 0:38:16 | |
-Well, good luck, good luck. -Thank you. | 0:38:16 | 0:38:17 | |
I wish I could do something to help. | 0:38:17 | 0:38:19 | |
There's a paintbrush there if you... | 0:38:19 | 0:38:20 | |
You don't want to see me with a paintbrush - I'm no good. | 0:38:20 | 0:38:23 | |
I like watching people paint, but I'm no good at it myself. | 0:38:23 | 0:38:26 | |
It's the end of the day, and Nicholas is on a high. | 0:38:29 | 0:38:32 | |
I just want to say thank you. | 0:38:33 | 0:38:34 | |
We've had such a great day. | 0:38:34 | 0:38:37 | |
I'm going to cry. I'm going to cry. | 0:38:37 | 0:38:40 | |
-Don't cry! -Tomorrow, the bad news is | 0:38:40 | 0:38:43 | |
we've got to finish the other one. | 0:38:43 | 0:38:45 | |
But for Richard, he's having difficulty putting the events | 0:38:45 | 0:38:48 | |
of today behind him. | 0:38:48 | 0:38:50 | |
I really am beating myself up about the study | 0:38:50 | 0:38:52 | |
not being finished in time. | 0:38:52 | 0:38:54 | |
I think tomorrow is a new day. | 0:38:54 | 0:38:56 | |
Once I've had a chance to sit down, | 0:38:56 | 0:38:58 | |
work out exactly what needs to be done tomorrow... | 0:38:58 | 0:39:02 | |
Yeah. At the minute, I'm fairly... | 0:39:02 | 0:39:05 | |
confident that it'll get done. | 0:39:05 | 0:39:07 | |
HE HUMS A TUNE | 0:39:22 | 0:39:24 | |
Morning! | 0:39:24 | 0:39:25 | |
Now, Richard may not have finished his first room, | 0:39:25 | 0:39:28 | |
but don't let that fool you into thinking that Nicholas is ahead. | 0:39:28 | 0:39:31 | |
There's still another day to go, a room to complete, | 0:39:31 | 0:39:34 | |
and everything to play for. | 0:39:34 | 0:39:36 | |
I think it is my last chance today, so I've got to get it right, | 0:39:36 | 0:39:39 | |
I've got to get it done on time, and I'm very keen to get on. | 0:39:39 | 0:39:43 | |
HE LAUGHS | 0:39:43 | 0:39:45 | |
Last day. | 0:39:45 | 0:39:46 | |
Time is ticking, and I'm very confident it's going | 0:39:47 | 0:39:51 | |
to look beautiful. It's already looking fine. | 0:39:51 | 0:39:55 | |
It's just the putting the furniture, putting the bed back together, | 0:39:55 | 0:39:59 | |
and all the rest of the things. | 0:39:59 | 0:40:01 | |
-Thank you so much. -See you later. -See you. -See you in a minute. | 0:40:01 | 0:40:04 | |
PURRING | 0:40:04 | 0:40:05 | |
After his morning's been mapped out, | 0:40:05 | 0:40:07 | |
the first job of the day for Nicholas | 0:40:07 | 0:40:09 | |
is to create an original artwork, | 0:40:09 | 0:40:11 | |
adding a personal touch to his classical and elegant bedroom. | 0:40:11 | 0:40:15 | |
HE LAUGHS | 0:40:15 | 0:40:17 | |
You're walking on me paint. | 0:40:17 | 0:40:20 | |
It's wet paint. | 0:40:20 | 0:40:23 | |
He's painting a canvas which he'll cover in a seascape | 0:40:24 | 0:40:27 | |
of hand-decorated fabric. | 0:40:27 | 0:40:30 | |
So I'm just going to start dipping. | 0:40:30 | 0:40:32 | |
Either end of a piece of white silk | 0:40:32 | 0:40:34 | |
is submerged into a mixture of blue and green cold-water dyes. | 0:40:34 | 0:40:39 | |
I like the tone of it. | 0:40:39 | 0:40:41 | |
I do actually want it to be a darker shade. | 0:40:41 | 0:40:44 | |
And then I'm going to leave this | 0:40:45 | 0:40:49 | |
soaking in here. | 0:40:49 | 0:40:51 | |
And then, we hang it out to dry, squirt it, | 0:40:51 | 0:40:54 | |
and the water will slowly bring some | 0:40:54 | 0:40:57 | |
of the colour out of it | 0:40:57 | 0:41:00 | |
whilst it is still wet. | 0:41:00 | 0:41:02 | |
And we frame it. | 0:41:02 | 0:41:04 | |
Picasso should have known this trick. | 0:41:04 | 0:41:06 | |
Now, Nicholas's room - whew, that's quite some transformation. | 0:41:08 | 0:41:11 | |
My concern, there's this rather fancy, rococo wallpaper | 0:41:11 | 0:41:15 | |
that looks like it's in a rather awful | 0:41:15 | 0:41:17 | |
bed and breakfast in a seaside town. | 0:41:17 | 0:41:19 | |
Yeah, but not only that, | 0:41:19 | 0:41:20 | |
every single wall in that bedroom | 0:41:20 | 0:41:21 | |
is a different colour, or a different texture. | 0:41:21 | 0:41:24 | |
I mean, that, for me, is a complete no-no. | 0:41:24 | 0:41:26 | |
-How's it going? -Not bad, not bad. Getting there. | 0:41:31 | 0:41:33 | |
-Just getting some paint on these wardrobes... -Yeah. -..as requested. | 0:41:33 | 0:41:37 | |
Not wanting to repeat the let down of yesterday, | 0:41:37 | 0:41:39 | |
the entire team's at work in the traditional-but-quirky bedroom | 0:41:39 | 0:41:43 | |
that Richard's dreamt up for his homeowners. | 0:41:43 | 0:41:45 | |
Dickie, when you've got a moment, | 0:41:46 | 0:41:48 | |
could you build up those chest things there - | 0:41:48 | 0:41:50 | |
little wicker basket things? | 0:41:50 | 0:41:52 | |
Just whenever you've got a moment. | 0:41:52 | 0:41:54 | |
This time, he's taking control to ensure his room is finished. | 0:41:54 | 0:41:58 | |
In the kitchen, it's back to the bed's feature headboard, | 0:41:58 | 0:42:00 | |
which will be created from five panels of his beloved OSB. | 0:42:00 | 0:42:04 | |
Having cut fabric to size, it's wrapped around padding... | 0:42:05 | 0:42:08 | |
..and stapled to create the three central panels. | 0:42:10 | 0:42:13 | |
The outer two panels have been painted white | 0:42:14 | 0:42:16 | |
and sanded to reveal the texture in the wood. | 0:42:16 | 0:42:19 | |
But with time running out | 0:42:22 | 0:42:24 | |
the room is nowhere near completion | 0:42:24 | 0:42:26 | |
and Richard's only just begun to tackle his creative challenge. | 0:42:26 | 0:42:30 | |
I'm going to try and make it into a rug. | 0:42:30 | 0:42:32 | |
Erm...I'm not entirely sure how yet, but... | 0:42:32 | 0:42:35 | |
The length of boating rope is secured with cable ties. | 0:42:38 | 0:42:41 | |
I'm very much making this up as I go along | 0:42:43 | 0:42:45 | |
-cos I know I'm short on time. -HE LAUGHS | 0:42:45 | 0:42:47 | |
But with yesterday's room unfinished, the judges are concerned | 0:42:50 | 0:42:54 | |
he's behind again, and have come to give him the final push he needs. | 0:42:54 | 0:42:58 | |
-Hi, Richard. -Hiya, you all right? | 0:42:58 | 0:43:00 | |
-I'm all right. How are you? -You're looking flustered. -I am. | 0:43:00 | 0:43:03 | |
-LAUGHTER -Are you telling people what to do? | 0:43:03 | 0:43:05 | |
Are you delegating down to everybody? | 0:43:05 | 0:43:07 | |
-Yeah, I think so. -We want you to succeed. | 0:43:07 | 0:43:09 | |
You know, you're in this competition, | 0:43:09 | 0:43:11 | |
you're here for a reason, | 0:43:11 | 0:43:13 | |
you've got the potential here, | 0:43:13 | 0:43:16 | |
you are good at what you do. | 0:43:16 | 0:43:18 | |
And we want to see that design talent that we know you have. | 0:43:18 | 0:43:21 | |
Don't let it go. Think of it as a bit like being a conductor. | 0:43:21 | 0:43:25 | |
He's all your orchestra there, | 0:43:25 | 0:43:27 | |
but you've got to point that baton to get them running. | 0:43:27 | 0:43:29 | |
And just keep pointing at it, you know? | 0:43:29 | 0:43:32 | |
-HE IMITATES WHIP CRACKING -Like that. | 0:43:32 | 0:43:34 | |
-I hear you paid a little visit to Richard? -We had to. | 0:43:34 | 0:43:37 | |
Because what happens when he panics, he goes very, very quiet. | 0:43:37 | 0:43:41 | |
He's like a rabbit in the headlights - | 0:43:41 | 0:43:43 | |
he doesn't know where he's going from left to right. | 0:43:43 | 0:43:45 | |
Richard is running rapidly out of time, but he's a great designer, | 0:43:45 | 0:43:49 | |
and I've got every hope that he's going to really | 0:43:49 | 0:43:51 | |
give us a fantastic scheme. | 0:43:51 | 0:43:53 | |
Things are on track for Nicholas... | 0:43:57 | 0:43:58 | |
-You all right? -Yeah. | 0:43:58 | 0:44:00 | |
..and he's adding a final touch of elegance to his bedroom. | 0:44:02 | 0:44:05 | |
These are the crystals to hang | 0:44:05 | 0:44:09 | |
like a chandelier drop | 0:44:09 | 0:44:12 | |
onto the frame there. | 0:44:12 | 0:44:14 | |
With the chandelier adorned, the silk seascape is being mounted. | 0:44:17 | 0:44:21 | |
Yeah. | 0:44:22 | 0:44:23 | |
And with the last details in place, | 0:44:25 | 0:44:27 | |
his 48 hours are up, and the clock has stopped. | 0:44:27 | 0:44:31 | |
Well, I'm done. | 0:44:32 | 0:44:33 | |
I'm going to sit down and have a nice cup of tea. | 0:44:33 | 0:44:38 | |
I do hope they like it. | 0:44:38 | 0:44:39 | |
I hope that I have answered | 0:44:44 | 0:44:47 | |
possible doubts or dilemmas that the judges | 0:44:47 | 0:44:50 | |
would have that I could only do | 0:44:50 | 0:44:53 | |
a thematic room. | 0:44:53 | 0:44:55 | |
Nicholas' brief was to bring a touch of class | 0:44:56 | 0:44:58 | |
to the homeowner's bedroom. | 0:44:58 | 0:45:00 | |
48 hours ago, it was lacking character and style. | 0:45:01 | 0:45:04 | |
Now, it shouts opulent elegance, | 0:45:11 | 0:45:13 | |
with its muted colour scheme complemented by feature walls... | 0:45:13 | 0:45:16 | |
..and accents of teal. | 0:45:18 | 0:45:19 | |
Whitewashed furniture gives the illusion of more space... | 0:45:25 | 0:45:28 | |
..and Nicholas has added a personal touch | 0:45:29 | 0:45:31 | |
with his handmade crystal chandelier droplets... | 0:45:31 | 0:45:34 | |
..and silk artwork. | 0:45:36 | 0:45:37 | |
-Wow. -What's the feeling like? | 0:45:42 | 0:45:43 | |
-It's airy. -It does feel airy. | 0:45:43 | 0:45:45 | |
-It's calm. -Yes. -I was concerned about | 0:45:45 | 0:45:47 | |
the fact that every wall had a different texture. | 0:45:47 | 0:45:50 | |
I still don't like that. | 0:45:50 | 0:45:52 | |
I still think it's very over the top. | 0:45:52 | 0:45:54 | |
But the homeowner wanted some more blue on the walls. | 0:45:54 | 0:45:58 | |
For me, it's just too much of the blue happening over there. | 0:45:58 | 0:46:01 | |
You've got the cushion, you've got the lampshade, | 0:46:01 | 0:46:03 | |
and then you've got a piece of art | 0:46:03 | 0:46:05 | |
which you really don't need. | 0:46:05 | 0:46:08 | |
You know, there's an element of theatre, | 0:46:08 | 0:46:11 | |
and that, to me, is a stage set. | 0:46:11 | 0:46:14 | |
But I love the fact that, actually, he's had a good go at | 0:46:14 | 0:46:17 | |
dressing the bed. Also, other details. | 0:46:17 | 0:46:20 | |
I mean, what a really good way of sort of | 0:46:20 | 0:46:22 | |
tarting up this chandelier with the little bits of crystal. | 0:46:22 | 0:46:26 | |
Basically, Nicholas is good, | 0:46:26 | 0:46:29 | |
but the theatre overtakes sometimes, | 0:46:29 | 0:46:31 | |
and you could literally cut this room in two halves, | 0:46:31 | 0:46:34 | |
and he hasn't thought about the connection of the two. | 0:46:34 | 0:46:36 | |
A room has got to gel, it's got to fuse together, | 0:46:36 | 0:46:39 | |
it's got to be one. | 0:46:39 | 0:46:40 | |
It's time for the homeowner's new bedroom to be revealed to her. | 0:46:44 | 0:46:47 | |
(Oh, God.) | 0:46:51 | 0:46:54 | |
Oh, crikey. | 0:46:54 | 0:46:55 | |
SHE BREATHES UNEVENLY | 0:46:57 | 0:46:58 | |
(I can't...) | 0:46:58 | 0:46:59 | |
(It's lovely.) | 0:47:01 | 0:47:02 | |
He's done it again, hasn't he? | 0:47:04 | 0:47:05 | |
I just think it's fantastic. | 0:47:07 | 0:47:09 | |
What's making you fill up? Why are you filling up? | 0:47:09 | 0:47:11 | |
Because it's... | 0:47:11 | 0:47:13 | |
Because I've never had a bedroom like this before. | 0:47:13 | 0:47:15 | |
And it's just fantastic. | 0:47:15 | 0:47:17 | |
Are you busy right now? | 0:47:24 | 0:47:25 | |
-No. -Can you come and help Alex carry a dresser? | 0:47:25 | 0:47:29 | |
Galvanised by his visit from the judges, | 0:47:29 | 0:47:32 | |
Richard's got his eye on the finish line. | 0:47:32 | 0:47:34 | |
-That's the other one. -OK. | 0:47:34 | 0:47:36 | |
To add a quirky twist to his traditional room, | 0:47:36 | 0:47:39 | |
he's suspending an oversized bulb into a glass vase. | 0:47:39 | 0:47:42 | |
-Dressing table's going there. -Oh, right, OK. | 0:47:45 | 0:47:48 | |
-That all needs to shift along a bit. -OK, OK. | 0:47:48 | 0:47:50 | |
He's added a burst of colour... | 0:47:50 | 0:47:51 | |
And then that goes in front of these mirrors here. | 0:47:51 | 0:47:54 | |
..with the overhauled flamingo pink dressing table. | 0:47:54 | 0:47:56 | |
-Yeah? -Yeah. | 0:47:56 | 0:47:57 | |
Four minutes to go, and I think we're done. | 0:48:00 | 0:48:04 | |
CHEERING | 0:48:04 | 0:48:05 | |
-You all right? -Yeah, I'm just relieved. -Come on. | 0:48:05 | 0:48:08 | |
You've done it. It looks amazing, doesn't it? | 0:48:08 | 0:48:11 | |
Well done. | 0:48:11 | 0:48:13 | |
It looks better than my drawing. | 0:48:13 | 0:48:15 | |
I'm really, really pleased. | 0:48:15 | 0:48:17 | |
Richard's homeowners gave him free rein | 0:48:22 | 0:48:24 | |
to create a traditional-feel bedroom with a twist. | 0:48:24 | 0:48:27 | |
48 hours ago, it was bland and outdated, | 0:48:29 | 0:48:32 | |
in the shadow of dark furniture. | 0:48:32 | 0:48:34 | |
Now, it's bright and calming, | 0:48:43 | 0:48:45 | |
showcasing a palette of neutral colours | 0:48:45 | 0:48:47 | |
and natural influences. | 0:48:47 | 0:48:49 | |
A pink dressing table and stool add a flash of colour. | 0:48:53 | 0:48:56 | |
A new layout creates more space... | 0:49:00 | 0:49:02 | |
..and the feature headboard is big and bold, | 0:49:03 | 0:49:06 | |
giving the room a focal point. | 0:49:06 | 0:49:07 | |
And suspended light fittings offer a quirky touch. | 0:49:09 | 0:49:12 | |
Wow. | 0:49:17 | 0:49:18 | |
Kelly? | 0:49:20 | 0:49:22 | |
-I think he's finished. -What a relief. | 0:49:22 | 0:49:24 | |
I mean, the overall feeling is really lovely | 0:49:24 | 0:49:28 | |
and light and fresh. | 0:49:28 | 0:49:30 | |
It's lovely and nice pale colours. | 0:49:30 | 0:49:32 | |
Nothing that jumps out at you, | 0:49:32 | 0:49:34 | |
apart from the really bright pink in the corner. | 0:49:34 | 0:49:36 | |
-That is brave... -Very, and I love the colour. | 0:49:36 | 0:49:39 | |
-..and I love it, and I'm not a pinky kind of person... -No. | 0:49:39 | 0:49:42 | |
..but I think that's really clever. | 0:49:42 | 0:49:44 | |
I love the idea of going for the over-scaled headboard, | 0:49:44 | 0:49:46 | |
cos it gives more presence. | 0:49:46 | 0:49:47 | |
We haven't touched on these yet, which are absolutely stunning. | 0:49:47 | 0:49:50 | |
They're just genius. | 0:49:50 | 0:49:51 | |
I mean, he's invented this. It's so clever - what is it? | 0:49:51 | 0:49:54 | |
It's just a light on a wire, dropping into a vase, | 0:49:54 | 0:49:58 | |
but all of a sudden, it looks interior-designed. | 0:49:58 | 0:50:01 | |
And I've just seen where his creative challenge is. | 0:50:01 | 0:50:04 | |
-What is it? -Well, it's a sort of mat. | 0:50:04 | 0:50:07 | |
-Oh, right! -Which is quite clever. | 0:50:07 | 0:50:09 | |
He's always up for a really good idea, | 0:50:09 | 0:50:11 | |
I just don't think we need a mat in a room like this, do we? | 0:50:11 | 0:50:13 | |
I think it's quite cool. | 0:50:13 | 0:50:15 | |
OK. The thing that's hitting me, | 0:50:15 | 0:50:17 | |
although there are a few really good details in the room, | 0:50:17 | 0:50:20 | |
there doesn't seem to be enough styling. | 0:50:20 | 0:50:23 | |
Now, I know he likes a pared-down look, | 0:50:23 | 0:50:25 | |
but this is just too minimal for me. | 0:50:25 | 0:50:27 | |
But he is a modern, industrial designer... | 0:50:27 | 0:50:29 | |
-Yeah. -..and I think the problem with this brief was that | 0:50:29 | 0:50:32 | |
he didn't quite know how to do it. | 0:50:32 | 0:50:33 | |
He's not good under pressure, | 0:50:33 | 0:50:35 | |
and he's not good when somebody asks | 0:50:35 | 0:50:37 | |
for something that's not in his little box. | 0:50:37 | 0:50:40 | |
But you've got a substantial, good design here. | 0:50:40 | 0:50:44 | |
It's going to be a very, very tough decision, | 0:50:44 | 0:50:47 | |
because I really think this guy has got something. | 0:50:47 | 0:50:50 | |
After the disappointment of yesterday, | 0:50:52 | 0:50:54 | |
today, Richard's homeowners will see a room that's reached completion. | 0:50:54 | 0:50:57 | |
Wow. | 0:51:03 | 0:51:04 | |
Wow, this is nice. | 0:51:04 | 0:51:06 | |
Oh, my goodness, wow, what a transformation. | 0:51:06 | 0:51:10 | |
-I love this. -What do you make of the...of the pink? | 0:51:10 | 0:51:13 | |
It's a bold splash of colour. | 0:51:13 | 0:51:14 | |
It is, but it's... | 0:51:14 | 0:51:16 | |
it's lovely. | 0:51:16 | 0:51:18 | |
-Very up-to-date, really, isn't it? -Yeah. | 0:51:18 | 0:51:20 | |
-Very modern, and I love it. -Yeah. | 0:51:20 | 0:51:22 | |
I love the different textures on the headboard. | 0:51:22 | 0:51:25 | |
-But the lights... -I love the lights. -I love those. | 0:51:25 | 0:51:28 | |
So has he redeemed himself? | 0:51:28 | 0:51:30 | |
-Totally. -Oh, totally, yes. | 0:51:30 | 0:51:32 | |
I can't believe this is my bedroom, actually. | 0:51:32 | 0:51:34 | |
THEY LAUGH | 0:51:34 | 0:51:35 | |
The designers have done all they can. | 0:51:43 | 0:51:45 | |
Now they must wait for the judges to decide | 0:51:45 | 0:51:48 | |
who has made it through to the semifinals | 0:51:48 | 0:51:51 | |
and who is going home. | 0:51:51 | 0:51:52 | |
I do really want to get through to the next round. | 0:51:53 | 0:51:55 | |
I don't want to go out because of that time management issue. | 0:51:56 | 0:51:59 | |
I don't want that to be the reason why. | 0:51:59 | 0:52:01 | |
I would like another chance to be able to prove myself. | 0:52:01 | 0:52:04 | |
I think, if I'm fortunate enough to go through to the next heat, | 0:52:04 | 0:52:09 | |
there is... | 0:52:09 | 0:52:10 | |
I think there are limitless bounds | 0:52:12 | 0:52:15 | |
to what my creativity could achieve. | 0:52:15 | 0:52:18 | |
So two very different designers this time. | 0:52:23 | 0:52:24 | |
Let's start with Richard. | 0:52:24 | 0:52:26 | |
-The study. -Oh, the study. What a shame, not finished. | 0:52:26 | 0:52:30 | |
But I loved part of what he did, you know? | 0:52:30 | 0:52:31 | |
With the homeowners' chair, that was sublime. | 0:52:31 | 0:52:34 | |
I liked the way it worked with the curtains. | 0:52:34 | 0:52:36 | |
But the minute you turned round to the left, | 0:52:36 | 0:52:39 | |
it became a bit nursery-like. | 0:52:39 | 0:52:41 | |
-It wasn't a grown-up man's study, for some reason. -No. | 0:52:41 | 0:52:45 | |
Well, the homeowners were obviously | 0:52:45 | 0:52:46 | |
disappointed the room wasn't finished. | 0:52:46 | 0:52:48 | |
And that is the biggest let down ever, frankly, | 0:52:48 | 0:52:51 | |
because how can you judge something which doesn't have even | 0:52:51 | 0:52:54 | |
the cupboard completed in the corner? | 0:52:54 | 0:52:56 | |
How about the bedroom? I mean, did that redeem him? | 0:52:56 | 0:52:58 | |
Well, it does, actually. | 0:52:58 | 0:52:59 | |
We both found it quite exciting. | 0:52:59 | 0:53:01 | |
I love that pink splash in the corner. | 0:53:01 | 0:53:04 | |
The textures were good. | 0:53:04 | 0:53:05 | |
We love what he does. | 0:53:05 | 0:53:06 | |
We're fascinated with his ideas. | 0:53:06 | 0:53:08 | |
It's very rare to see someone who can create | 0:53:08 | 0:53:11 | |
from his own head, rather than just copying things, | 0:53:11 | 0:53:13 | |
-and he has that. -So do you want to know what the homeowners thought of | 0:53:13 | 0:53:16 | |
-the bedroom? -Yeah, please do. -They loved it. They loved it. | 0:53:16 | 0:53:19 | |
-Of course. -Good. -It's fabulous. | 0:53:19 | 0:53:21 | |
Again, it was something they could have never dreamt up themselves. | 0:53:21 | 0:53:24 | |
-He transformed that room, didn't he? -Yeah. So how about Nicholas? | 0:53:24 | 0:53:26 | |
-Did he manage to rein in his theatrical impulses. -Oh, no. | 0:53:26 | 0:53:29 | |
He picked up on this idea of going for a '60s look. | 0:53:30 | 0:53:34 | |
And the thing that really worked was that large unit | 0:53:34 | 0:53:36 | |
at the back of the room. | 0:53:36 | 0:53:37 | |
What did you make of the bright colours? | 0:53:37 | 0:53:39 | |
-Loved them. -I loved it. | 0:53:39 | 0:53:40 | |
What was clever about that colour... | 0:53:40 | 0:53:42 | |
the accent colour that he used in the room was just singular. | 0:53:42 | 0:53:44 | |
Most people go for something that's contrasting - | 0:53:44 | 0:53:47 | |
two colours, maybe - | 0:53:47 | 0:53:48 | |
but, in a room like that, it would have just been a bit two confusing | 0:53:48 | 0:53:51 | |
because the space is quite small. | 0:53:51 | 0:53:53 | |
-The family love, love, loved it. -Mm. | 0:53:53 | 0:53:55 | |
I mean, the children, I don't know what decade they were born in, | 0:53:55 | 0:53:58 | |
but they got the '60s references, and they loved them. | 0:53:58 | 0:54:00 | |
If I was them, and I'd walked into that, I would have thought, | 0:54:00 | 0:54:02 | |
"I'm the coolest kid on the block." | 0:54:02 | 0:54:04 | |
So moving upstairs to the bedroom. | 0:54:04 | 0:54:07 | |
I mean, a very different design. | 0:54:07 | 0:54:09 | |
Completely. Nicholas's homeowner | 0:54:09 | 0:54:11 | |
wanted blue on that wall and he conformed. | 0:54:11 | 0:54:14 | |
The problem is, it imbalanced his entire scheme. | 0:54:14 | 0:54:17 | |
I have no doubt that she probably adores it, but, for me, | 0:54:17 | 0:54:20 | |
as a professional, I felt that it was wrong. | 0:54:20 | 0:54:23 | |
However, when we turned, we saw this absolutely effortless, | 0:54:23 | 0:54:27 | |
elegant scheme. | 0:54:27 | 0:54:28 | |
As a designer, he's very capable. | 0:54:28 | 0:54:31 | |
He's got great ideas. | 0:54:31 | 0:54:32 | |
Having said that he's too theatrical, I still stand by that. | 0:54:32 | 0:54:37 | |
But he edited better this time | 0:54:37 | 0:54:39 | |
and had less objects around, and made it more sort of serene. | 0:54:39 | 0:54:44 | |
-So you want to know what the homeowner thought? -Oh, I think so. | 0:54:44 | 0:54:46 | |
We had tears. | 0:54:46 | 0:54:47 | |
-HE GASPS -Of joy, I hope? -Tears of joy. | 0:54:47 | 0:54:50 | |
It was the bedroom she had always wanted and always dreamed of. | 0:54:50 | 0:54:53 | |
-That's so lovely. She should be pleased. -Yeah. | 0:54:53 | 0:54:55 | |
So you've got a really tricky decision, | 0:54:55 | 0:54:57 | |
cos both designers have got their plusses and their minuses. | 0:54:57 | 0:55:00 | |
Yes, exactly, and we'd actually, frankly, like both of them in, | 0:55:00 | 0:55:03 | |
-really, wouldn't we? -I know. | 0:55:03 | 0:55:04 | |
A tough challenge, this time - two rooms. | 0:55:13 | 0:55:16 | |
But you know the real sign of success | 0:55:16 | 0:55:18 | |
in interior design? | 0:55:18 | 0:55:20 | |
Is your homeowner happy? | 0:55:20 | 0:55:22 | |
Both of you two had very happy homeowners. | 0:55:22 | 0:55:26 | |
You should both be incredibly proud. | 0:55:26 | 0:55:27 | |
Richard, you let yourself down | 0:55:29 | 0:55:31 | |
by not finishing one of your rooms, | 0:55:31 | 0:55:33 | |
which really, really upset me, | 0:55:33 | 0:55:35 | |
because you are incredibly talented. | 0:55:35 | 0:55:38 | |
You've just got to believe that you can do it. | 0:55:38 | 0:55:41 | |
Nicholas, that study is absolutely amazing, | 0:55:42 | 0:55:45 | |
but I think you caved in a little bit with your client when she said | 0:55:45 | 0:55:48 | |
"I wanted that blue wall." | 0:55:48 | 0:55:49 | |
We both felt that it slightly imbalanced the room. | 0:55:49 | 0:55:52 | |
So the judges have made their decision. | 0:55:53 | 0:55:55 | |
And the designer going through | 0:55:55 | 0:55:58 | |
to the semifinals is... | 0:55:58 | 0:56:00 | |
..Nicholas. | 0:56:05 | 0:56:07 | |
So, sadly, it's goodbye, I'm afraid, Richard. | 0:56:07 | 0:56:09 | |
-THEY LAUGH -Well done. | 0:56:15 | 0:56:16 | |
'But this might not be the final goodbye, | 0:56:16 | 0:56:18 | |
'as, in a twist, Kelly and Dan will be bringing back | 0:56:18 | 0:56:22 | |
'an eliminated designer as a wild card for the semifinals.' | 0:56:22 | 0:56:25 | |
You're very, very talented. | 0:56:25 | 0:56:27 | |
Very talented. | 0:56:27 | 0:56:28 | |
I think I knew it was coming, to be honest, from yesterday. | 0:56:28 | 0:56:32 | |
But I think Kelly and Dan were so positive about my design, | 0:56:32 | 0:56:36 | |
I can't really leave disappointed | 0:56:36 | 0:56:38 | |
with the things that they've said. | 0:56:38 | 0:56:40 | |
So, yeah, I'm really pleased. | 0:56:40 | 0:56:43 | |
Really pleased... | 0:56:43 | 0:56:44 | |
-HE LAUGHS -..despite going out. | 0:56:44 | 0:56:46 | |
Commiserations. | 0:56:46 | 0:56:47 | |
I am so gutted that you didn't win. | 0:56:47 | 0:56:50 | |
-It is amazing. -Pleased is not the word - it's stunning. | 0:56:50 | 0:56:53 | |
'Richard is a designer who's got lots of potential, | 0:56:53 | 0:56:56 | |
and someone like him should never give up, | 0:56:56 | 0:56:58 | |
cos he's going to be not just a good designer, | 0:56:58 | 0:57:00 | |
but he's going to be a world-class designer. | 0:57:00 | 0:57:02 | |
LAUGHTER | 0:57:02 | 0:57:04 | |
It's wonderful. It's so lovely. | 0:57:04 | 0:57:06 | |
It's so lovely. I love it so much. | 0:57:06 | 0:57:08 | |
Thank you. | 0:57:08 | 0:57:09 | |
Twice now, so... | 0:57:09 | 0:57:11 | |
..yeah, I've got to... I've got to sort of... | 0:57:13 | 0:57:15 | |
-..compute this one, I think. -HE LAUGHS | 0:57:17 | 0:57:19 | |
With Nicholas, moving forward, I want to sort of | 0:57:19 | 0:57:22 | |
rein him in a little bit. | 0:57:22 | 0:57:23 | |
I think he's got an extraordinary capability | 0:57:23 | 0:57:26 | |
of creating the experience and the drama in a room, | 0:57:26 | 0:57:29 | |
but I kind of want him to stop and really understand | 0:57:29 | 0:57:33 | |
how he can refine that a little bit | 0:57:33 | 0:57:35 | |
so that it isn't always so theatrical. | 0:57:35 | 0:57:38 | |
I'm sure that, by the time I reach the next challenge, | 0:57:38 | 0:57:42 | |
I will be up against some other designers | 0:57:42 | 0:57:45 | |
who are going to be tough competition, | 0:57:45 | 0:57:48 | |
and... | 0:57:48 | 0:57:50 | |
the knives on the chariot will be out. | 0:57:50 | 0:57:52 | |
The harmonious proportions and bright colours | 0:57:56 | 0:57:59 | |
of Aberaeron's houses make the whole town come alive. | 0:57:59 | 0:58:02 | |
Now, thanks to our two talented designers, | 0:58:02 | 0:58:04 | |
some of the insides are as brilliant as the outsides. | 0:58:04 | 0:58:07 | |
Next time, a living room... | 0:58:11 | 0:58:13 | |
Voila. | 0:58:13 | 0:58:14 | |
..and a bedroom... | 0:58:14 | 0:58:16 | |
Big day today. Huge day. | 0:58:16 | 0:58:18 | |
..in Art Deco apartments. | 0:58:18 | 0:58:20 | |
Can we get the wardrobe up, please? | 0:58:21 | 0:58:23 | |
But jazzing up these joints gets them in a flap. | 0:58:23 | 0:58:26 | |
Do you know what? I really don't need this. | 0:58:27 | 0:58:30 |