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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 | 0:00:06 | 0:00:08 | |
to 1930s Art Deco apartments, | 0:00:08 | 0:00:10 | |
Regency terraces | 0:00:10 | 0:00:12 | |
to contemporary townhouses. | 0:00:12 | 0:00:14 | |
But sometimes, while the exterior creates a wow factor, | 0:00:14 | 0:00:18 | |
the interior can be distinctly lacking. | 0:00:18 | 0:00:20 | |
So we've gathered some of the UK's most talented amateur interior | 0:00:23 | 0:00:26 | |
designers to show us what they're made of. | 0:00:26 | 0:00:28 | |
In each semifinal, | 0:00:31 | 0:00:32 | |
two designers will go head-to-head | 0:00:32 | 0:00:34 | |
to transform two rooms in neighbouring houses. | 0:00:34 | 0:00:37 | |
Perfect, thank you. | 0:00:37 | 0:00:39 | |
And this time, in an added twist, | 0:00:39 | 0:00:41 | |
one of them will be a wild card, | 0:00:41 | 0:00:43 | |
a designer previously eliminated from the competition. | 0:00:43 | 0:00:47 | |
You're going to give somebody a second chance? | 0:00:47 | 0:00:50 | |
Putting them through their paces and scrutinising their every move, | 0:00:50 | 0:00:53 | |
our judges, Daniel Hopwood, designer, | 0:00:53 | 0:00:56 | |
and a director of the British Institute of Interior Design... | 0:00:56 | 0:00:59 | |
This year we've got new challenges for the designers | 0:00:59 | 0:01:01 | |
that are really going to push them to the limit. | 0:01:01 | 0:01:04 | |
..and internationally renowned interior designer Kelly Hoppen. | 0:01:04 | 0:01:07 | |
As a judge in this competition I want to see perfection. | 0:01:07 | 0:01:10 | |
I think I will be quite a hard judge. | 0:01:10 | 0:01:13 | |
Helping to decide who will triumph, and pushing the stakes even higher | 0:01:13 | 0:01:18 | |
is guest judge, editor in chief of Elle Decoration, Michelle Ogundehin. | 0:01:18 | 0:01:22 | |
What makes a great interior designer is someone that understands | 0:01:22 | 0:01:25 | |
that it's not just about how a space looks, | 0:01:25 | 0:01:28 | |
but it's how it makes you feel. | 0:01:28 | 0:01:30 | |
But it's going to take a lot of creativity and hard work | 0:01:31 | 0:01:34 | |
to be crowned winner of the Great Interior Design Challenge. | 0:01:34 | 0:01:37 | |
After six dramatic rounds of competition... | 0:01:43 | 0:01:46 | |
GLASS SMASHES THEY SIGH | 0:01:46 | 0:01:47 | |
..six designers have been sent home... | 0:01:47 | 0:01:49 | |
..leaving three as semifinalists. | 0:01:50 | 0:01:52 | |
But now the judges are going to choose who will be joining them | 0:01:54 | 0:01:56 | |
as the fourth semifinalist. | 0:01:56 | 0:01:58 | |
So, we're going for a wild card. | 0:01:58 | 0:02:00 | |
Absolutely, and it's really hard, | 0:02:00 | 0:02:02 | |
because the three that we've got in the semifinals now | 0:02:02 | 0:02:04 | |
are seriously, seriously good. | 0:02:04 | 0:02:07 | |
Having discounted the designers who left in the first round, | 0:02:07 | 0:02:10 | |
the judges will now decide who from the quarterfinals | 0:02:10 | 0:02:13 | |
will join the other three. | 0:02:13 | 0:02:14 | |
James we gave a second chance to already. | 0:02:15 | 0:02:19 | |
-Yes, that was a risk, wasn't it? -Because he didn't finish the room | 0:02:19 | 0:02:22 | |
-the first time round. -But we saw his potential. | 0:02:22 | 0:02:24 | |
Saw the potential, but there was no je ne sais quoi. | 0:02:24 | 0:02:28 | |
The je ne sais pas quoi had quoi'd out the room, hadn't it? | 0:02:28 | 0:02:30 | |
-Exactly. -Now, Richard. | 0:02:30 | 0:02:32 | |
The pair of you both loved him. | 0:02:32 | 0:02:34 | |
Because I think he's got some genius ideas | 0:02:34 | 0:02:36 | |
and I think he's young and he's fiery, | 0:02:36 | 0:02:38 | |
but he's still quite frozen inside. | 0:02:38 | 0:02:41 | |
But what we both saw was | 0:02:41 | 0:02:43 | |
someone who has a level of talent that could be nurtured | 0:02:43 | 0:02:47 | |
and actually curated into something really quite great | 0:02:47 | 0:02:50 | |
but he didn't finish that room. | 0:02:50 | 0:02:51 | |
Now, Shaida finished everything. | 0:02:51 | 0:02:53 | |
If you were ever going to find an organised designer, she is it. | 0:02:53 | 0:02:57 | |
So, let's cut to the chase. | 0:02:57 | 0:02:59 | |
Who has got that added bit of extra creativity? | 0:02:59 | 0:03:01 | |
Who's going to surprise you? | 0:03:01 | 0:03:02 | |
I think it's between these two. | 0:03:02 | 0:03:04 | |
Well, you see, I disagree. | 0:03:04 | 0:03:05 | |
And I think it's between these two. | 0:03:05 | 0:03:07 | |
-There's one which we're both very sure of. -Exactly. | 0:03:07 | 0:03:10 | |
-Let's go for Richard. -I agree. | 0:03:11 | 0:03:13 | |
This time, we're in Bristol, | 0:03:20 | 0:03:22 | |
and this famous stretch of colourful terraces | 0:03:22 | 0:03:24 | |
perched high above the harbour received a welcome addition | 0:03:24 | 0:03:27 | |
in the late noughties. | 0:03:27 | 0:03:29 | |
This street of houses in Hotwells was built in 2009 | 0:03:29 | 0:03:32 | |
on the site of a former technical school. | 0:03:32 | 0:03:35 | |
Now, two of our semifinalists will be working on two rooms each | 0:03:35 | 0:03:38 | |
in neighbouring houses in this most contemporary of developments. | 0:03:38 | 0:03:42 | |
In this semifinal, wild card Richard will be joined by Daniela. | 0:03:44 | 0:03:48 | |
Looks good, don't it? | 0:03:48 | 0:03:49 | |
The designers will have just 48 hours over three days, | 0:03:50 | 0:03:53 | |
and £2,000... | 0:03:53 | 0:03:55 | |
It's coming along nicely. | 0:03:55 | 0:03:56 | |
..a team of two builders and two decorators to manage... | 0:03:56 | 0:03:59 | |
Yeah, I need it a bit higher. | 0:03:59 | 0:04:01 | |
..and their first room must be finished and judged on day two... | 0:04:02 | 0:04:06 | |
It throws a massive spanner and the rest of the tool box into the works. | 0:04:06 | 0:04:10 | |
..because at stake is a place in the final. | 0:04:10 | 0:04:12 | |
Getting the phone call about having a second chance was exciting. | 0:04:13 | 0:04:17 | |
It's just a little bit more pressure, | 0:04:17 | 0:04:18 | |
being the wild card, especially. | 0:04:18 | 0:04:20 | |
If I came back as a wild card I'd have more fire in my belly, | 0:04:20 | 0:04:23 | |
so...a little bit scared about that. | 0:04:23 | 0:04:26 | |
The warm springs that bubble up around the River Avon here | 0:04:33 | 0:04:36 | |
were discovered in the late 15th century, | 0:04:36 | 0:04:38 | |
and give Hotwells its name. | 0:04:38 | 0:04:40 | |
It soon became a spa town just outside the busy port of Bristol, | 0:04:40 | 0:04:44 | |
and, by the Georgian period, even rivalled Bath. | 0:04:44 | 0:04:47 | |
By the late 18th century, though, | 0:04:47 | 0:04:48 | |
it was beginning to fall out of fashion. | 0:04:48 | 0:04:51 | |
The middle classes left. | 0:04:51 | 0:04:52 | |
Industry moved in. | 0:04:52 | 0:04:54 | |
At the time, Bristol was the second largest port in the country | 0:04:57 | 0:05:00 | |
after London. | 0:05:00 | 0:05:01 | |
And with so many ships to accommodate, | 0:05:01 | 0:05:03 | |
a floating harbour was created. | 0:05:03 | 0:05:05 | |
When it opened in 1809, it was the world's largest impounded dock, | 0:05:05 | 0:05:09 | |
and Hotwells became a hive of maritime activity. | 0:05:09 | 0:05:13 | |
These days, though, | 0:05:16 | 0:05:17 | |
it's the industry that's moved out of Hotwells, | 0:05:17 | 0:05:19 | |
and the middle classes who've returned. | 0:05:19 | 0:05:21 | |
Today, the neighbourhood is part of the Clifton conservation area, | 0:05:21 | 0:05:24 | |
home to more than 1,200 listed Georgian and Victorian buildings. | 0:05:24 | 0:05:27 | |
Our contemporary townhouses, completed in 2009, | 0:05:30 | 0:05:33 | |
were designed to be fashionable and modern. | 0:05:33 | 0:05:35 | |
They may look rather plain from over here. | 0:05:35 | 0:05:37 | |
But from the harbour-side you can see the colourful render | 0:05:39 | 0:05:41 | |
that helps them blend in seamlessly with their historic neighbours. | 0:05:41 | 0:05:44 | |
And now it's our designers' job to make them sing on the inside, too. | 0:05:46 | 0:05:50 | |
In their contemporary townhouses, each will be handed | 0:05:51 | 0:05:54 | |
a guest room-cum-craft room to overhaul. | 0:05:54 | 0:05:56 | |
Richard will also be given a master bedroom. | 0:05:57 | 0:06:00 | |
And Daniela, a living room. | 0:06:00 | 0:06:01 | |
It's 31-year-old transport artist Richard from West Yorkshire | 0:06:06 | 0:06:09 | |
who's first to begin his semifinal journey. | 0:06:09 | 0:06:12 | |
Yeah, looks good. | 0:06:12 | 0:06:13 | |
In the first heat, the judges admired Richard's versatility, | 0:06:13 | 0:06:16 | |
when he stepped out of his comfort zone as an industrial designer | 0:06:16 | 0:06:20 | |
and created a bedroom rich in hotel chic. | 0:06:20 | 0:06:22 | |
It's brilliantly calm, and it's really elegant. | 0:06:24 | 0:06:26 | |
And in the quarterfinals, | 0:06:27 | 0:06:28 | |
although his nautical-themed study was unfinished... | 0:06:28 | 0:06:31 | |
So, time's up and there's still quite a bit to do, so... | 0:06:31 | 0:06:34 | |
Failed. | 0:06:36 | 0:06:37 | |
..innovative touches in his quirky bedroom | 0:06:37 | 0:06:39 | |
won him praise from the judges... | 0:06:39 | 0:06:41 | |
He's invented this, it's so clever. | 0:06:41 | 0:06:44 | |
A light on a wire dropping into a vase. | 0:06:44 | 0:06:46 | |
..and ultimately gained him | 0:06:46 | 0:06:48 | |
his wild-card entry into the semifinals. | 0:06:48 | 0:06:51 | |
So what was it about him | 0:06:51 | 0:06:52 | |
that made you want to give him a second chance? | 0:06:52 | 0:06:54 | |
He's very young in the way that he designs, | 0:06:54 | 0:06:56 | |
so everything's he's doing is quite raw and new, wouldn't you say? | 0:06:56 | 0:06:59 | |
Yeah, and because of that he answers design solutions, | 0:06:59 | 0:07:02 | |
and comes up with really good ideas and we found those quite exciting. | 0:07:02 | 0:07:05 | |
So you can see something in him, | 0:07:05 | 0:07:06 | |
something you want to really see flower? | 0:07:06 | 0:07:08 | |
Exactly. There's more in him, and we want to see that. | 0:07:08 | 0:07:12 | |
I'm extremely happy to be back in the competition. | 0:07:12 | 0:07:15 | |
I felt like I had unfinished business after the last... | 0:07:15 | 0:07:18 | |
Well, literally, I had unfinished business. | 0:07:18 | 0:07:20 | |
It's definitely given me confidence. | 0:07:20 | 0:07:22 | |
They obviously see something in me. | 0:07:22 | 0:07:24 | |
It also adds a lot of pressure. | 0:07:24 | 0:07:26 | |
I don't want to make them feel like they've chosen the wrong person. | 0:07:26 | 0:07:30 | |
Our second semifinalist fighting for a place in the final | 0:07:31 | 0:07:34 | |
is 30-year-old Daniela from Epping in Essex. | 0:07:34 | 0:07:37 | |
Gorgeous. | 0:07:38 | 0:07:40 | |
In the first round, | 0:07:40 | 0:07:41 | |
Daniela employed her minimalist, luxe approach to design, | 0:07:41 | 0:07:44 | |
and created a stylish bedroom for a 12-year-old. | 0:07:44 | 0:07:47 | |
Wow, that's amazing! | 0:07:48 | 0:07:50 | |
I really like it. | 0:07:50 | 0:07:51 | |
And in the quarterfinals, | 0:07:51 | 0:07:53 | |
the judges loved her living room, | 0:07:53 | 0:07:54 | |
with its chic Parisian boutique feel. | 0:07:54 | 0:07:56 | |
-C'est tres jolie. -Tres, tres jolie. | 0:07:57 | 0:07:59 | |
Sophisticated, elegant. | 0:07:59 | 0:08:02 | |
Perfect evening room. | 0:08:02 | 0:08:04 | |
But it wasn't very well received by her homeowners. | 0:08:04 | 0:08:07 | |
I'm slightly disappointed, yes. | 0:08:07 | 0:08:09 | |
And the bedroom that she called nomadic serenity | 0:08:09 | 0:08:12 | |
let her down with its finish. | 0:08:12 | 0:08:14 | |
Is this all just style over substance? | 0:08:14 | 0:08:17 | |
What's interesting about Daniela, of course, | 0:08:18 | 0:08:20 | |
is that she adapts with each brief. | 0:08:20 | 0:08:22 | |
She's a great stylist. | 0:08:22 | 0:08:23 | |
She comes up with lots of different ideas, | 0:08:23 | 0:08:25 | |
really depending on what the clients like, | 0:08:25 | 0:08:27 | |
and what the buildings are like. | 0:08:27 | 0:08:28 | |
She can be very ambitious, though, can't she? | 0:08:28 | 0:08:30 | |
She's in it to win it. | 0:08:30 | 0:08:32 | |
She's driven, but being too ambitious is dangerous, | 0:08:32 | 0:08:34 | |
because you can offer too much and not achieve it, | 0:08:34 | 0:08:37 | |
and then the homeowner feels let down. | 0:08:37 | 0:08:39 | |
I am quite competitive by nature. | 0:08:40 | 0:08:42 | |
And I would hate to go home after this. | 0:08:42 | 0:08:44 | |
So, going from the judges' comments last time, | 0:08:44 | 0:08:46 | |
it's all about me finishing to a high standard | 0:08:46 | 0:08:49 | |
and everything like that, so it's going to be imperative | 0:08:49 | 0:08:51 | |
that we all work hard and get things ticked off that list. | 0:08:51 | 0:08:55 | |
So, the quiet man versus the determined woman. | 0:08:55 | 0:08:58 | |
And out of those two, there's a finalist. | 0:08:58 | 0:09:00 | |
It's going to be explosive. | 0:09:00 | 0:09:02 | |
Richard is the first designer off the starting blocks. | 0:09:05 | 0:09:07 | |
He's taken on the challenge of redesigning two rooms | 0:09:07 | 0:09:10 | |
in homeowner Catherine's three-storey townhouse. | 0:09:10 | 0:09:13 | |
First up, it's the master bedroom on the lower ground floor. | 0:09:15 | 0:09:18 | |
My vision for the bedroom is that I want it to be light, | 0:09:19 | 0:09:23 | |
unfussy and tranquil. | 0:09:23 | 0:09:25 | |
I really like unusual fabrics and designs and colours. | 0:09:25 | 0:09:28 | |
I travel quite a lot, | 0:09:28 | 0:09:29 | |
and I've collected quite a few over the years. | 0:09:29 | 0:09:32 | |
I have a bedspread that's got some very bold colours in. | 0:09:32 | 0:09:35 | |
And I'd like that to form the basis of the room. | 0:09:35 | 0:09:38 | |
Although the designers have had their briefs for just over a week, | 0:09:38 | 0:09:41 | |
this will be the first time they'll be seeing the rooms in person. | 0:09:41 | 0:09:44 | |
I'm pretty pleased with this room. | 0:09:44 | 0:09:46 | |
Don't think I've got any... | 0:09:46 | 0:09:47 | |
anything that's standing out as a concern anywhere. | 0:09:47 | 0:09:50 | |
The second room I want the designer to work on | 0:09:50 | 0:09:53 | |
is a multifunction room. | 0:09:53 | 0:09:54 | |
It needs to be a spare bedroom for some occasions, | 0:09:54 | 0:09:57 | |
but it's also a room that I want to be able to do other things in, | 0:09:57 | 0:10:00 | |
like crafts, sewing, a little bit of anything. | 0:10:00 | 0:10:03 | |
It's...a lot nicer in feel than I was expecting. | 0:10:03 | 0:10:08 | |
It's got a very small window. | 0:10:08 | 0:10:10 | |
So, because it's so dark, it could have something that forms a focus. | 0:10:10 | 0:10:14 | |
Wow factor sounds dangerous, doesn't it? But it is what's in the brief. | 0:10:14 | 0:10:17 | |
I'll show you the bedroom first. | 0:10:19 | 0:10:20 | |
Working to Catherine's brief, | 0:10:21 | 0:10:23 | |
Richard has created a mood board of his ideas | 0:10:23 | 0:10:25 | |
which he's presenting to her. | 0:10:25 | 0:10:26 | |
On hand to assess his performance | 0:10:27 | 0:10:29 | |
are industry experts Kelly Hoppen and Daniel Hopwood. | 0:10:29 | 0:10:33 | |
They'll be looking out for strong presentation skills, | 0:10:33 | 0:10:36 | |
and an ability to adapt to his client's wishes. | 0:10:36 | 0:10:39 | |
So, going to keep your bedspread | 0:10:39 | 0:10:41 | |
-cos I understand you quite like... Well, you love it. -I love it, yeah. | 0:10:41 | 0:10:44 | |
And for your headboard I've gone for a big OSB wall... | 0:10:44 | 0:10:49 | |
..which is a type of chipboard. | 0:10:50 | 0:10:52 | |
-Right. -It's usually hidden away. | 0:10:52 | 0:10:54 | |
But it's one of my favourite materials, I like using it. | 0:10:54 | 0:10:56 | |
-Yeah, it seems really nice. -It's usually quite rough, | 0:10:56 | 0:10:58 | |
but you just give it a light sand on top, it makes it nice and soft, | 0:10:58 | 0:11:02 | |
and it really... It warms it up, basically. | 0:11:02 | 0:11:04 | |
-Nice. -And then we've got this fabric here as padded sections | 0:11:04 | 0:11:08 | |
across this headboard. | 0:11:08 | 0:11:10 | |
And I was going to have curtains go all the way along that wall. | 0:11:10 | 0:11:14 | |
OK. | 0:11:15 | 0:11:16 | |
I'm happy to... try the wall of curtains. | 0:11:16 | 0:11:20 | |
-Yeah. -But they will be going in front of the radiator, | 0:11:20 | 0:11:22 | |
so from a practical point of view, | 0:11:22 | 0:11:24 | |
-having them right along the wall... -Yeah. -..probably doesn't work. | 0:11:24 | 0:11:28 | |
OK. | 0:11:28 | 0:11:29 | |
I'll have a rethink about that, then. | 0:11:29 | 0:11:32 | |
Otherwise, I really like it. | 0:11:32 | 0:11:34 | |
Now, this is the guest craft room. | 0:11:34 | 0:11:39 | |
So, you said you wanted a wow factor in this room. | 0:11:39 | 0:11:42 | |
-Yes. -Something totally unique. | 0:11:42 | 0:11:43 | |
So, this section here, | 0:11:43 | 0:11:47 | |
this whole corner will be painted in this colour. | 0:11:47 | 0:11:51 | |
-Yep. -It's zoning the room, basically. | 0:11:51 | 0:11:53 | |
I've just got to get my head around the lay-out. | 0:11:53 | 0:11:55 | |
We can have a play about with it. | 0:11:55 | 0:11:57 | |
-and we can see what works for you and what doesn't work. -OK. | 0:11:57 | 0:12:00 | |
This is a light fitting that I hope to make. | 0:12:00 | 0:12:03 | |
And I've also got a floor lamp to go behind the screen | 0:12:03 | 0:12:06 | |
-to light up that corner a bit. -So, what's the purpose of the screen? | 0:12:06 | 0:12:08 | |
-I don't understand that. -The screen... | 0:12:08 | 0:12:10 | |
I thought having a screen is a way of keeping stuff | 0:12:10 | 0:12:13 | |
hidden away, when you've got guests round. | 0:12:13 | 0:12:16 | |
I'm not sure, at all. | 0:12:16 | 0:12:17 | |
I like lots of it. | 0:12:18 | 0:12:19 | |
-OK. -I really don't like the screen idea. | 0:12:19 | 0:12:22 | |
For me, that would be very untidy. | 0:12:22 | 0:12:24 | |
It's difficult for me to get it across in my sketch. | 0:12:24 | 0:12:27 | |
But I think, once everything's together... | 0:12:27 | 0:12:30 | |
..it's going to really... | 0:12:31 | 0:12:33 | |
-I think it's really going to work. -OK. | 0:12:34 | 0:12:35 | |
Kelly, I am so glad that we got Richard back | 0:12:37 | 0:12:40 | |
because yet again he's produced some designs | 0:12:40 | 0:12:43 | |
which are extremely seductive. | 0:12:43 | 0:12:45 | |
Yeah, no, Richard is great. | 0:12:45 | 0:12:47 | |
I genuinely believe that he has got something. | 0:12:47 | 0:12:50 | |
It's just his confidence that I'm worried about. | 0:12:50 | 0:12:53 | |
I've got some job lists. | 0:12:54 | 0:12:55 | |
-Yay! -So everything that needs doing in the master bedroom's on there. | 0:12:55 | 0:13:00 | |
Richard's 48 hours have begun. | 0:13:00 | 0:13:02 | |
I've got a wall of OSB being put up on there, | 0:13:02 | 0:13:06 | |
with a fabric headboard along the middle, there. | 0:13:06 | 0:13:08 | |
Shall we get on with it then? Let's go. Yeah, let's do it. Right, cool. | 0:13:08 | 0:13:11 | |
Richard's first room to be finished tomorrow is the bedroom. | 0:13:11 | 0:13:14 | |
As work starts, | 0:13:14 | 0:13:16 | |
his homeowner Catherine is still unsure about the layout | 0:13:16 | 0:13:19 | |
in the multifunction guest room. | 0:13:19 | 0:13:21 | |
Well, I wondered whether this could go where the bookcase is | 0:13:21 | 0:13:25 | |
-at the moment. -Yes. -And the desk along towards the window. | 0:13:25 | 0:13:28 | |
-Yeah. -And the sofa bed could go up against this wall, | 0:13:28 | 0:13:31 | |
-and make that sort of the wow factor wall. -Yeah. | 0:13:31 | 0:13:34 | |
His homeowner's changes are now impacting on Richard's schedule. | 0:13:34 | 0:13:37 | |
And, unlike the last round, | 0:13:39 | 0:13:40 | |
he wants to make sure he completes both rooms. | 0:13:40 | 0:13:43 | |
There's a lot to think about now in this room. | 0:13:43 | 0:13:45 | |
A lot more than I would have liked to. But at least... | 0:13:45 | 0:13:47 | |
At least this is the room that is finished second, so... | 0:13:48 | 0:13:52 | |
I've got more time to think about it and more time to dedicate to it. | 0:13:53 | 0:13:56 | |
Daniela is the second designer to get going. | 0:13:58 | 0:14:00 | |
She's been given the task of refreshing the modern home | 0:14:00 | 0:14:03 | |
of retirees Sue and Charles. | 0:14:03 | 0:14:05 | |
We need a designer to come along and show us the potential, | 0:14:05 | 0:14:10 | |
because basically we've got quite boring taste. | 0:14:10 | 0:14:13 | |
We're at the stage after being here for two years | 0:14:13 | 0:14:15 | |
that we want to really let go and be adventurous. | 0:14:15 | 0:14:18 | |
The first room Daniela will be let loose on | 0:14:19 | 0:14:22 | |
is the second floor living room with a spectacular outlook. | 0:14:22 | 0:14:25 | |
Oh, wow. My goodness, that view. | 0:14:27 | 0:14:28 | |
It's just...unbelievable. | 0:14:28 | 0:14:30 | |
I, personally, would like a better use of colour. | 0:14:31 | 0:14:35 | |
The stained-glass window, | 0:14:35 | 0:14:37 | |
that was another starting point, as well as the windows here, | 0:14:37 | 0:14:40 | |
for my designs. | 0:14:40 | 0:14:41 | |
I like colour. Not on the walls. | 0:14:41 | 0:14:43 | |
So, it's, say, fabrics, curtains, carpets, etc. | 0:14:43 | 0:14:47 | |
Daniela's second challenge is on the ground floor. | 0:14:48 | 0:14:50 | |
The downstairs room is long and it's dark, | 0:14:51 | 0:14:55 | |
and we've never really thought of a way to... | 0:14:55 | 0:14:58 | |
use it properly. | 0:14:58 | 0:14:59 | |
But now the homeowners have decided | 0:14:59 | 0:15:01 | |
that they'd like to have a dual purpose guest room. | 0:15:01 | 0:15:04 | |
We want to split it up so we have a work area within the room. | 0:15:04 | 0:15:07 | |
So, one area is going to be for the bed, | 0:15:07 | 0:15:11 | |
and the other area's going to be for the craft area. | 0:15:11 | 0:15:14 | |
Yeah, I think I'm quite happy, actually. | 0:15:14 | 0:15:15 | |
I think that it's as I expected, if a little darker. | 0:15:15 | 0:15:20 | |
That's about it. | 0:15:20 | 0:15:21 | |
I would like something that stands out. | 0:15:21 | 0:15:24 | |
Contemporary, definitely contemporary. | 0:15:24 | 0:15:26 | |
I like drama. | 0:15:26 | 0:15:27 | |
I don't like quirkiness. | 0:15:27 | 0:15:29 | |
And there is a difference. | 0:15:29 | 0:15:30 | |
THEY CHUCKLE | 0:15:30 | 0:15:31 | |
So, this is the bedroom. | 0:15:33 | 0:15:35 | |
From your brief you said that you liked hand-painted wallpapers, | 0:15:35 | 0:15:39 | |
so I kind of researched hand-painted wallpapers, | 0:15:39 | 0:15:43 | |
and it came really from a Japanese influence. | 0:15:43 | 0:15:46 | |
So, with the walls, | 0:15:46 | 0:15:47 | |
I'm actually going to hand-paint scenes of Bristol. | 0:15:47 | 0:15:50 | |
-It's not going to be dark, is it? -No, definitely not. | 0:15:50 | 0:15:53 | |
What I'm bringing in is lots of ivory linens, and things like that. | 0:15:53 | 0:15:56 | |
So the bedding's going to be ivory, as well. | 0:15:56 | 0:15:59 | |
So, it's going to be a very light, airy feeling room, | 0:15:59 | 0:16:03 | |
this is what I'm going for. | 0:16:03 | 0:16:05 | |
Now, my idea with this whole Japanese multifunction space | 0:16:05 | 0:16:09 | |
is that we curtain off... | 0:16:09 | 0:16:11 | |
one area here, so you've got your craft area, | 0:16:11 | 0:16:14 | |
but you've also got a curtain that can be pushed right back | 0:16:14 | 0:16:17 | |
so you still get that daylight in, and things like that. | 0:16:17 | 0:16:19 | |
Or when you do have guests stay, | 0:16:19 | 0:16:20 | |
they can pull it across, and they don't have to feel | 0:16:20 | 0:16:23 | |
like they're in kind of this craft area-cum-guest room. | 0:16:23 | 0:16:27 | |
-I think it's great. -Yeah? | 0:16:27 | 0:16:28 | |
-I think... The whole thing, it's great. -Ohh! | 0:16:28 | 0:16:30 | |
-So... -Now, the next room. | 0:16:30 | 0:16:32 | |
LAUGHTER | 0:16:32 | 0:16:34 | |
So, I mean, looking at the furniture you already have, | 0:16:34 | 0:16:36 | |
I just felt you had a strong identity in here | 0:16:36 | 0:16:39 | |
with all of your mid-century furniture | 0:16:39 | 0:16:41 | |
so I didn't want to completely radicalise your style. | 0:16:41 | 0:16:44 | |
I wanted to, kind of, hopefully, enhance it. | 0:16:44 | 0:16:47 | |
So, here we've got wood-panelled wall along here. | 0:16:47 | 0:16:52 | |
-There. Yeah. -And then we've got colour blocking. | 0:16:52 | 0:16:55 | |
It's going to be quite subtle, but really dynamic. | 0:16:55 | 0:16:58 | |
It's just so different from anything I'd ever envisaged so... | 0:16:58 | 0:17:01 | |
Very much open to it. | 0:17:01 | 0:17:03 | |
So, this sofa I would like to replace with this chaise here. | 0:17:03 | 0:17:08 | |
Can I quickly say I am not a white chaise longue person. | 0:17:08 | 0:17:12 | |
Can we work with that? | 0:17:12 | 0:17:13 | |
I don't think you are either, are you? | 0:17:13 | 0:17:15 | |
It's a very modern kind of style. | 0:17:15 | 0:17:18 | |
It's not some sort of glamorous chaise | 0:17:18 | 0:17:20 | |
that you kind of lounge about on, over the top and pretentious. | 0:17:20 | 0:17:23 | |
It's very simple. | 0:17:23 | 0:17:24 | |
-Let's go with it. -Go with it. -Yeah? | 0:17:26 | 0:17:27 | |
So you asked for a kind of ladderax... | 0:17:27 | 0:17:31 | |
I did. Yeah. | 0:17:31 | 0:17:33 | |
-So, using brass... -Whoa. | 0:17:33 | 0:17:35 | |
-I'm going to actually use the existing shelves in there. -Yeah. | 0:17:35 | 0:17:38 | |
-And use them as the shelves here. -Whoa, yeah. | 0:17:38 | 0:17:42 | |
So I think we are all done, | 0:17:42 | 0:17:44 | |
and hopefully you're excited. | 0:17:44 | 0:17:46 | |
-Well done. -Oh, thank you. Thank you for being so lovely! | 0:17:46 | 0:17:48 | |
As always, Daniela gave an amazing performance. | 0:17:50 | 0:17:52 | |
She has got these homeowners excited. | 0:17:52 | 0:17:55 | |
She puts a lot of pictures there that show the feel | 0:17:55 | 0:17:58 | |
and the type of room that she wants to create. | 0:17:58 | 0:18:00 | |
So she's incredibly professional. | 0:18:00 | 0:18:02 | |
But she was just offering so much. | 0:18:02 | 0:18:05 | |
The Japanese Bristol influence, that is a massive risk that she's taken. | 0:18:05 | 0:18:12 | |
Yeah. I mean, to paint that on the walls...? | 0:18:12 | 0:18:14 | |
I really don't know how she's going to get this project done. | 0:18:14 | 0:18:16 | |
I really don't. But if she does, it's going to be stunning. | 0:18:16 | 0:18:19 | |
OK, so, my wonderful team, are you ready for my lists? | 0:18:20 | 0:18:24 | |
Yes. | 0:18:24 | 0:18:25 | |
Daniela's 48 hours have started. | 0:18:25 | 0:18:27 | |
Is this room one? Like, the first one you're doing? | 0:18:27 | 0:18:30 | |
This is bedroom, yeah, this is the first one that's getting finished. | 0:18:30 | 0:18:33 | |
Yep. | 0:18:33 | 0:18:34 | |
As her team gets to work, | 0:18:34 | 0:18:36 | |
Daniela heads off to take in the local scenery. | 0:18:36 | 0:18:39 | |
This is purely for me to get a skyline. | 0:18:39 | 0:18:42 | |
Where the trees are, the textures are... | 0:18:42 | 0:18:44 | |
Obviously, when I paint it, it'll be a lot nicer! | 0:18:44 | 0:18:47 | |
It'll be a lot more artistic. | 0:18:47 | 0:18:48 | |
She plans to recreate the Bristol views | 0:18:49 | 0:18:51 | |
in a Japanese style on the guest room walls. | 0:18:51 | 0:18:54 | |
I've never painted a wall before with one of my sketches. | 0:18:54 | 0:18:57 | |
So, this will be interesting. | 0:18:57 | 0:18:59 | |
Daniela's view is of a city made up of a diverse mix | 0:19:04 | 0:19:07 | |
of building designs. | 0:19:07 | 0:19:09 | |
Some might call these houses modernist | 0:19:09 | 0:19:11 | |
but that's a small word for a complex kind of architecture. | 0:19:11 | 0:19:14 | |
Modernism emerged in Central Europe after the First World War, | 0:19:16 | 0:19:19 | |
using mass-produced materials like steel, plate glass and concrete | 0:19:19 | 0:19:24 | |
to create bold geometric forms in anything from skyscrapers | 0:19:24 | 0:19:27 | |
to social housing. | 0:19:27 | 0:19:29 | |
Britain's always had | 0:19:30 | 0:19:31 | |
a bit of a love-hate relationship with modernism. | 0:19:31 | 0:19:33 | |
It arrived here rather late in the day after 1945, | 0:19:33 | 0:19:36 | |
but, when it did, we went mad for it. | 0:19:36 | 0:19:39 | |
In the garden, Richard's putting a modern twist | 0:19:44 | 0:19:46 | |
on his master bedroom... | 0:19:46 | 0:19:48 | |
..spraying white lampshades with a transparent blue paint. | 0:19:49 | 0:19:52 | |
This isn't all going to be one colour, | 0:19:52 | 0:19:54 | |
it's going to be an ombre effect | 0:19:54 | 0:19:55 | |
which basically just means it's going to go from solid colour | 0:19:55 | 0:19:58 | |
then fade out. | 0:19:58 | 0:19:59 | |
But his home owner Catherine is still questioning his plans | 0:20:00 | 0:20:04 | |
for a full-length curtain across the bedroom's newly painted wall. | 0:20:04 | 0:20:09 | |
I really like the colour of the wall. | 0:20:09 | 0:20:11 | |
The curtains coming right over the radiator | 0:20:11 | 0:20:13 | |
-I don't think is going to work. -OK. | 0:20:13 | 0:20:15 | |
The judges are concerned about how far he's now having to stray | 0:20:18 | 0:20:21 | |
-from his original vision. -Hello, Richard. | 0:20:21 | 0:20:24 | |
-Hello. -How are you coping? | 0:20:24 | 0:20:25 | |
I'm coping all right, I think. | 0:20:27 | 0:20:28 | |
Did you manage to talk her into the screen? | 0:20:28 | 0:20:30 | |
No, not yet. Actually, we haven't discussed that again since. | 0:20:30 | 0:20:33 | |
You've got to own this, it's yours, it belongs to you. | 0:20:33 | 0:20:36 | |
-You know where it's going to go. -Calm down! Calm down! | 0:20:36 | 0:20:38 | |
No, no, I know... But you've got to hold it, you've got to run with it. | 0:20:38 | 0:20:41 | |
If you're going to present something to a client, | 0:20:41 | 0:20:43 | |
you've got to believe in it yourself. | 0:20:43 | 0:20:44 | |
You've got a good design here. Stick with it. | 0:20:44 | 0:20:47 | |
OK. | 0:20:47 | 0:20:48 | |
A few doors away, | 0:20:53 | 0:20:54 | |
Daniela's homeowners are also paying her a visit. | 0:20:54 | 0:20:57 | |
They've had second thoughts | 0:20:57 | 0:20:58 | |
about the seating they agreed to for their living room. | 0:20:58 | 0:21:00 | |
It was the chaise longue, | 0:21:01 | 0:21:03 | |
we don't really think the chaise longue would work, | 0:21:03 | 0:21:05 | |
-because it is basically a one-person sofa, whatever. -Right. | 0:21:05 | 0:21:08 | |
Right. My sticking point is the blue sofa. | 0:21:08 | 0:21:13 | |
It's not modern enough, basically, | 0:21:13 | 0:21:14 | |
it's not sleek enough to bring all the other elements, | 0:21:14 | 0:21:18 | |
the kind of mid-century elements up-to-date. | 0:21:18 | 0:21:20 | |
So, OK. | 0:21:20 | 0:21:22 | |
-I'll get my thinking cap on. -Lovely, thank you, Daniela. -Thank you. | 0:21:22 | 0:21:25 | |
I knew that they weren't sure about it, | 0:21:25 | 0:21:27 | |
I knew that they weren't totally sold | 0:21:27 | 0:21:28 | |
and they've obviously gone away and had a chat between themselves | 0:21:28 | 0:21:31 | |
and, you know, that's fine. | 0:21:31 | 0:21:33 | |
You know, bit annoying, but there we are, | 0:21:33 | 0:21:35 | |
they've got to live here, I suppose. | 0:21:35 | 0:21:37 | |
But the living room seating worries will have to wait | 0:21:38 | 0:21:41 | |
because with the Japanese-themed guest room-cum-craft room | 0:21:41 | 0:21:43 | |
to be finished first, | 0:21:43 | 0:21:45 | |
Daniela wants to concentrate on her hand-painted mural. | 0:21:45 | 0:21:48 | |
Daniela, you've started the painting. | 0:21:48 | 0:21:50 | |
Oh, I have, yes, you've caught me red-handed. | 0:21:50 | 0:21:52 | |
How are you doing this? What is the technique? What are you using? | 0:21:52 | 0:21:55 | |
It is acrylic paint. | 0:21:55 | 0:21:56 | |
Rather than watercolour? | 0:21:56 | 0:21:58 | |
Just acrylic. I think it gives me more time to work and layer it up. | 0:21:58 | 0:22:02 | |
It's more controllable when watering it down | 0:22:02 | 0:22:04 | |
-and things like that. -It's terrifying watching you do it. | 0:22:04 | 0:22:06 | |
-It is, it is. I'm terrified. -It's only paint. | 0:22:06 | 0:22:09 | |
If it doesn't work you just roller it over. | 0:22:09 | 0:22:11 | |
I could roller it over if there was a patch I wasn't happy with. | 0:22:11 | 0:22:13 | |
I've been ambitious, | 0:22:13 | 0:22:14 | |
but I wouldn't be standing here right now if it wasn't for ambition. | 0:22:14 | 0:22:18 | |
So I'm not going to do something that's just easy | 0:22:18 | 0:22:21 | |
-and just paint the walls grey. -Go girl. | 0:22:21 | 0:22:23 | |
Exactly. I'm going to push it. I'm going to push it. | 0:22:23 | 0:22:26 | |
But you know the age-old story. | 0:22:26 | 0:22:28 | |
-Quality... and you've got to get it done. -Yep. | 0:22:28 | 0:22:31 | |
Keen to keep the designers on their toes, | 0:22:34 | 0:22:37 | |
the judges are about to present them | 0:22:37 | 0:22:38 | |
with something that will test their creativity. | 0:22:38 | 0:22:40 | |
-Daniela. -What are you standing on? | 0:22:42 | 0:22:44 | |
The creative challenge moment. | 0:22:44 | 0:22:46 | |
HE LAUGHS | 0:22:46 | 0:22:48 | |
An old barrel... that contained whisky. | 0:22:48 | 0:22:51 | |
-Unfortunately there's none of it in there, now. -That IS a shame. | 0:22:51 | 0:22:54 | |
It'll be their task to give it a new purpose, | 0:22:54 | 0:22:57 | |
and work it into one of their room designs. | 0:22:57 | 0:23:00 | |
Hmm. OK. I'm kind of liking it. | 0:23:00 | 0:23:02 | |
-RICHARD LAUGHS -There you go. | 0:23:03 | 0:23:04 | |
-Thank you very much. -Good luck. | 0:23:04 | 0:23:06 | |
-Right. OK. -Good luck! -See you later. | 0:23:06 | 0:23:07 | |
I'm quite excited by it. | 0:23:11 | 0:23:12 | |
I've really got a couple of ideas bubbling away. | 0:23:12 | 0:23:15 | |
So, yeah, it's got potential. | 0:23:15 | 0:23:18 | |
It's exciting. | 0:23:18 | 0:23:19 | |
With the first day drawing to a close, | 0:23:22 | 0:23:24 | |
the creative challenge will be on hold, for now. | 0:23:24 | 0:23:27 | |
But it's not the only thing on tomorrow's to-do list. | 0:23:27 | 0:23:30 | |
Most of the other room has come together quite well today. | 0:23:30 | 0:23:33 | |
So I think if this room can get into the same position | 0:23:33 | 0:23:36 | |
through all of tomorrow, then I should be in a good position. | 0:23:36 | 0:23:40 | |
Hopefully. | 0:23:40 | 0:23:42 | |
With a place in the final at stake, | 0:23:43 | 0:23:44 | |
Daniela's also got her eye on the prize. | 0:23:44 | 0:23:47 | |
This competition means everything to me. | 0:23:48 | 0:23:51 | |
Since starting this, it's given me so much of my confidence back, | 0:23:51 | 0:23:55 | |
my personality back, my creativity, | 0:23:55 | 0:23:57 | |
which I had really lost after having children and I, you know, | 0:23:57 | 0:24:02 | |
I want it to continue for as long as possible. | 0:24:02 | 0:24:05 | |
Hey Richard, how's it gone today? | 0:24:05 | 0:24:07 | |
-All right. -All right? -Just all right. | 0:24:08 | 0:24:10 | |
The first day's always a bit like that, isn't it? | 0:24:10 | 0:24:12 | |
It's like, oh, you should have got loads done. | 0:24:12 | 0:24:14 | |
I've had a lot of things with the owners... | 0:24:14 | 0:24:17 | |
They had discussions with the furniture that I've bought | 0:24:17 | 0:24:20 | |
that they don't want to use. | 0:24:20 | 0:24:21 | |
Yeah, I've had a lot of that as well. | 0:24:21 | 0:24:23 | |
Conversations about things that need changing, | 0:24:23 | 0:24:25 | |
things that need adjusting. | 0:24:25 | 0:24:27 | |
-It's all part of it, I guess. -Well, it is, isn't it? | 0:24:27 | 0:24:29 | |
-Morning. All right? -Morning. | 0:24:39 | 0:24:41 | |
It's been a long, long night. | 0:24:41 | 0:24:43 | |
Richard's gone back to the drawing board, | 0:24:43 | 0:24:45 | |
and Daniela's been slogging away into the small hours. | 0:24:45 | 0:24:47 | |
I do hope they got their beauty sleep, though. | 0:24:47 | 0:24:50 | |
Today, the first of their two rooms has to be completed. | 0:24:50 | 0:24:53 | |
I'm... I'm excited to get on. | 0:24:54 | 0:24:56 | |
I don't think there's anything in particular | 0:24:56 | 0:24:58 | |
that I'm nervous about today. | 0:24:58 | 0:24:59 | |
I've had like two hours' sleep, | 0:25:00 | 0:25:02 | |
I'm worried about this sofa situation again. | 0:25:02 | 0:25:05 | |
You know, I've got myself to think of, you know, | 0:25:05 | 0:25:06 | |
my own kind of design credibility, as such, | 0:25:06 | 0:25:10 | |
and then I've got the judges and then I've got the homeowners, | 0:25:10 | 0:25:12 | |
and this is the big toss-up. Who do I please? | 0:25:12 | 0:25:15 | |
In the living room, | 0:25:17 | 0:25:18 | |
the stained-glass inspired colour block walls are beginning to emerge. | 0:25:18 | 0:25:22 | |
And the vertical wood panelling is going up. | 0:25:23 | 0:25:26 | |
And Daniela's creative challenge | 0:25:26 | 0:25:28 | |
is also being worked into the room's design. | 0:25:28 | 0:25:31 | |
I'm making a light fitting with the metal rings, | 0:25:31 | 0:25:35 | |
so they're going to sit inside each other, | 0:25:35 | 0:25:37 | |
and on a base, so it's going to be like a lamp. | 0:25:37 | 0:25:39 | |
It'll be quite... | 0:25:39 | 0:25:41 | |
you know, cool and modern-looking. | 0:25:41 | 0:25:44 | |
And then the rest of it is going to get cut down, | 0:25:44 | 0:25:46 | |
and it's going to be basically a piece of primitive, | 0:25:46 | 0:25:51 | |
mid-century, Brazilian art. | 0:25:51 | 0:25:54 | |
That's what I'm going for. | 0:25:54 | 0:25:56 | |
-So this is the last bit. -Last bit gone up. That's it. -Excellent. | 0:25:57 | 0:26:01 | |
While work's progressing on his bedroom's headboard, | 0:26:02 | 0:26:04 | |
a tried and tested design created from his trusty OSB, | 0:26:04 | 0:26:08 | |
down in the guest room, Richard's been summoned by the homeowner. | 0:26:08 | 0:26:12 | |
With his original design layout already altered, | 0:26:13 | 0:26:16 | |
she's back with even more changes. | 0:26:16 | 0:26:18 | |
I like the colours, | 0:26:18 | 0:26:20 | |
but I am concerned that it's going to make this room feel really dark. | 0:26:20 | 0:26:23 | |
Let me have a think about it, and see what I can come up with. | 0:26:23 | 0:26:25 | |
All right, thanks very much, Richard. | 0:26:25 | 0:26:27 | |
Pretty much everything in this room is different, now, | 0:26:30 | 0:26:33 | |
from what I wanted. | 0:26:33 | 0:26:35 | |
It throws a massive spanner, and the rest of the tool box into the works. | 0:26:35 | 0:26:40 | |
Daniela has decided to adopt a rather more direct approach | 0:26:43 | 0:26:47 | |
with her homeowners. | 0:26:47 | 0:26:48 | |
Here's my brave side coming out and going against the grain a little. | 0:26:48 | 0:26:51 | |
Believing the chaise longue is an integral part of her design, | 0:26:52 | 0:26:55 | |
she's asking the homeowners to reconsider their stance, | 0:26:55 | 0:26:58 | |
and agree to having it in the living room. | 0:26:58 | 0:27:00 | |
Hi, Daniela. | 0:27:02 | 0:27:03 | |
But has she overstepped her mark? | 0:27:03 | 0:27:05 | |
What happened with the chaise longue? | 0:27:05 | 0:27:07 | |
I'm going to go with it. | 0:27:07 | 0:27:09 | |
-Are you? -Yeah. -Do they know? | 0:27:09 | 0:27:10 | |
They do know. But... | 0:27:10 | 0:27:12 | |
they're not... | 0:27:12 | 0:27:13 | |
-I had to really talk them round. -OK. -I really did. | 0:27:13 | 0:27:16 | |
But you're confident enough that you think they'll like it? | 0:27:16 | 0:27:20 | |
I think they'll like it when it's in the room. | 0:27:20 | 0:27:23 | |
Daniela does not want to toe the line, | 0:27:25 | 0:27:28 | |
and nor do her surroundings. | 0:27:28 | 0:27:29 | |
These houses break with convention | 0:27:30 | 0:27:32 | |
from their foundations right the way up to the rooftops. | 0:27:32 | 0:27:34 | |
For a start, they're upside-down. | 0:27:34 | 0:27:36 | |
The living areas are on the upper floor, | 0:27:36 | 0:27:38 | |
the bedrooms are down here on the ground floor. | 0:27:38 | 0:27:40 | |
So, in here, the windows are small, | 0:27:40 | 0:27:42 | |
for seclusion and privacy... | 0:27:42 | 0:27:44 | |
..while up here in the living room, | 0:27:45 | 0:27:47 | |
the windows are enormous, | 0:27:47 | 0:27:48 | |
making the most of that incredible view. | 0:27:48 | 0:27:50 | |
So just let me know where this can go | 0:27:55 | 0:27:57 | |
and then I can make this one shorter. | 0:27:57 | 0:27:59 | |
Richard's eclectic master bedroom must be completed today. | 0:27:59 | 0:28:03 | |
See, I think that's... In a bit more, maybe? | 0:28:03 | 0:28:06 | |
The ceiling centrepiece is going up. | 0:28:06 | 0:28:08 | |
Sorry, that way. | 0:28:08 | 0:28:09 | |
It's a clever and unique triangular light | 0:28:09 | 0:28:12 | |
made from a material he knows and loves. | 0:28:12 | 0:28:15 | |
OSB, a type of chipboard | 0:28:15 | 0:28:17 | |
which also features on the bed's striking headboard, | 0:28:17 | 0:28:20 | |
and a smart shoe storage. | 0:28:20 | 0:28:22 | |
After being painted white and sanded, | 0:28:23 | 0:28:25 | |
the OSB is stained. | 0:28:25 | 0:28:26 | |
Still a bit dark, so if you can sand it down | 0:28:27 | 0:28:30 | |
so it's a bit more like the headboard's coming along, now. | 0:28:30 | 0:28:33 | |
-Is that all right? -Yep, sure. | 0:28:33 | 0:28:35 | |
See you later. | 0:28:35 | 0:28:36 | |
And the headboard's padded sections are covered. | 0:28:36 | 0:28:39 | |
Got some wadding and then a bit of thick foam, | 0:28:41 | 0:28:43 | |
and then I'm just wrapping the fabric round | 0:28:43 | 0:28:46 | |
and then just stapling it to the back, basically. | 0:28:46 | 0:28:48 | |
You kind of have to start in the middle, then pin it, | 0:28:49 | 0:28:52 | |
and then go to the other middle, and then pin it, | 0:28:52 | 0:28:55 | |
and then go to the sides, and pin it, | 0:28:55 | 0:28:57 | |
and then work your way out, rather than working your way in. | 0:28:57 | 0:29:00 | |
There we are. That's that done. | 0:29:03 | 0:29:06 | |
Happy with that. Looks good. | 0:29:07 | 0:29:08 | |
-It's kind of the same as this one here. -OK. | 0:29:12 | 0:29:15 | |
So if you just do the same kind of painting effect, just generally... | 0:29:15 | 0:29:19 | |
..chunky monkey with a bit of light, bit of dark. | 0:29:20 | 0:29:24 | |
In Daniela's Japanese-themed guest room-cum-craft room, | 0:29:24 | 0:29:27 | |
with just a few hours to go, | 0:29:27 | 0:29:29 | |
she's drafting in help to the wraparound mural finished. | 0:29:29 | 0:29:32 | |
I've probably underestimated | 0:29:32 | 0:29:34 | |
the time it's going to take to do this mural, | 0:29:34 | 0:29:36 | |
because I did it at home, and it was so quick. | 0:29:36 | 0:29:39 | |
This is actually something that... | 0:29:40 | 0:29:41 | |
..can't be rushed, but it can be done quickly and quite freely. | 0:29:42 | 0:29:47 | |
It's an impression of the surroundings, | 0:29:47 | 0:29:49 | |
and I mean, Monet did OK, didn't he, | 0:29:49 | 0:29:53 | |
being an impressionist, so... it'll be fine! | 0:29:53 | 0:29:55 | |
But Daniela's confident exterior is hiding her nerves. | 0:29:56 | 0:30:00 | |
I'm not calm and collected. | 0:30:01 | 0:30:02 | |
I'm freaking out. | 0:30:02 | 0:30:03 | |
I'm just faking it until I make it, basically. | 0:30:03 | 0:30:06 | |
-Hello. -Hi! Right. -Fabric headboard. -All done, yeah? -Yeah. -Lovely. | 0:30:08 | 0:30:11 | |
-That's the middle one. -I've got the baton on. | 0:30:11 | 0:30:13 | |
At Richard's, his eclectic bedroom is taking shape. | 0:30:14 | 0:30:17 | |
And in the multifunction guest room, | 0:30:18 | 0:30:20 | |
he's come up with an idea to lighten the walls for his homeowner. | 0:30:20 | 0:30:23 | |
The paint has been mixed with white | 0:30:23 | 0:30:25 | |
to create three different depths of colour. | 0:30:25 | 0:30:27 | |
The original one, | 0:30:27 | 0:30:29 | |
bearing in mind that you want to put it over the ceiling as well, | 0:30:29 | 0:30:32 | |
that feels very dark. | 0:30:32 | 0:30:34 | |
So of the combinations that are there, | 0:30:34 | 0:30:37 | |
I prefer the lightest variation. | 0:30:37 | 0:30:39 | |
-Yeah. -I just feel I'm being so awkward. | 0:30:39 | 0:30:42 | |
-But...I don't mean to be, honestly. -It's all right. | 0:30:42 | 0:30:45 | |
I know we're getting tight on time. | 0:30:46 | 0:30:48 | |
-Yeah. -Thank you very much. -All right. | 0:30:48 | 0:30:50 | |
Richard's trump card for me is that he does come up with | 0:30:51 | 0:30:55 | |
extraordinarily different ideas. | 0:30:55 | 0:30:57 | |
But I think it's always difficult | 0:30:57 | 0:30:59 | |
when a young designer comes up with something | 0:30:59 | 0:31:01 | |
and a homeowner comes in and says they don't like it. | 0:31:01 | 0:31:05 | |
Richard's the kind of guy that's confidence is going to get... | 0:31:05 | 0:31:08 | |
really damaged by that. | 0:31:08 | 0:31:10 | |
It's testing, definitely. | 0:31:11 | 0:31:12 | |
I guess that's why they call it a challenge. | 0:31:14 | 0:31:16 | |
But with time soon to be called on the bedroom, | 0:31:17 | 0:31:20 | |
the guest room's problems will have to be put on the back burner. | 0:31:20 | 0:31:23 | |
It's coming along nicely. | 0:31:24 | 0:31:25 | |
There are just a few final details to put in place. | 0:31:27 | 0:31:30 | |
I didn't realise it had two sides. | 0:31:30 | 0:31:32 | |
But it's... It's this side. | 0:31:32 | 0:31:33 | |
And today Richard's made it to the finish line on time. | 0:31:34 | 0:31:37 | |
All right. That's room one done. | 0:31:39 | 0:31:41 | |
Richard's brief was to create a bright but tranquil bedroom, | 0:31:46 | 0:31:49 | |
using the homeowner's bedspread as a springboard for colour. | 0:31:49 | 0:31:53 | |
Yesterday, it was bland and bare, | 0:31:56 | 0:31:59 | |
and with no clear direction. | 0:31:59 | 0:32:00 | |
Now it's a vibrant assembly of colour. | 0:32:07 | 0:32:09 | |
Shades of blue and sandy hues create a calm, welcoming space. | 0:32:14 | 0:32:18 | |
From the ombre effect details | 0:32:18 | 0:32:20 | |
to the striking patent headboard, | 0:32:20 | 0:32:23 | |
with Richard's beloved OSB uniting the room. | 0:32:23 | 0:32:26 | |
What a transformation! | 0:32:31 | 0:32:33 | |
How fabulous. | 0:32:33 | 0:32:34 | |
The fabric on that headboard, it's really brilliant, isn't it? | 0:32:34 | 0:32:38 | |
I like that. | 0:32:38 | 0:32:39 | |
For me, the issue is that I cannot see the relation | 0:32:39 | 0:32:44 | |
between the bed cover... | 0:32:44 | 0:32:46 | |
and the very bright turquoise that he's brought in. | 0:32:46 | 0:32:50 | |
And yet, come and stand here. | 0:32:50 | 0:32:51 | |
Look in the reflection. | 0:32:52 | 0:32:54 | |
If you don't see anything but that... | 0:32:54 | 0:32:56 | |
-It's cool, isn't it? -It's cool. | 0:32:56 | 0:32:58 | |
-Love it. -It's oversized. | 0:32:58 | 0:32:59 | |
He's made the bedroom look ten times bigger. | 0:32:59 | 0:33:01 | |
-Mm-hm. -Here's the thing. | 0:33:01 | 0:33:03 | |
We've got the semifinals here. | 0:33:03 | 0:33:05 | |
-Yeah. -We've brought him back as a wild card. | 0:33:05 | 0:33:08 | |
-Yeah. -He's good. | 0:33:08 | 0:33:10 | |
But this is not pushing it to the boundaries | 0:33:10 | 0:33:12 | |
that I was expecting it to be at. It just isn't. | 0:33:12 | 0:33:15 | |
Richard's homeowner is about to see | 0:33:17 | 0:33:18 | |
her new and distinctive master bedroom | 0:33:18 | 0:33:20 | |
complete for the first time. | 0:33:20 | 0:33:22 | |
Her opinion will be taken into consideration by the judges | 0:33:23 | 0:33:26 | |
when they make their final decision. | 0:33:26 | 0:33:28 | |
Wow. | 0:33:33 | 0:33:34 | |
Gosh, it's so different! | 0:33:34 | 0:33:36 | |
-First impressions? -Speechless! | 0:33:37 | 0:33:39 | |
Erm... First impressions is I like the colour of wood backing. | 0:33:39 | 0:33:44 | |
But I don't like the texture in it. | 0:33:44 | 0:33:47 | |
But I think he's done a terrific job. | 0:33:47 | 0:33:50 | |
So there are positives. | 0:33:50 | 0:33:51 | |
-Oh, huge positives, yes. -Huge positives. -Huge positives. | 0:33:51 | 0:33:53 | |
The clock's about to stop for Daniela, | 0:34:00 | 0:34:02 | |
and she's way behind schedule | 0:34:02 | 0:34:04 | |
in her Japanese-themed guestroom-cum-craftroom. | 0:34:04 | 0:34:07 | |
Going like the speed of lightning, but obviously... | 0:34:07 | 0:34:10 | |
when you're going that fast, | 0:34:10 | 0:34:12 | |
you can't really consider what you're doing. | 0:34:12 | 0:34:14 | |
Accessories Daniela made last night are finally being put in place. | 0:34:14 | 0:34:17 | |
So just doing the final bits of dressing up. But... | 0:34:19 | 0:34:21 | |
we haven't actually got any curtains up at the moment, | 0:34:21 | 0:34:24 | |
so they need to be done. | 0:34:24 | 0:34:25 | |
Curtain wire. Erm... | 0:34:25 | 0:34:27 | |
Yeah, just chuck them on the table for now. | 0:34:27 | 0:34:29 | |
Oh, you could actually start tying them on, randomly. | 0:34:29 | 0:34:32 | |
Which side are these going on? | 0:34:32 | 0:34:34 | |
They're going on that side. | 0:34:34 | 0:34:35 | |
Finally, time is up. | 0:34:36 | 0:34:38 | |
Right. | 0:34:43 | 0:34:44 | |
Looking around... | 0:34:48 | 0:34:49 | |
I think I'm... | 0:34:50 | 0:34:53 | |
80% happy. | 0:34:53 | 0:34:54 | |
Daniela took on the challenge | 0:34:56 | 0:34:58 | |
to design a contemporary, dual-purpose guest room | 0:34:58 | 0:35:01 | |
with a touch of drama. | 0:35:01 | 0:35:02 | |
Yesterday, the room was drab and plain, | 0:35:03 | 0:35:06 | |
and without a real function. | 0:35:06 | 0:35:08 | |
Now, it's bright and modern, | 0:35:12 | 0:35:14 | |
with two clearr zones divided by the sheer curtains, | 0:35:14 | 0:35:17 | |
one for guests, and one for arts and crafts. | 0:35:17 | 0:35:20 | |
Natural textures bring light into the room | 0:35:21 | 0:35:24 | |
and the hand-painted mural gives a serene Japanese twist. | 0:35:24 | 0:35:27 | |
It feels so light and airy. | 0:35:31 | 0:35:33 | |
She's completely answered the brief in terms of work and sleep. | 0:35:33 | 0:35:37 | |
I love this area here where she's got a place | 0:35:37 | 0:35:40 | |
to put all the bits and pieces of the homeowner. | 0:35:40 | 0:35:43 | |
Love the desk, the chair. | 0:35:43 | 0:35:44 | |
-Yeah. -And I love this. | 0:35:44 | 0:35:46 | |
I think this is really nice. | 0:35:46 | 0:35:47 | |
Well, it's a clever idea of splitting a room up, isn't it? | 0:35:47 | 0:35:50 | |
But... | 0:35:50 | 0:35:51 | |
it's the mural. | 0:35:51 | 0:35:53 | |
-Don't you like it? -I don't think you need the boat. | 0:35:53 | 0:35:55 | |
That's nice, this is nice. | 0:35:55 | 0:35:57 | |
I personally don't think she's finished. | 0:35:57 | 0:36:00 | |
-Do you not? -No. | 0:36:00 | 0:36:01 | |
Cos some of the quality is questionable. | 0:36:01 | 0:36:04 | |
Look at this wire. They've not stretched it properly, | 0:36:04 | 0:36:06 | |
it's all waving up and down. | 0:36:06 | 0:36:07 | |
I think if she'd had a couple more hours, | 0:36:07 | 0:36:10 | |
she would have added a few more bits, cos she's good at styling. | 0:36:10 | 0:36:13 | |
And this to me looks like she's rushed it. | 0:36:13 | 0:36:14 | |
And you know why? The walls. | 0:36:14 | 0:36:16 | |
I think that she's overextended herself on that. | 0:36:16 | 0:36:19 | |
Now Daniela's homeowners get a chance to see | 0:36:21 | 0:36:24 | |
their newly-styled guest and craft room for the first time. | 0:36:24 | 0:36:27 | |
Wow. | 0:36:32 | 0:36:33 | |
Goodness me. | 0:36:34 | 0:36:36 | |
-She's been busy! -That is... | 0:36:36 | 0:36:38 | |
That is amazing. | 0:36:38 | 0:36:39 | |
-That's brilliant. -It feels... | 0:36:39 | 0:36:41 | |
..really different. | 0:36:42 | 0:36:44 | |
But I think more work needs to be done on the painting. | 0:36:44 | 0:36:47 | |
I think she's got a lovely hand for it, | 0:36:47 | 0:36:49 | |
but she needs more time to do it properly. | 0:36:49 | 0:36:52 | |
But the important thing is the overall effect, | 0:36:52 | 0:36:56 | |
and I think she's done very, very well. | 0:36:56 | 0:36:58 | |
Amazing. | 0:37:06 | 0:37:08 | |
With one room under their belts, | 0:37:08 | 0:37:10 | |
the designers now need to focus on their next rooms. | 0:37:10 | 0:37:12 | |
Here I've got the TV, | 0:37:12 | 0:37:14 | |
so I put a really bright colour above the TV | 0:37:14 | 0:37:16 | |
to try and detract your eye. | 0:37:16 | 0:37:18 | |
For a lot of these, I've actually only just used tester pots, | 0:37:18 | 0:37:20 | |
which are like four quid a little go. | 0:37:20 | 0:37:23 | |
Both rooms must be completed tomorrow | 0:37:23 | 0:37:25 | |
before coming under the expert eyes of the judges, | 0:37:25 | 0:37:28 | |
along with guest judge Michelle Ogundehin. | 0:37:28 | 0:37:31 | |
How about if we have it as an L shape? | 0:37:32 | 0:37:34 | |
The craft area in Richard's guest room | 0:37:34 | 0:37:36 | |
is being created from a new desk | 0:37:36 | 0:37:38 | |
and the homeowner's marble-topped unit. | 0:37:38 | 0:37:40 | |
And then would she sit there? | 0:37:40 | 0:37:42 | |
-Yeah. -OK. | 0:37:42 | 0:37:44 | |
An easy build. Thank you. | 0:37:44 | 0:37:45 | |
With their second rooms taking shape, | 0:37:47 | 0:37:49 | |
day two has come to an end. | 0:37:49 | 0:37:52 | |
There's just one day between the designers | 0:37:52 | 0:37:54 | |
and a place in the final. | 0:37:54 | 0:37:56 | |
I'm going to make sure I get a good night's sleep tonight. | 0:37:56 | 0:37:58 | |
You know, I really want this living room to be | 0:37:58 | 0:38:00 | |
the best thing the judges have ever seen. | 0:38:00 | 0:38:03 | |
I feel good about the first room. | 0:38:04 | 0:38:06 | |
I'm glad that got finished in plenty of time. | 0:38:06 | 0:38:09 | |
I felt like I'm a little bit behind in the other room. | 0:38:10 | 0:38:13 | |
But I don't know, I just find it difficult to relax, now. | 0:38:13 | 0:38:17 | |
I'm still worried. | 0:38:17 | 0:38:18 | |
It's been a tricky few days for Daniela and Richard. | 0:38:28 | 0:38:31 | |
But it's only going to get tougher. | 0:38:31 | 0:38:33 | |
Day three means there's another room to finish, | 0:38:33 | 0:38:35 | |
and this time round there aren't just two judges to impress, | 0:38:35 | 0:38:38 | |
but three. | 0:38:38 | 0:38:39 | |
Unbeknown to the designers, | 0:38:40 | 0:38:42 | |
guest judge Michelle Ogundehin is on her way. | 0:38:42 | 0:38:45 | |
It's her job today to help decide which of the designers | 0:38:46 | 0:38:49 | |
wins a place in the final. | 0:38:49 | 0:38:51 | |
This is the semifinals, so I'm really expecting to see | 0:38:51 | 0:38:54 | |
more than just the usual colour, texture, pattern. | 0:38:54 | 0:38:57 | |
I want to see that they've answered everything in the homeowner's brief | 0:38:57 | 0:39:01 | |
and taken me to a space that I've never been in before. | 0:39:01 | 0:39:04 | |
Bookcase. | 0:39:05 | 0:39:07 | |
That is the major job today. | 0:39:07 | 0:39:11 | |
I've really got to pull it out of the bag for the living room. | 0:39:11 | 0:39:13 | |
I wasn't really happy with my room yesterday, not 100%. | 0:39:13 | 0:39:16 | |
So this has got to shine for me. | 0:39:16 | 0:39:18 | |
This is my showpiece. | 0:39:18 | 0:39:20 | |
-That's a seat pad that's going in it. -OK, yeah, cool. | 0:39:20 | 0:39:23 | |
'I'm feeling nervous about today.' | 0:39:23 | 0:39:25 | |
To be honest, my confidence is waning as it goes on. | 0:39:25 | 0:39:28 | |
'But I think a lot of it depends on this room. | 0:39:28 | 0:39:31 | |
'So many things have changed about it, now, | 0:39:31 | 0:39:33 | |
'that I'm not entirely sure what it's going to look like at the end.' | 0:39:33 | 0:39:36 | |
Michelle is getting familiar with the designers' mood boards, | 0:39:40 | 0:39:43 | |
so she knows what to expect when she arrives. | 0:39:43 | 0:39:45 | |
Richard's vibrant bedroom scheme is up first. | 0:39:45 | 0:39:48 | |
It's a good, solid mood board | 0:39:48 | 0:39:50 | |
and I've got enough of a sense of what might be happening there. | 0:39:50 | 0:39:53 | |
Some of the textures and materials, | 0:39:53 | 0:39:55 | |
I'm a little...concerned by. | 0:39:55 | 0:39:57 | |
Next, it's his multifunction guest room. | 0:39:57 | 0:40:00 | |
It's interesting for me to see here | 0:40:00 | 0:40:01 | |
that the designer appears as if they're trying | 0:40:01 | 0:40:04 | |
to add some detail with sort of paint effects. | 0:40:04 | 0:40:07 | |
I'm intrigued by what looks like a very sort of architectural screen | 0:40:07 | 0:40:11 | |
that's maybe upholstered in one of these fabrics. | 0:40:11 | 0:40:13 | |
Moving on to Daniela and her guest room-cum-craft room. | 0:40:13 | 0:40:17 | |
I'm getting a very strong Japanese feel from these boards. | 0:40:17 | 0:40:20 | |
I'm really excited to see this room. | 0:40:20 | 0:40:22 | |
But the designer's promising a lot. | 0:40:22 | 0:40:25 | |
And last room under the spotlight is her colour block living room. | 0:40:25 | 0:40:29 | |
I'm getting a very idealised vision of how this room might be. | 0:40:29 | 0:40:32 | |
There's a whole new shelving system going on here | 0:40:32 | 0:40:35 | |
and it looks like all of the walls have been recovered and retextured. | 0:40:35 | 0:40:39 | |
I'd always rather see less done really, really well | 0:40:39 | 0:40:42 | |
than more done badly. | 0:40:42 | 0:40:44 | |
With the clock ticking, | 0:40:49 | 0:40:50 | |
the designers have been summoned by the judges | 0:40:50 | 0:40:53 | |
where the final twist will be revealed. | 0:40:53 | 0:40:55 | |
Richard, Daniela. | 0:40:57 | 0:40:59 | |
Now, you know how we don't like to make it easy for you. | 0:40:59 | 0:41:01 | |
You know how we like to give you a little surprise. | 0:41:01 | 0:41:03 | |
We've got one for you today. | 0:41:03 | 0:41:05 | |
You think Dan and Kelly are tough? | 0:41:05 | 0:41:07 | |
You've got another pair of eyes to impress today. | 0:41:07 | 0:41:09 | |
We've got a guest judge. | 0:41:09 | 0:41:11 | |
Joining us today is one of the most iconic editors | 0:41:12 | 0:41:16 | |
of a leading magazine. | 0:41:16 | 0:41:17 | |
She has trained in architecture and has had an amazing career in design. | 0:41:17 | 0:41:22 | |
It's Michelle Ogundehin from Elle Decoration. | 0:41:23 | 0:41:25 | |
Lovely to meet you. | 0:41:30 | 0:41:31 | |
I meet so many designers and I've seen so many interiors. | 0:41:31 | 0:41:34 | |
It's not going to be easy to impress me. | 0:41:34 | 0:41:36 | |
So what I want is something unique, warm and textural. | 0:41:36 | 0:41:40 | |
So with all these formidable design talents to impress, | 0:41:42 | 0:41:45 | |
you've got a busy day ahead. | 0:41:45 | 0:41:47 | |
It's pretty daunting, having another person | 0:41:50 | 0:41:53 | |
of that calibre judging my work. | 0:41:53 | 0:41:55 | |
I've been a big fan of Michelle and her work | 0:41:55 | 0:41:58 | |
and her magazine for a long, long time. | 0:41:58 | 0:42:00 | |
So to have her is... | 0:42:00 | 0:42:02 | |
Yeah, it's brilliant. It's amazing. | 0:42:02 | 0:42:04 | |
Keen to see the designers' mood boards come to life, | 0:42:05 | 0:42:08 | |
Michelle is visiting the rooms they completed yesterday, | 0:42:08 | 0:42:11 | |
starting with Richard's vibrant master bedroom. | 0:42:11 | 0:42:13 | |
I am pleasantly surprised. | 0:42:15 | 0:42:17 | |
The room has a very calm feel. | 0:42:17 | 0:42:19 | |
She wanted calm, she wanted a sense of spaciousness. | 0:42:19 | 0:42:22 | |
I've got to hand it to him. | 0:42:22 | 0:42:23 | |
I'm going to say I actually really like what he's done here. | 0:42:23 | 0:42:28 | |
He's somehow elevated this rather cheap material | 0:42:28 | 0:42:31 | |
into something that just feels quite textural and organic. | 0:42:31 | 0:42:34 | |
I never thought I would say that! | 0:42:34 | 0:42:37 | |
It's Daniela's Japanese-themed guest room-cum-craft room | 0:42:38 | 0:42:41 | |
that's next to come under Michelle's scrutiny. | 0:42:41 | 0:42:44 | |
This is quite a transformation. | 0:42:44 | 0:42:46 | |
I mean, it's rather beautiful. | 0:42:46 | 0:42:48 | |
The images she had on her mood board, though, | 0:42:48 | 0:42:50 | |
were a very high aesthetic of that sort of Japanese ink painting | 0:42:50 | 0:42:55 | |
and calligraphy, which has got years and years of legacy behind it. | 0:42:55 | 0:42:59 | |
This does not. | 0:42:59 | 0:43:01 | |
I mean, it's rather beautiful | 0:43:01 | 0:43:02 | |
cos it's got a very sort of freehand feel to it. | 0:43:02 | 0:43:05 | |
But Japanese calligraphy this ain't. | 0:43:05 | 0:43:08 | |
With just hours to go | 0:43:10 | 0:43:12 | |
until the curtain is raised on the room designs, | 0:43:12 | 0:43:14 | |
these elevated houses are a hive of activity. | 0:43:14 | 0:43:17 | |
Over at Richard's, the craft corner of the guest room | 0:43:20 | 0:43:23 | |
is coming together. | 0:43:23 | 0:43:24 | |
The L-shaped desk, I think when it first got put together, | 0:43:24 | 0:43:27 | |
it felt like it might be quite a bulky piece. | 0:43:27 | 0:43:30 | |
But the legs being in that colour, it's hiding against the wall a bit. | 0:43:30 | 0:43:33 | |
So, yeah, | 0:43:33 | 0:43:35 | |
I'm liking the way that is looking over there. | 0:43:35 | 0:43:37 | |
And Richard's putting his skill for product design to good use, | 0:43:37 | 0:43:41 | |
with the barrel he was handed as his creative challenge. | 0:43:41 | 0:43:44 | |
It's inventively being transformed into a hat stand and a stool. | 0:43:44 | 0:43:48 | |
Inside, Richard's decided to go ahead | 0:43:51 | 0:43:53 | |
with the screen his homeowner was unsure about. | 0:43:53 | 0:43:56 | |
I hope I've got a kind of happy balance | 0:43:56 | 0:43:58 | |
between what I wanted to do originally | 0:43:58 | 0:44:01 | |
and what she needs in the room | 0:44:01 | 0:44:02 | |
and what she wanted. I think this needed to be there. | 0:44:02 | 0:44:06 | |
At Daniela's, her colour block living room's feature wall | 0:44:11 | 0:44:14 | |
is getting a special extra touch. | 0:44:14 | 0:44:16 | |
I'm just attaching the LED strip up here. | 0:44:16 | 0:44:21 | |
It's a bit fiddly, but it's really easy. | 0:44:21 | 0:44:25 | |
This will add a lovely glow to the top of my wood wall. | 0:44:25 | 0:44:29 | |
Nice! Looks good, don't it? | 0:44:34 | 0:44:36 | |
And outside, the builders have been concentrating | 0:44:38 | 0:44:40 | |
on finishing a veneered coffee table Daniela's designed. | 0:44:40 | 0:44:44 | |
But the room's feature shelving unit has yet to be started. | 0:44:44 | 0:44:47 | |
Oh, no! I need to get this shelving unit done. | 0:44:47 | 0:44:50 | |
-Mm-hmm. -Cos that is, like, a major thing | 0:44:50 | 0:44:53 | |
and it should have been done first, really. | 0:44:53 | 0:44:56 | |
Yeah, can we do that now? | 0:44:57 | 0:44:58 | |
-Yeah, sure. -Yeah. | 0:44:58 | 0:45:00 | |
Having been pulled up previously by the judges | 0:45:00 | 0:45:03 | |
on the quality of her finish, | 0:45:03 | 0:45:04 | |
Daniela wants to make sure everything's perfect today. | 0:45:04 | 0:45:07 | |
You know, I had a word with myself last night | 0:45:07 | 0:45:09 | |
and I just thought, no, look, if I'm not happy with timelines | 0:45:09 | 0:45:11 | |
and things like that, then I am going to pull people off jobs | 0:45:11 | 0:45:14 | |
and put them on other jobs cos that's what I'm here to do. | 0:45:14 | 0:45:17 | |
I'm managing my team. | 0:45:17 | 0:45:18 | |
So I'm using my assertiveness today. | 0:45:18 | 0:45:21 | |
Right up there. | 0:45:28 | 0:45:29 | |
Richard's time is almost up. | 0:45:29 | 0:45:31 | |
Yeah, I feel like I've managed my time much better this time. | 0:45:31 | 0:45:34 | |
And in his multifunction guest room, | 0:45:36 | 0:45:38 | |
it's just the final details left to put in place. | 0:45:38 | 0:45:41 | |
These are the new throws that I'm putting on the futon. | 0:45:41 | 0:45:44 | |
Styling, like, this isn't really my forte. | 0:45:44 | 0:45:47 | |
Yeah, I'm kind of just having to play it by ear | 0:45:47 | 0:45:50 | |
and see what works and what doesn't. | 0:45:50 | 0:45:52 | |
Finally, Richard's 48 hours are up. | 0:45:52 | 0:45:55 | |
I'm done. | 0:45:55 | 0:45:57 | |
I am nervous about the judges seeing the room. | 0:45:58 | 0:46:01 | |
I've definitely been feeling the extra pressure | 0:46:01 | 0:46:04 | |
of being the wild-card entry. | 0:46:04 | 0:46:05 | |
I want to make sure that they feel | 0:46:05 | 0:46:07 | |
like they've made the right decision. | 0:46:07 | 0:46:09 | |
Richard's brief was to create a bright, multifunctional room, | 0:46:10 | 0:46:14 | |
doubling up as a guest room and craft room. | 0:46:14 | 0:46:16 | |
48 hours ago, it was a soulless spare bedroom | 0:46:18 | 0:46:20 | |
with space for little more than a bed. | 0:46:20 | 0:46:23 | |
Now, it's bright and cheerful... | 0:46:27 | 0:46:29 | |
..making use of textures from around the world. | 0:46:31 | 0:46:33 | |
There is a clever use of paint, | 0:46:36 | 0:46:37 | |
dividing the room between sofa bed and work space. | 0:46:37 | 0:46:41 | |
The L-shaped desk is a quirky marriage of old and new | 0:46:41 | 0:46:45 | |
and the barrel from the creative challenge | 0:46:45 | 0:46:48 | |
has turned into a characterful stool and a hat stand. | 0:46:48 | 0:46:50 | |
What I do like is the way he's painted this. | 0:46:55 | 0:46:58 | |
It's very clever. | 0:46:58 | 0:47:00 | |
He's actually given the room a sense of three dimensions. | 0:47:00 | 0:47:03 | |
He's given it volume, hasn't he? | 0:47:03 | 0:47:04 | |
Do you know the thing with Richard, | 0:47:04 | 0:47:06 | |
and one of the reasons we brought him back as a wild card, | 0:47:06 | 0:47:08 | |
is that when he's good, he's really, really good and we find it exciting. | 0:47:08 | 0:47:14 | |
For example, we gave him a creative challenge, which was a barrel, | 0:47:14 | 0:47:17 | |
and I think that's rather clever. | 0:47:17 | 0:47:20 | |
It's very clever and he's made a hat stand with the rest of it. | 0:47:20 | 0:47:23 | |
You know, that is creative. | 0:47:23 | 0:47:24 | |
For me, with Richard, | 0:47:24 | 0:47:26 | |
I look at his design and I see vignettes. | 0:47:26 | 0:47:29 | |
I almost draw boxes over it. | 0:47:29 | 0:47:31 | |
If I was to sort of cut that out | 0:47:31 | 0:47:33 | |
with that wonderful old piece of tapestry, the small cushion, | 0:47:33 | 0:47:37 | |
the way he's done the creative challenge | 0:47:37 | 0:47:39 | |
and that light, I love that. | 0:47:39 | 0:47:41 | |
He's got the strength in him as a designer, | 0:47:41 | 0:47:43 | |
but he needs to follow his path and what he believes in | 0:47:43 | 0:47:46 | |
and he needs to stand by his design. | 0:47:46 | 0:47:49 | |
You're absolutely right cos there were moments of genius here, | 0:47:49 | 0:47:51 | |
but he needed to have had the courage of his convictions | 0:47:51 | 0:47:54 | |
-to just take all his ideas all the way through. -Yeah. | 0:47:54 | 0:47:56 | |
It's now time for the homeowner | 0:47:58 | 0:48:00 | |
to see her new multifunctional guest-cum-craft room. | 0:48:00 | 0:48:03 | |
In you come. | 0:48:04 | 0:48:06 | |
Wow! | 0:48:08 | 0:48:10 | |
Well, you wanted the wow factor and you said wow. | 0:48:10 | 0:48:12 | |
I did, yes. I did want a wow factor. | 0:48:12 | 0:48:15 | |
-Is it the right wow? -Yes, I do like it. | 0:48:15 | 0:48:17 | |
I like it very much, actually. | 0:48:17 | 0:48:19 | |
I love the colours. We've lightened the colours a huge amount. | 0:48:19 | 0:48:23 | |
I was very nervous about having it on the ceiling, | 0:48:23 | 0:48:25 | |
but I quite like that. | 0:48:25 | 0:48:26 | |
It's definitely brought more light into the room. | 0:48:26 | 0:48:29 | |
-But... -It's not quite what I was expecting | 0:48:29 | 0:48:31 | |
and there are certain things in here | 0:48:31 | 0:48:32 | |
-that I thought we had agreed not to do. -Like? | 0:48:32 | 0:48:36 | |
The screen. But, having said that, I really like the room. | 0:48:36 | 0:48:41 | |
Second designer to begin and time's almost up for Daniela. | 0:48:47 | 0:48:52 | |
Yeah, I need it a bit higher. | 0:48:52 | 0:48:54 | |
Right, this needs an iron as well. | 0:48:54 | 0:48:56 | |
The risky chaise longue takes its place. | 0:48:56 | 0:48:59 | |
There's no way anything else would have looked right in here | 0:48:59 | 0:49:01 | |
and I think they're going to love it. | 0:49:01 | 0:49:03 | |
Once they see it, they're going to see it's so comfortable. | 0:49:03 | 0:49:05 | |
It's like a single bed. | 0:49:05 | 0:49:06 | |
And plans for the creative challenge's light have changed. | 0:49:06 | 0:49:10 | |
Unfortunately, in cutting through this, I cut through the wire. | 0:49:10 | 0:49:13 | |
Just one of those things that happened. | 0:49:13 | 0:49:15 | |
So now it's a sculpture. | 0:49:15 | 0:49:17 | |
Still disappointed about running out of time in her last room, | 0:49:17 | 0:49:20 | |
she wants to make sure she has plenty of time | 0:49:20 | 0:49:22 | |
for finishing touches. | 0:49:22 | 0:49:24 | |
There's a huge amount riding on this room. | 0:49:24 | 0:49:27 | |
I want their minds to be blown when they walk through the door. | 0:49:27 | 0:49:29 | |
Little bit to my left. | 0:49:29 | 0:49:32 | |
And with the final details in place, Daniela's 48 hours are up. | 0:49:32 | 0:49:36 | |
I'm so happy. I'm so happy that it was a smooth finish this time, | 0:49:42 | 0:49:46 | |
so I really got to take in the room when I left. | 0:49:46 | 0:49:48 | |
Yeah, I'm ecstatic. | 0:49:48 | 0:49:50 | |
Daniela's homeowners wanted a living room with injections of colour | 0:49:50 | 0:49:54 | |
and a sense of adventure. | 0:49:54 | 0:49:56 | |
48 hours ago, it was a room with a view, but lacking style. | 0:49:56 | 0:50:00 | |
Now, clever colour blocking and a wooden feature wall | 0:50:08 | 0:50:10 | |
mean the room can compete with the stunning outlook. | 0:50:10 | 0:50:14 | |
The backless chaise longue allows for a sweeping vista | 0:50:14 | 0:50:17 | |
from door to harbour and the statement coffee table | 0:50:17 | 0:50:21 | |
complements the mid-century furniture. | 0:50:21 | 0:50:23 | |
Bespoke shelves are smart and functional | 0:50:23 | 0:50:26 | |
and the creative challenge has morphed from barrel | 0:50:26 | 0:50:29 | |
to an artful plant pot and a sculpture. | 0:50:29 | 0:50:32 | |
Wow! | 0:50:33 | 0:50:34 | |
Well, she promised a lot on her mood board | 0:50:35 | 0:50:37 | |
and it does look like she's delivered. | 0:50:37 | 0:50:39 | |
You know, what she's done on the wall here | 0:50:39 | 0:50:41 | |
with the strip light hidden, I think that is really clever | 0:50:41 | 0:50:44 | |
because you're drawn to another point of view, other than that, | 0:50:44 | 0:50:48 | |
and she's brought in the white chaise longue, | 0:50:48 | 0:50:50 | |
which they didn't want, | 0:50:50 | 0:50:51 | |
and actually it works really well in terms of the colour. | 0:50:51 | 0:50:54 | |
-And did she design this bookcase? -Yes. | 0:50:54 | 0:50:56 | |
I was curious how she was actually going to pull it together, | 0:50:56 | 0:50:59 | |
but it's rather ingenious. | 0:50:59 | 0:51:00 | |
There's her creative challenge. | 0:51:00 | 0:51:02 | |
I really quite like the sculpture, | 0:51:02 | 0:51:04 | |
but I think the one thing that I wouldn't have done in here | 0:51:04 | 0:51:08 | |
and I think she's overkilled is with this blocking. | 0:51:08 | 0:51:11 | |
-You know, having one here, one on that wall. -Yeah. | 0:51:11 | 0:51:15 | |
I guess she was referencing | 0:51:15 | 0:51:16 | |
the stained glass of the homeowner, wasn't she? | 0:51:16 | 0:51:18 | |
Yeah, I can see why she's done it, but I think it's overkill. | 0:51:18 | 0:51:21 | |
It's time for Daniela's homeowners | 0:51:23 | 0:51:25 | |
to experience their new-look living room. | 0:51:25 | 0:51:28 | |
Oh, my goodness! | 0:51:32 | 0:51:34 | |
That looks amazing! | 0:51:34 | 0:51:37 | |
It is absolutely amazing. | 0:51:37 | 0:51:40 | |
I love the shelving here. | 0:51:40 | 0:51:42 | |
It's wonderful. | 0:51:42 | 0:51:44 | |
And I really like that. | 0:51:44 | 0:51:46 | |
I really like it! | 0:51:46 | 0:51:47 | |
And the lighting across the back. | 0:51:47 | 0:51:49 | |
And, again, I've got to... Sorry, I'm glowing over this at the moment. | 0:51:49 | 0:51:52 | |
Glow! Glow! | 0:51:52 | 0:51:55 | |
What do we think of the chaise longue? | 0:51:55 | 0:51:57 | |
Yes, the infamous chaise longue. | 0:51:57 | 0:51:58 | |
Let's have a look. | 0:51:58 | 0:51:59 | |
It's not bad, is it? | 0:51:59 | 0:52:02 | |
I can imagine you sprawling on there on a Friday night, | 0:52:02 | 0:52:06 | |
glass of wine in your hand. | 0:52:06 | 0:52:08 | |
Well, as soon as you lot have gone, I will try it out. | 0:52:08 | 0:52:10 | |
But certainly it is a one-person thing. | 0:52:10 | 0:52:15 | |
I am used to it. | 0:52:15 | 0:52:17 | |
But, no, it's... | 0:52:17 | 0:52:19 | |
I do like it. | 0:52:19 | 0:52:21 | |
The designers have done all they can. | 0:52:26 | 0:52:29 | |
Now they must wait for the judges to decide who is a finalist | 0:52:29 | 0:52:32 | |
and who's going home. | 0:52:32 | 0:52:35 | |
Yeah, I think having to manage a team and stuff, | 0:52:36 | 0:52:38 | |
I've got better at that, | 0:52:38 | 0:52:39 | |
although I've still got a lot of work to do on that. | 0:52:39 | 0:52:42 | |
But, yeah, I think I've grown in confidence as well. | 0:52:42 | 0:52:45 | |
Yeah, I've taken a lot of positives from this. | 0:52:45 | 0:52:48 | |
I've learned so much, you know, to this point. | 0:52:49 | 0:52:52 | |
Especially after this round, I now realise that, yeah, | 0:52:52 | 0:52:55 | |
even if I don't get through to the final, | 0:52:55 | 0:52:57 | |
I'm going to make this work for me, no matter what. | 0:52:57 | 0:52:59 | |
So, Michelle, thank you so much for joining us for the semifinals. | 0:53:03 | 0:53:06 | |
-What are your impressions? -It's been amazing. | 0:53:06 | 0:53:08 | |
There's always a huge leap to go from this sort of idealised vision | 0:53:08 | 0:53:11 | |
that's in the head of the designer to the reality | 0:53:11 | 0:53:13 | |
of really doing this in 48 hours on a limited budget. | 0:53:13 | 0:53:16 | |
But I've been really impressed with what I've seen. | 0:53:16 | 0:53:18 | |
So, judges, let's start with Richard. | 0:53:18 | 0:53:20 | |
Are you glad you gave him a second chance? | 0:53:20 | 0:53:23 | |
Absolutely. | 0:53:23 | 0:53:24 | |
I think he was very passionate. | 0:53:24 | 0:53:25 | |
He was excited that he was the wild card. | 0:53:25 | 0:53:27 | |
He came into it with full force. | 0:53:27 | 0:53:29 | |
And when I looked at the rooms, for me, | 0:53:29 | 0:53:31 | |
they're were vignettes that were really brilliant. | 0:53:31 | 0:53:34 | |
And he made some really interesting things as well. | 0:53:34 | 0:53:37 | |
And yet I think that he possibly struggles dealing with a client. | 0:53:37 | 0:53:42 | |
I think there were moments of real accomplishment, though. | 0:53:42 | 0:53:44 | |
He was very brave. Putting that paint effect on was very dramatic. | 0:53:44 | 0:53:47 | |
The headboard was fantastic. | 0:53:47 | 0:53:49 | |
Little touches of genius. | 0:53:49 | 0:53:51 | |
I suppose you want to know what the homeowner thought. | 0:53:51 | 0:53:54 | |
-Yes. -Absolutely. -She liked them both. | 0:53:54 | 0:53:56 | |
She liked them. I think, overall, she was more impressed | 0:53:56 | 0:53:59 | |
-than she thought she was going to be. -Well, that's a result. | 0:53:59 | 0:54:02 | |
-That is good news. -That's good, that's really good to hear. | 0:54:02 | 0:54:04 | |
So, our other semifinalist, Daniela - | 0:54:04 | 0:54:06 | |
Now, Dan, you were really on her from the beginning | 0:54:06 | 0:54:08 | |
about the quality of her finish. | 0:54:08 | 0:54:10 | |
I was and I've been watching it very closely this time. | 0:54:10 | 0:54:13 | |
For me, there were levels of disappointment | 0:54:13 | 0:54:15 | |
with the guest bedroom. | 0:54:15 | 0:54:16 | |
You could see that she'd really rushed it at the last minute. | 0:54:16 | 0:54:20 | |
I think Daniela in the living room showed her creativity as a designer, | 0:54:20 | 0:54:24 | |
that when you walked into the room | 0:54:24 | 0:54:26 | |
because she had the panelling up on the wall, | 0:54:26 | 0:54:28 | |
she drew you into the room, rather than actually looking straight out | 0:54:28 | 0:54:32 | |
of the window. So, what did they think of the two rooms? | 0:54:32 | 0:54:35 | |
Well, they liked the bedroom. | 0:54:35 | 0:54:37 | |
They loved the effect that she'd conjured up in there. | 0:54:37 | 0:54:40 | |
But they adored the living room. | 0:54:40 | 0:54:41 | |
I mean, they were falling over themselves. | 0:54:41 | 0:54:43 | |
Even the chaise longue. They almost came round. | 0:54:43 | 0:54:45 | |
I wouldn't say they completely came round to the chaise longue, | 0:54:45 | 0:54:48 | |
but I think they were almost there. | 0:54:48 | 0:54:50 | |
But that's so perfect, isn't it? | 0:54:50 | 0:54:52 | |
So you've got a tricky decision to make. | 0:54:52 | 0:54:54 | |
Daniela, Richard. | 0:55:02 | 0:55:03 | |
It's the semifinals. | 0:55:03 | 0:55:04 | |
We have been tough on you. | 0:55:04 | 0:55:06 | |
We've thrown problems your way. | 0:55:06 | 0:55:08 | |
Big windows, little windows. | 0:55:08 | 0:55:09 | |
Big rooms, tiny rooms. | 0:55:09 | 0:55:11 | |
Tough briefs. | 0:55:11 | 0:55:13 | |
But you two have coped admirably. | 0:55:13 | 0:55:16 | |
It's been a real privilege for me to join you both at this stage | 0:55:16 | 0:55:19 | |
and I'm in absolute awe of the amount of energy and effort | 0:55:19 | 0:55:22 | |
that I've seen you both put into your projects. | 0:55:22 | 0:55:25 | |
Daniela, I have watched you grow. | 0:55:26 | 0:55:28 | |
You are an incredible designer | 0:55:28 | 0:55:30 | |
in terms of listening to what the homeowner wants | 0:55:30 | 0:55:33 | |
and you do deliver something every time. | 0:55:33 | 0:55:35 | |
But going forward, you need to step back | 0:55:35 | 0:55:38 | |
and you need to be able to delegate. | 0:55:38 | 0:55:41 | |
Not just hand over lists, but actually speak to people | 0:55:41 | 0:55:44 | |
to make sure that the detailing is all really perfect. | 0:55:44 | 0:55:48 | |
Richard, I'm really glad we got you back. | 0:55:49 | 0:55:52 | |
Some really good work. | 0:55:52 | 0:55:53 | |
Beautiful presentation boards | 0:55:53 | 0:55:55 | |
and I really loved the products that you created - the light fittings, | 0:55:55 | 0:55:59 | |
all those sort of little details were absolutely stunning. | 0:55:59 | 0:56:01 | |
Moving forward, presenting needs to be a little bit more confident. | 0:56:01 | 0:56:05 | |
You need to own the project | 0:56:05 | 0:56:06 | |
so that you can get your own way a little bit more | 0:56:06 | 0:56:09 | |
and on top of that, I think you've got to start thinking | 0:56:09 | 0:56:12 | |
about new materials to use. | 0:56:12 | 0:56:14 | |
So, for one of you, I'm afraid it's the end of the road. | 0:56:16 | 0:56:18 | |
For the other, the final awaits. | 0:56:18 | 0:56:20 | |
And the designer going through to the final is... | 0:56:20 | 0:56:24 | |
..Daniela. | 0:56:29 | 0:56:30 | |
You should be really proud of yourself. | 0:56:39 | 0:56:42 | |
'I'm gutted, to be honest.' | 0:56:43 | 0:56:45 | |
I was proper nervous going into this. | 0:56:45 | 0:56:47 | |
But I'm not surprised, | 0:56:47 | 0:56:49 | |
because Daniela's living room is just amazing. | 0:56:49 | 0:56:54 | |
It looks like it's out of a magazine. | 0:56:54 | 0:56:55 | |
It's stunning. So, yeah, I'm not surprised, | 0:56:55 | 0:56:59 | |
but I am proper gutted. | 0:56:59 | 0:57:02 | |
I love the colours. | 0:57:02 | 0:57:03 | |
I think it's got the wow factor that I'm looking for. | 0:57:03 | 0:57:06 | |
-Excellent. -Thank you. -I'm glad you're pleased. | 0:57:06 | 0:57:08 | |
Thank you very much. | 0:57:08 | 0:57:10 | |
Richard didn't go through because he wasn't pushy enough. | 0:57:10 | 0:57:13 | |
Because I know he's a really good designer, | 0:57:13 | 0:57:16 | |
but he ended up compromising with the client. | 0:57:16 | 0:57:18 | |
So, we didn't see enough of him and what he's able to do. | 0:57:18 | 0:57:22 | |
-Well done! -What do you think? | 0:57:23 | 0:57:25 | |
-I love it. -Oh, it's lovely. | 0:57:25 | 0:57:26 | |
-It really is. -Oh, I'm so glad. | 0:57:26 | 0:57:28 | |
I'm in the final. My goodness! | 0:57:28 | 0:57:30 | |
Whatever happens now, I'm going to be happy. | 0:57:30 | 0:57:33 | |
I had to put Daniela through because she seduced me with her styling, | 0:57:33 | 0:57:37 | |
even though I had to turn a blind eye to some of her finishes. | 0:57:37 | 0:57:40 | |
I think Daniela has improved hugely through this competition. | 0:57:40 | 0:57:43 | |
I think she's absolutely ready for the final. | 0:57:43 | 0:57:45 | |
I think she's hungry, she's determined, | 0:57:45 | 0:57:47 | |
and I think she's got a lot more to give. | 0:57:47 | 0:57:50 | |
If our two talented semifinalists | 0:57:54 | 0:57:56 | |
take away one lesson in interior design | 0:57:56 | 0:57:58 | |
from these contemporary townhouses in Bristol, it's this - | 0:57:58 | 0:58:01 | |
learn the rules, but then have the confidence to break them. | 0:58:01 | 0:58:04 | |
Next time in Arts and Crafts thatched cottages... | 0:58:08 | 0:58:11 | |
Wow, what a transformation! | 0:58:11 | 0:58:13 | |
Shall I leave the country now? | 0:58:13 | 0:58:15 | |
CLATTERING With two rooms each, | 0:58:15 | 0:58:17 | |
it's double the trouble for the next semifinalists. | 0:58:17 | 0:58:20 | |
There isn't a contingency plan. | 0:58:20 | 0:58:22 | |
Of course I want to win this! I can't mess it up. | 0:58:22 | 0:58:25 |