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Here in the UK, we're blessed with an enormous variety | 0:00:02 | 0:00:05 | |
of types and styles of buildings that we call home, | 0:00:05 | 0:00:07 | |
from thatched cottages to 1930s Art Deco apartments, | 0:00:07 | 0:00:11 | |
regency terraces to contemporary townhouses. | 0:00:11 | 0:00:15 | |
But sometimes, while the exterior creates a wow factor, | 0:00:15 | 0:00:19 | |
the interior can be distinctly lacking. | 0:00:19 | 0:00:22 | |
So we've gathered some of the UK's most talented amateur | 0:00:23 | 0:00:26 | |
interior designers to show us what they're made of. | 0:00:26 | 0:00:30 | |
In this semifinal, Oliver and Nicholas | 0:00:31 | 0:00:34 | |
will go head-to-head to transform two rooms each | 0:00:34 | 0:00:37 | |
in neighbouring houses... | 0:00:37 | 0:00:38 | |
Perfect, thank you. | 0:00:38 | 0:00:40 | |
There is a plan in place, | 0:00:40 | 0:00:41 | |
but there's also a little bit of winging it as well. | 0:00:41 | 0:00:44 | |
..but only one of them can make it through to the final. | 0:00:44 | 0:00:47 | |
I'm happy. | 0:00:47 | 0:00:49 | |
Putting them through their paces and scrutinising their every move, | 0:00:49 | 0:00:53 | |
are judges Daniel Hopwood, designer and a director | 0:00:53 | 0:00:56 | |
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 | 0:01:02 | |
We're really going to push them to the limit. | 0:01:02 | 0:01:04 | |
..and internationally renowned interior designer Kelly Hoppen. | 0:01:04 | 0:01:08 | |
As a judge in this competition, I want to see perfection. | 0:01:08 | 0:01:11 | |
I think I will be quite a hard judge. | 0:01:11 | 0:01:14 | |
Now we've reached the semifinals, the stakes are even higher. | 0:01:14 | 0:01:17 | |
So the judges are being joined by Michelle Ogundehin, | 0:01:17 | 0:01:20 | |
editor in chief of Elle Decoration, | 0:01:20 | 0:01:22 | |
to help them decide who will triumph. | 0:01:22 | 0:01:24 | |
What makes a great interior designer | 0:01:24 | 0:01:26 | |
is someone that understands that | 0:01:26 | 0:01:28 | |
it's not just about how a space looks, | 0:01:28 | 0:01:30 | |
but it's how it makes you feel. | 0:01:30 | 0:01:33 | |
But it's going to take a lot of creativity and hard work to be | 0:01:33 | 0:01:37 | |
crowned winner of The Great Interior Design Challenge. | 0:01:37 | 0:01:40 | |
This time we're in the tranquil and picturesque village | 0:01:52 | 0:01:55 | |
of Ashby St Ledgers, nestled on the borders between | 0:01:55 | 0:01:58 | |
Warwickshire and Northamptonshire. | 0:01:58 | 0:02:00 | |
For this semifinal, our two designers will be working on | 0:02:00 | 0:02:02 | |
two rooms each in neighbouring thatched cottages. | 0:02:02 | 0:02:06 | |
Oliver and Nicholas will have 48 hours over three days. | 0:02:07 | 0:02:11 | |
With two rooms to work on, | 0:02:12 | 0:02:13 | |
they have a workforce of two builders and two decorators... | 0:02:13 | 0:02:16 | |
Shall I leave the country now? Yeah, yeah! | 0:02:16 | 0:02:20 | |
..and a budget of ?2,000. Yeah. | 0:02:20 | 0:02:22 | |
They'll need to work hard and impress. | 0:02:22 | 0:02:25 | |
This is the semifinal and what I want to see is passion, | 0:02:25 | 0:02:29 | |
great design and something different. | 0:02:29 | 0:02:32 | |
Now they must show they've learnt lessons along the way from their | 0:02:32 | 0:02:35 | |
first two professional projects. | 0:02:35 | 0:02:37 | |
The designers have done three rooms so it's time for them to step out | 0:02:37 | 0:02:41 | |
of their comfort zone and show us something new. | 0:02:41 | 0:02:45 | |
And if that wasn't enough, | 0:02:45 | 0:02:46 | |
their first room must be finished and judged on day two... | 0:02:46 | 0:02:50 | |
I love you! | 0:02:50 | 0:02:51 | |
There you go. | 0:02:51 | 0:02:53 | |
..because at the end, one of them will be going home. | 0:02:53 | 0:02:56 | |
Okey doke. | 0:02:56 | 0:02:58 | |
I would like to feel my competitive spirit kicks in. | 0:02:58 | 0:03:02 | |
I do want to go into the final. | 0:03:02 | 0:03:05 | |
Of course I want to win this. Absolutely, a million percent. | 0:03:05 | 0:03:08 | |
I can't mess it up. | 0:03:08 | 0:03:10 | |
The historic village of Ashby St Ledgers was first mentioned | 0:03:15 | 0:03:18 | |
in the Domesday book of 1086. | 0:03:18 | 0:03:21 | |
The original Norman manor house and estate, an astonishing 83,000 acres, | 0:03:21 | 0:03:26 | |
was a gift from William the Conqueror to Hugh de Grandmesnil. | 0:03:26 | 0:03:30 | |
By the late 1300s, the estate had passed to another family, | 0:03:30 | 0:03:33 | |
the Catesbys, who held prominent positions within the royal court. | 0:03:33 | 0:03:37 | |
Two centuries later, it was the turn of Robert Catesby | 0:03:38 | 0:03:41 | |
to hit the headlines. | 0:03:41 | 0:03:43 | |
It was right here in that room above the gatehouse that Catesby, | 0:03:44 | 0:03:48 | |
leader of the English Catholics, set-up his command centre, | 0:03:48 | 0:03:52 | |
planning the biggest plot against the English establishment, | 0:03:52 | 0:03:56 | |
the Gunpowder Plot. | 0:03:56 | 0:03:57 | |
Catesby's notoriety has gone down in history | 0:03:59 | 0:04:02 | |
but for the next 300 years, the estate languished | 0:04:02 | 0:04:04 | |
in rural tranquillity | 0:04:04 | 0:04:06 | |
until its new owner, wealthy industrialist Ivor Guest, | 0:04:06 | 0:04:10 | |
took charge. | 0:04:10 | 0:04:11 | |
When Guest bought the estate at the turn of the 20th century, | 0:04:11 | 0:04:14 | |
he employed the most promising young architect in the country, | 0:04:14 | 0:04:17 | |
Edwin Lutyens, to remodel the manor house and gardens, | 0:04:17 | 0:04:20 | |
and build this row of thatched workers' cottages in the village. | 0:04:20 | 0:04:23 | |
Today, in this quintessentially English village, | 0:04:25 | 0:04:28 | |
it's the turn of our two semifinalists | 0:04:28 | 0:04:30 | |
to leave their design footprint | 0:04:30 | 0:04:31 | |
as they battle to secure a place in the final. | 0:04:31 | 0:04:35 | |
They will each be handed a lounge and a dining room | 0:04:35 | 0:04:38 | |
in neighbouring thatched cottages. | 0:04:38 | 0:04:40 | |
The first designer to start is 63-year-old Nicholas, | 0:04:44 | 0:04:47 | |
a freelance actor, director and writer from South London. | 0:04:47 | 0:04:51 | |
It's going to look amazing. Yes! | 0:04:51 | 0:04:54 | |
In his first heat, Nicholas showed his flair | 0:04:54 | 0:04:57 | |
for the dramatic by giving a bland Victorian living room | 0:04:57 | 0:05:00 | |
a Japanese twist. | 0:05:00 | 0:05:02 | |
Was it... Was it everything you expected? | 0:05:02 | 0:05:05 | |
Everything and more. | 0:05:05 | 0:05:07 | |
I just love it so much. | 0:05:07 | 0:05:09 | |
His love of theatrics continued in the second round | 0:05:09 | 0:05:11 | |
when he turned a neutral Georgian terrace study | 0:05:11 | 0:05:14 | |
into a '60s inspired chill-out den. Blimey! | 0:05:14 | 0:05:18 | |
This is not what I expected... | 0:05:18 | 0:05:20 | |
It's better. | 0:05:20 | 0:05:21 | |
His styling is exemplary. | 0:05:21 | 0:05:24 | |
While upstairs, his classical and elegant design | 0:05:24 | 0:05:27 | |
overwhelmed the homeowner. | 0:05:27 | 0:05:29 | |
It's lovely. | 0:05:29 | 0:05:31 | |
It's just fantastic. | 0:05:31 | 0:05:33 | |
But does his theatrical style impress the judges? | 0:05:34 | 0:05:37 | |
So, Dan and Kelly, the competition's really hotting up now - semifinals. | 0:05:37 | 0:05:41 | |
With Nicholas, what are you wanting to see? | 0:05:41 | 0:05:43 | |
What I want Nicholas to do is turn his very two-dimensional theatrical | 0:05:43 | 0:05:47 | |
designs into something that's got the third dimension, | 0:05:47 | 0:05:50 | |
which is a human application. | 0:05:50 | 0:05:52 | |
But it's quite interesting because a lot of design is the | 0:05:52 | 0:05:55 | |
first impression when you walk in | 0:05:55 | 0:05:57 | |
and certainly with Nicholas, you walk in and you go, | 0:05:57 | 0:05:59 | |
"Wow, this is amazing!" | 0:05:59 | 0:06:00 | |
But if you just stand there for a few minutes, | 0:06:00 | 0:06:03 | |
you realise that a lot of it is impractical. | 0:06:03 | 0:06:06 | |
I do give a performance in the rooms that I offer | 0:06:06 | 0:06:13 | |
and I would like to feel that that is part of my trait. | 0:06:13 | 0:06:18 | |
The second semifinalist is 49-year-old hairdresser Oliver, | 0:06:20 | 0:06:24 | |
a self-confessed maximalist from North London. | 0:06:24 | 0:06:27 | |
This headboard is pretty spectacular | 0:06:27 | 0:06:29 | |
when it's going to be upholstered in this fabric. | 0:06:29 | 0:06:32 | |
In his heat, Oliver pushed the homeowners | 0:06:32 | 0:06:35 | |
outside their comfort zone | 0:06:35 | 0:06:37 | |
by introducing floral chintz into a forgotten basement guest room. | 0:06:37 | 0:06:41 | |
In some ways I think it probably is | 0:06:41 | 0:06:43 | |
a little bit chintzy for my taste, I guess. | 0:06:43 | 0:06:46 | |
But in his next round, Oliver's Art Deco brief | 0:06:48 | 0:06:51 | |
meant he could play to his strengths... | 0:06:51 | 0:06:53 | |
He's got that incredible eclectic way of doing something. | 0:06:53 | 0:06:57 | |
..and he blew the homeowners away. | 0:06:57 | 0:06:59 | |
Wow! | 0:06:59 | 0:07:00 | |
It's perfect. It's perfect. | 0:07:00 | 0:07:03 | |
I find Oliver tends to think very much about the client and what | 0:07:03 | 0:07:07 | |
their needs are but I don't want him to max it up. | 0:07:07 | 0:07:10 | |
See, I disagree. I think he's got the right mind-set | 0:07:10 | 0:07:14 | |
which is design for people to live in, rather than to look at. | 0:07:14 | 0:07:18 | |
One of the things that I'm going to do differently, | 0:07:18 | 0:07:20 | |
being in the semifinal, is actually I haven't totally stuck to brief. | 0:07:20 | 0:07:24 | |
So surprise and drama in an English village. | 0:07:25 | 0:07:27 | |
It sounds like an episode of Miss Marple. Both of them... | 0:07:27 | 0:07:29 | |
Both of them are extraordinary. | 0:07:29 | 0:07:31 | |
As the first designer to start, | 0:07:33 | 0:07:35 | |
Nicholas is given the task of transforming two rooms in the quaint | 0:07:35 | 0:07:39 | |
thatched cottage owned by Karen and Mark, starting with the lounge. | 0:07:39 | 0:07:43 | |
Although both designers have had their briefs for just over a week, | 0:07:46 | 0:07:49 | |
this will be the first time they'll be seeing the rooms in person. | 0:07:49 | 0:07:52 | |
The living room, that's got to be a little bit more homely, warm. | 0:07:53 | 0:07:58 | |
It's got a lot of wood in here, a lot of pine. | 0:08:00 | 0:08:03 | |
We've got a built-in cupboard, which we'd like to remain. | 0:08:05 | 0:08:09 | |
I just want to see this as a blank canvas. | 0:08:09 | 0:08:12 | |
At the moment, I feel there's so much going on. | 0:08:12 | 0:08:17 | |
It's all in the wrong place. | 0:08:17 | 0:08:20 | |
We want it subtle, subtle and classy. | 0:08:20 | 0:08:23 | |
Nicholas's second challenge is the dining room. | 0:08:23 | 0:08:26 | |
Whoa. | 0:08:26 | 0:08:27 | |
With the dining room, we've got a fireplace | 0:08:27 | 0:08:30 | |
that obviously has to remain. | 0:08:30 | 0:08:32 | |
There's some tiles around there which are in a dark blue, | 0:08:32 | 0:08:35 | |
we just need that splash of blue in the room somewhere. | 0:08:35 | 0:08:38 | |
I want the dining room to feel luxurious | 0:08:38 | 0:08:41 | |
and a little bit more, sort of, atmospheric, a bit more cosy. | 0:08:41 | 0:08:45 | |
Colour-wise, with my idea, it is going to be dramatic. | 0:08:45 | 0:08:50 | |
It is going to be quite an impact. | 0:08:50 | 0:08:53 | |
I'd like to show you my ideas for your living room. | 0:08:55 | 0:08:59 | |
On hand to assess his mood board presentation | 0:08:59 | 0:09:01 | |
are judges Kelly Hoppen and Daniel Hopwood. | 0:09:01 | 0:09:04 | |
They'll be looking out for strong presentation skills | 0:09:04 | 0:09:08 | |
and an ability to adapt to his clients' wishes. | 0:09:08 | 0:09:11 | |
The pine in the room, | 0:09:11 | 0:09:13 | |
I just felt that this whole corner here gives an imbalance, | 0:09:13 | 0:09:18 | |
so I'd like to incorporate a similar feature here, | 0:09:18 | 0:09:24 | |
as if it has been built in. | 0:09:24 | 0:09:26 | |
Yeah. Are you doing anything with the fireplace? I... | 0:09:26 | 0:09:29 | |
Because it's a different type of wood to the pine. | 0:09:29 | 0:09:31 | |
What I can do is take some of the colour out of it. | 0:09:31 | 0:09:35 | |
Yeah. The coffee table, as it is, dominates the centre of the room. | 0:09:35 | 0:09:41 | |
I have in mind a round coffee table, glass top to it. | 0:09:41 | 0:09:46 | |
OK...I'm not a fan of glass. | 0:09:48 | 0:09:51 | |
Right. Because I've had a glass table before, | 0:09:51 | 0:09:54 | |
and I find that I'm constantly cleaning it. | 0:09:54 | 0:09:58 | |
Obviously, I can look at what the possibilities are, | 0:09:58 | 0:10:03 | |
and we could make a decision on that. OK. | 0:10:03 | 0:10:07 | |
Over here, Kiera's bed. Yes. | 0:10:07 | 0:10:10 | |
This is a 5-star dog bed, so that she has... | 0:10:10 | 0:10:16 | |
The rest will be fine. | 0:10:16 | 0:10:17 | |
With her own tartan cushion, detachable and washable. | 0:10:17 | 0:10:21 | |
These colours I love because they're really muted, | 0:10:21 | 0:10:24 | |
and I like that as well. Are you comfortable with that? | 0:10:24 | 0:10:26 | |
Yeah, absolutely. You're saying all the right things. | 0:10:26 | 0:10:29 | |
No, it's good. | 0:10:29 | 0:10:31 | |
Next up, it's the dining room. | 0:10:31 | 0:10:33 | |
I'd like to do the feature wall coming round the fireplace. | 0:10:33 | 0:10:38 | |
I got the impression you won't be in favour of having | 0:10:38 | 0:10:41 | |
the picture rail painted. That's right. | 0:10:41 | 0:10:45 | |
If we said that we didn't want to just stay with the wood, | 0:10:45 | 0:10:48 | |
would that help you? It would help immensely. | 0:10:48 | 0:10:51 | |
And that would only obviously be on the feature wall? | 0:10:51 | 0:10:54 | |
Yeah. Because of all of that, that looks to me to be a little odd. | 0:10:54 | 0:10:58 | |
OK. The light fitting, I didn't want to go for purely blue light, | 0:10:58 | 0:11:03 | |
because if you sit at a table in blue light, | 0:11:03 | 0:11:07 | |
you actually look either ill or dead... | 0:11:07 | 0:11:11 | |
OK... And the food doesn't benefit from it! | 0:11:12 | 0:11:15 | |
OK. So they have a very fine swirl of red in them. | 0:11:15 | 0:11:20 | |
I also have some blue lights, to go discreetly on the window ledge, | 0:11:20 | 0:11:25 | |
so that you have midnight blue colour | 0:11:25 | 0:11:28 | |
coming through the Venetian blinds. | 0:11:28 | 0:11:32 | |
That's your... Blue room. | 0:11:32 | 0:11:34 | |
..your blue room. | 0:11:34 | 0:11:35 | |
This is rather out there, and I think, | 0:11:35 | 0:11:37 | |
is that fitting in this style of house? | 0:11:37 | 0:11:40 | |
I wanted to go for a rather sumptuous feel. | 0:11:40 | 0:11:44 | |
I think that's the bit I need to see, | 0:11:44 | 0:11:46 | |
it's the bit that's going to sort of overtake. | 0:11:46 | 0:11:49 | |
How do you feel about that? I'm comfortable with it. | 0:11:49 | 0:11:52 | |
Are you? Yeah. I'm hoping that we are going to get a sumptuous, | 0:11:52 | 0:11:57 | |
boutique hotel, something different. | 0:11:57 | 0:12:01 | |
It's... It's something different. | 0:12:01 | 0:12:04 | |
Nicholas is mastering the joinery and has really thought about how to | 0:12:04 | 0:12:08 | |
lay it out properly by balancing that existing cupboard on the one side | 0:12:08 | 0:12:11 | |
of the chimney breast by putting a lower version of the same style on | 0:12:11 | 0:12:15 | |
the other side. The biggest issue I've got with the dining room, | 0:12:15 | 0:12:18 | |
is if a homeowner says to me, | 0:12:18 | 0:12:21 | |
"I would like some blue but I would like to have some greys," or whatever, | 0:12:21 | 0:12:24 | |
I would have accents of blues, but this entire room is blue. | 0:12:24 | 0:12:30 | |
And you know the big problem with that? | 0:12:30 | 0:12:31 | |
Blue, as a colour, is an appetite suppressant, | 0:12:31 | 0:12:34 | |
which is not ideal for a dining room. | 0:12:34 | 0:12:36 | |
Fabulous! Yes, yes! | 0:12:36 | 0:12:38 | |
The jury's out, because he does pull it off, | 0:12:38 | 0:12:40 | |
but when I look at that presentation board, I feel blue. | 0:12:40 | 0:12:44 | |
Hello, welcome everyone. | 0:12:46 | 0:12:49 | |
With his presentation over, Nicholas's 48 hours have begun... | 0:12:49 | 0:12:53 | |
That's the room we've got to finish. | 0:12:53 | 0:12:54 | |
..and he's drawing on all his directorial strengths | 0:12:54 | 0:12:57 | |
to brief his team. | 0:12:57 | 0:12:58 | |
Feature wallpaper up to the ceiling. | 0:12:58 | 0:13:01 | |
Shall I leave the country now? Yeah, yeah! | 0:13:01 | 0:13:04 | |
And as the builders clear out the rooms, | 0:13:04 | 0:13:07 | |
Nicholas starts to repaint a mirror using car spray paint. | 0:13:07 | 0:13:11 | |
The great thing about car spray is | 0:13:11 | 0:13:13 | |
that there are hundreds of different colours, | 0:13:13 | 0:13:17 | |
so it's very easy to get exactly the colour that you want. | 0:13:17 | 0:13:23 | |
This glorious midnight blue colour is in fact, "Peugeot China Blue." | 0:13:23 | 0:13:29 | |
It's going to be known as the blue room, I think. | 0:13:29 | 0:13:32 | |
Three doors down, our second designer Oliver | 0:13:33 | 0:13:36 | |
is about to take up residence in the cottage | 0:13:36 | 0:13:38 | |
owned by Verity and Sean... | 0:13:38 | 0:13:40 | |
Thank you, dear. | 0:13:40 | 0:13:43 | |
..starting with the lounge. | 0:13:43 | 0:13:44 | |
OK... | 0:13:44 | 0:13:46 | |
The living room is the main room of the house for us, isn't it? | 0:13:46 | 0:13:50 | |
We use it for everything, really. | 0:13:50 | 0:13:52 | |
It's a really nice size, actually. | 0:13:52 | 0:13:54 | |
We would still like to retain the cottage, cosy charm. | 0:13:54 | 0:13:58 | |
Got a couple of nice paintings in there which we'd like to incorporate | 0:13:58 | 0:14:01 | |
into the design - they're key things. | 0:14:01 | 0:14:04 | |
Paint, light colours I think, because it's a fairly dark room, | 0:14:04 | 0:14:08 | |
especially in the winter. | 0:14:08 | 0:14:10 | |
Sort of country chic with a modern twist, maybe. | 0:14:10 | 0:14:13 | |
Oliver also needs to work on the tired dining room, | 0:14:13 | 0:14:17 | |
which requires sophistication and elegance. | 0:14:17 | 0:14:21 | |
The dining room at the moment is rather cluttered. | 0:14:21 | 0:14:24 | |
Aww, it's really cute! | 0:14:24 | 0:14:27 | |
We would like a little bit more elegance. | 0:14:28 | 0:14:30 | |
A little bit? We'd like a lot more elegance! | 0:14:30 | 0:14:33 | |
Well, a lot more I suppose. Yeah, because Sean likes cooking... | 0:14:33 | 0:14:35 | |
I like hosting dinner parties, | 0:14:35 | 0:14:37 | |
so for me the room would need to make a statement, I think. | 0:14:37 | 0:14:41 | |
I don't want it too fussy. A nice grey-eige colour. | 0:14:41 | 0:14:45 | |
What colour's grey-eige? | 0:14:45 | 0:14:46 | |
Grey-eige is a grey/beige, obviously! | 0:14:46 | 0:14:49 | |
Oh, OK. All right! | 0:14:49 | 0:14:52 | |
It's a new one on me! | 0:14:52 | 0:14:54 | |
So grey-eige it is, then. | 0:14:54 | 0:14:56 | |
Looking at the room now, I know I actually made the right choice | 0:14:56 | 0:14:59 | |
in what I want to do. | 0:14:59 | 0:15:01 | |
So I'm going to start with the lounge and I've come up with | 0:15:02 | 0:15:05 | |
something like this. Wow. | 0:15:05 | 0:15:08 | |
Ooh, I do like those curtains! | 0:15:08 | 0:15:10 | |
We've got like a really soft bluey/grey. | 0:15:10 | 0:15:13 | |
It's light enough that it's not going to enclose the room, | 0:15:13 | 0:15:16 | |
but it also gives a sense of tone. | 0:15:16 | 0:15:18 | |
It's not a colour I would have thought of, you know? | 0:15:18 | 0:15:22 | |
But I can see how it works. | 0:15:22 | 0:15:23 | |
Adding real panelling because you had... Wow, yes. | 0:15:24 | 0:15:28 | |
One of the things you did mention in your brief was about how that window | 0:15:28 | 0:15:31 | |
can appear quite dark sometimes. Mm-hm. | 0:15:31 | 0:15:34 | |
So what we're going to do is do like an optical illusion. | 0:15:34 | 0:15:37 | |
We're going to raise the blinds above the window | 0:15:37 | 0:15:40 | |
and raise the curtain pole... Oh, I see. | 0:15:40 | 0:15:43 | |
..so it gives you a much grander window. Oh, yeah. | 0:15:43 | 0:15:45 | |
Is this covering our existing...? | 0:15:45 | 0:15:47 | |
No, that's a brand-new Victorian pine table | 0:15:47 | 0:15:49 | |
which I'm going to convert into an ottoman. Brilliant. | 0:15:49 | 0:15:53 | |
Thumbs up? Yeah. Yeah. | 0:15:53 | 0:15:55 | |
If we continue on that winning streak, | 0:15:55 | 0:15:57 | |
I'd like to show you what I've got planned for your dining room. | 0:15:57 | 0:16:00 | |
You did say wow factor, didn't you? Yeah. Kind of... | 0:16:00 | 0:16:03 | |
Kind of! | 0:16:03 | 0:16:04 | |
OK. So I've got this. | 0:16:06 | 0:16:09 | |
Oh, wallpaper! | 0:16:10 | 0:16:12 | |
So you'll have your wallpaper, your curtains | 0:16:12 | 0:16:15 | |
and your Roman blind will all be exactly the same. | 0:16:15 | 0:16:19 | |
It's kind of like a little bit of a maximalist approach, | 0:16:19 | 0:16:21 | |
do you know what I mean? If you're going to do it, do it properly... | 0:16:21 | 0:16:24 | |
Yes. ..or don't do it all. No. | 0:16:24 | 0:16:26 | |
We're going to do the dresser in a really smart grey, | 0:16:26 | 0:16:28 | |
which I think works beautifully with your blue and white china, | 0:16:28 | 0:16:30 | |
which is where I took my cue for this whole room... Oh, really? | 0:16:30 | 0:16:33 | |
..was from those plates. They were my grandparents'. | 0:16:33 | 0:16:36 | |
And covering the... Yeah. Chairs. Good. | 0:16:36 | 0:16:38 | |
So I've got six new dining chairs, | 0:16:38 | 0:16:39 | |
so we'll do the blue and white ikat with navy blue velvet. | 0:16:39 | 0:16:43 | |
It's different. I know. | 0:16:43 | 0:16:46 | |
'Oliver's presentation was very upbeat,' | 0:16:46 | 0:16:48 | |
he seemed incredibly confident from the start and his boards were really | 0:16:48 | 0:16:52 | |
beautifully laid out. | 0:16:52 | 0:16:54 | |
'He's very soft and gentle in the way that he presents,' | 0:16:54 | 0:16:56 | |
but you do know that he's got all the salient points in his head. | 0:16:56 | 0:17:00 | |
He's genius in putting the blind higher | 0:17:00 | 0:17:03 | |
and the curtain pole higher to give it more height. | 0:17:03 | 0:17:05 | |
That's really clever. You know... | 0:17:05 | 0:17:07 | |
I wasn't sure, though, | 0:17:07 | 0:17:08 | |
about the mixture of the cushion fabrics that he's gone for, | 0:17:08 | 0:17:11 | |
because he's got those tartans, and the blacks and all the chintz. | 0:17:11 | 0:17:14 | |
Will that work? Let's move on to the dining room. | 0:17:14 | 0:17:18 | |
Yeah. What is it about blue today? | 0:17:18 | 0:17:20 | |
This is the blue period. I hope we get over it very quickly. | 0:17:20 | 0:17:23 | |
I mean, there's no blue mentioned on the brief, | 0:17:23 | 0:17:25 | |
so this has come from the plates. | 0:17:25 | 0:17:27 | |
I mean, that's quite... It's brave. It's brave. | 0:17:27 | 0:17:30 | |
That paper is beautiful, don't get me wrong, but a whole room... | 0:17:30 | 0:17:34 | |
Oh, I love it! I love it. | 0:17:34 | 0:17:35 | |
The whole room and matching blinds, it's so 1970s posh! | 0:17:35 | 0:17:40 | |
First things first, obviously we've got clear this room. | 0:17:42 | 0:17:45 | |
Oliver's 48 hours have begun, | 0:17:45 | 0:17:47 | |
and he's got a long list of tasks to hand out. | 0:17:47 | 0:17:50 | |
I've got wood panelling to go up in the other room, | 0:17:50 | 0:17:52 | |
so the builders need to do that | 0:17:52 | 0:17:53 | |
and two decorators need to crack on with here | 0:17:53 | 0:17:55 | |
and then, yeah, wallpapered all the way round. OK. | 0:17:55 | 0:17:57 | |
As his team start clearing out both rooms, | 0:17:57 | 0:18:00 | |
one of Oliver's biggest jobs is to upholster the dining room chairs. | 0:18:00 | 0:18:04 | |
Relatively cheaply you can get some nice fabric, stretch it over, | 0:18:04 | 0:18:09 | |
staple gun it and they're good as new. | 0:18:09 | 0:18:11 | |
I got these chairs online and I got all six for under ?25, | 0:18:11 | 0:18:14 | |
which is an absolute bargain. | 0:18:14 | 0:18:16 | |
Having stapled the covers to the chair, | 0:18:16 | 0:18:19 | |
Oliver is using studded trim to tidy up his handiwork. | 0:18:19 | 0:18:23 | |
I think it's very quick and a very easy way of adding some real pizzazz | 0:18:23 | 0:18:27 | |
to, like, pieces of furniture. | 0:18:27 | 0:18:28 | |
Boom! And now I've got five more to do. | 0:18:30 | 0:18:32 | |
With both designers off the starting blocks, | 0:18:34 | 0:18:37 | |
tomorrow's deadline to have their dining rooms finished | 0:18:37 | 0:18:40 | |
is inching ever nearer. | 0:18:40 | 0:18:42 | |
Today, these cottages have been named in honour of Edwin Lutyens, | 0:18:43 | 0:18:46 | |
who'd go on to become one of the most famous British architects | 0:18:46 | 0:18:49 | |
of the 20th century. | 0:18:49 | 0:18:52 | |
The celebrated partnership with the garden designer Gertrude Jekyll | 0:18:52 | 0:18:55 | |
pretty much invented the olde worlde picturesque country cottage style | 0:18:55 | 0:18:59 | |
so many of us hanker after today. | 0:18:59 | 0:19:01 | |
The presence of a thatched cottage is considered to be the final touch | 0:19:01 | 0:19:05 | |
to the vision of an idyllic country village, | 0:19:05 | 0:19:08 | |
while many believe that thatched is the most characteristic | 0:19:08 | 0:19:12 | |
of all functional materials. | 0:19:12 | 0:19:13 | |
You can tell these cottages aren't real olde worlde thatched cottages, | 0:19:13 | 0:19:17 | |
they're just too darn perfect. | 0:19:17 | 0:19:19 | |
This is rustic charm done by an obsessive master architect. | 0:19:19 | 0:19:23 | |
Just look at the perfectly symmetrical proportions | 0:19:23 | 0:19:25 | |
and that thatched roof, with its crisp edges | 0:19:25 | 0:19:27 | |
and that line as if drawn by a ruler. | 0:19:27 | 0:19:30 | |
From master architects to modern designers, | 0:19:32 | 0:19:35 | |
it's time for the judges to see how Nicholas is getting on. | 0:19:35 | 0:19:38 | |
Hi, Nicholas. Hello. Hello, Nicholas. | 0:19:38 | 0:19:40 | |
Hello. Oh, it's coming up. | 0:19:40 | 0:19:42 | |
That was the exciting bit, to see this wallpaper on the wall. | 0:19:42 | 0:19:44 | |
It's really nice, isn't it? | 0:19:44 | 0:19:46 | |
I love this layering, the sort of matt and shiny and the depth in it. | 0:19:46 | 0:19:50 | |
You were absolutely right. Absolutely. | 0:19:50 | 0:19:51 | |
Quite courageous, though. | 0:19:51 | 0:19:53 | |
Well, you wanted to see my style, me coming out. | 0:19:53 | 0:19:56 | |
OK, so this is you? Yeah. | 0:19:56 | 0:19:59 | |
I'm glad to see you convinced the home owners to paint | 0:19:59 | 0:20:02 | |
the picture rail in the navy blue so it doesn't stand out. | 0:20:02 | 0:20:05 | |
Wonderful. What's happening with the remainder? | 0:20:05 | 0:20:08 | |
I would quite like to take the grey colour up and over it. | 0:20:08 | 0:20:13 | |
It's looking magical, already... Thank you. | 0:20:13 | 0:20:14 | |
..and you've only got some wallpaper on the wall. | 0:20:14 | 0:20:17 | |
I'm finding that very exciting. | 0:20:17 | 0:20:19 | |
If you can follow that through in the rest of the space, | 0:20:19 | 0:20:22 | |
I think we've got a winning space. | 0:20:22 | 0:20:23 | |
So good luck. Thank you. | 0:20:23 | 0:20:25 | |
You were really, like, gushing about that wallpaper! | 0:20:25 | 0:20:29 | |
I loved it, it looks great. | 0:20:29 | 0:20:31 | |
But by just hanging that wallpaper on two walls | 0:20:31 | 0:20:33 | |
and then painting the rest of the room in pale grey, | 0:20:33 | 0:20:37 | |
there's no drama. | 0:20:37 | 0:20:38 | |
I love his courage. | 0:20:38 | 0:20:40 | |
He's doing something to kind of shock that room, | 0:20:40 | 0:20:43 | |
and he has, and he's shocked me. | 0:20:43 | 0:20:45 | |
Over at Oliver's, he's turned his craft to the blinds that are the | 0:20:48 | 0:20:52 | |
same print as the wallpaper and curtains. | 0:20:52 | 0:20:54 | |
I've managed to find some Roman blinds that are actually quite sheer | 0:20:54 | 0:20:59 | |
but make a really good backing for much nicer fabric, | 0:20:59 | 0:21:03 | |
so it actually cuts out a lot of the faff. | 0:21:03 | 0:21:06 | |
Using these backings, they were probably about ?17 each, | 0:21:06 | 0:21:09 | |
which is nothing. | 0:21:09 | 0:21:10 | |
I've chosen this fabric because it ties in brilliantly | 0:21:10 | 0:21:12 | |
with the wallpaper. | 0:21:12 | 0:21:14 | |
So the idea is that the pattern starts, you know, | 0:21:14 | 0:21:16 | |
from the minute you go in and continues all the way round. | 0:21:16 | 0:21:20 | |
I think it's going to be a bit of a show stopper. | 0:21:20 | 0:21:22 | |
Meanwhile, in the dining room, | 0:21:22 | 0:21:24 | |
the first roll of matching blue wallpaper is going up. | 0:21:24 | 0:21:27 | |
Hi. Hello. Oh! Wow. We're kicking off. | 0:21:28 | 0:21:32 | |
Look how much bigger this room looks. | 0:21:32 | 0:21:35 | |
Oliver, you've done this room in blue, | 0:21:35 | 0:21:37 | |
and what colour have we got in the other room? | 0:21:37 | 0:21:40 | |
We've got a blue, but it's a different shade of blue. | 0:21:40 | 0:21:43 | |
Right. More of a grey/blue. Yeah, it is, and it's a softer feel. | 0:21:43 | 0:21:46 | |
I want there to be a continuity between the rooms, | 0:21:46 | 0:21:48 | |
but they're separate entities. | 0:21:48 | 0:21:50 | |
Well, you're taking a big risk, because that is a lot of blue. | 0:21:50 | 0:21:53 | |
You've got to make sure that home owner really does love it, | 0:21:53 | 0:21:56 | |
because you've got it all over the place. | 0:21:56 | 0:21:58 | |
Let's see how it turns out. | 0:21:58 | 0:22:00 | |
This is looking so fantastic. | 0:22:04 | 0:22:08 | |
The end of the first day is in sight and in Nicholas's dining room | 0:22:08 | 0:22:12 | |
the feature wallpaper is almost complete. | 0:22:12 | 0:22:15 | |
I love you! | 0:22:15 | 0:22:17 | |
There you go. | 0:22:18 | 0:22:20 | |
For the remaining grey walls to have the impact Nicholas desires, | 0:22:21 | 0:22:24 | |
he wants to paint the wooden rails in the same colour, | 0:22:24 | 0:22:27 | |
but he needs to persuade the homeowners first. | 0:22:27 | 0:22:30 | |
If we could take the grey colour over the picture rail, | 0:22:30 | 0:22:37 | |
I think it would be quite sophisticated and quite elegant. | 0:22:37 | 0:22:41 | |
I've got no problems with it being painted. | 0:22:41 | 0:22:42 | |
If you believe that it's the right thing to do... | 0:22:42 | 0:22:44 | |
I think so. ..then continue with the grey. | 0:22:44 | 0:22:47 | |
Thank you very much. | 0:22:47 | 0:22:49 | |
So you end on there and start again maybe there. | 0:22:49 | 0:22:52 | |
With the dining room on track, | 0:22:52 | 0:22:54 | |
Oliver's turned his attention to the lounge. | 0:22:54 | 0:22:56 | |
That kind of thing. Yeah. I happen to love panelling. | 0:22:56 | 0:23:00 | |
It's just a way of kind of embellishing walls, really. | 0:23:00 | 0:23:03 | |
You know, it stops rooms from looking like shoeboxes. | 0:23:03 | 0:23:05 | |
You add a little bit more detail, another layer. | 0:23:05 | 0:23:07 | |
Fantastic, thank you very much. | 0:23:07 | 0:23:09 | |
It's the end of the day and I really feel that Oliver is just a little | 0:23:11 | 0:23:14 | |
bit ahead, because his schemes are so resolved. | 0:23:14 | 0:23:17 | |
He knows what he's doing, whereas I'm not so sure with Nicholas. | 0:23:17 | 0:23:20 | |
Oliver's just seems like it's more completed... | 0:23:20 | 0:23:22 | |
Yes. ..and because his presentation just seemed so positive. | 0:23:22 | 0:23:25 | |
But we might end up with something that's just too conservative, | 0:23:25 | 0:23:29 | |
and Nicholas comes out with something really daring. | 0:23:29 | 0:23:32 | |
You look very tired! | 0:23:33 | 0:23:36 | |
I think tired is probably putting it mildly. Yeah? | 0:23:37 | 0:23:41 | |
How do you feel about being in the semifinals? | 0:23:41 | 0:23:44 | |
In some ways it's like you're just doing another two rooms, | 0:23:44 | 0:23:47 | |
but actually you've got to kind of pinch yourself and think, | 0:23:47 | 0:23:50 | |
"What's at stake here?" It could be life-changing, so... | 0:23:50 | 0:23:53 | |
Yes, it could kill me! | 0:23:53 | 0:23:55 | |
Let's hope not. Come on. | 0:23:56 | 0:23:58 | |
The first day is over, but the designers won't sleep easy tonight. | 0:24:00 | 0:24:04 | |
Tomorrow, the first of their two rooms have to be completed | 0:24:04 | 0:24:07 | |
and the judges are expecting perfection. | 0:24:07 | 0:24:10 | |
Hello, how are we doing? All right? Fine, fine. | 0:24:17 | 0:24:20 | |
That's the first bit up, fantastic. | 0:24:20 | 0:24:22 | |
Day two has begun, | 0:24:22 | 0:24:24 | |
and our designers can only think of one thing this morning - | 0:24:24 | 0:24:26 | |
getting those rooms finished for the judges. | 0:24:26 | 0:24:28 | |
Ah, good morning. Hiya. | 0:24:28 | 0:24:31 | |
With just a few hours remaining before Nicholas's dining room has to | 0:24:31 | 0:24:34 | |
be completed, the final trace of wood is being painted out. | 0:24:34 | 0:24:38 | |
Meanwhile, Nicholas is turning his attention to his lounge. | 0:24:40 | 0:24:43 | |
So what we need here, Johnny, is the cupboard to come to the wall here. | 0:24:43 | 0:24:50 | |
He's focusing on the new pine cabinet, | 0:24:50 | 0:24:52 | |
which will house the television. | 0:24:52 | 0:24:54 | |
And then the doors to just concertina back, | 0:24:54 | 0:24:57 | |
its tongue groove right to the floor. Oh, right. Excellent. | 0:24:57 | 0:25:02 | |
Three doors down, as the decorator continues to line the dining room | 0:25:03 | 0:25:07 | |
walls with bird print, Oliver is sprucing up the pine dresser. | 0:25:07 | 0:25:11 | |
What I want to do is just smarten the whole thing up using a special | 0:25:11 | 0:25:14 | |
paint for furniture and it's a really nice sort of smart grey, | 0:25:14 | 0:25:18 | |
so it will look... It will give it a proper face-lift. | 0:25:18 | 0:25:21 | |
It's happy days. | 0:25:21 | 0:25:22 | |
Oliver may be feeling on top of things, | 0:25:24 | 0:25:26 | |
but he's about to be thrown a curveball. | 0:25:26 | 0:25:29 | |
Keen to keep the designers on their feet, | 0:25:29 | 0:25:31 | |
the judges are going to give them both an object that they've got to | 0:25:31 | 0:25:34 | |
imaginatively work into one of the schemes. | 0:25:34 | 0:25:36 | |
Hi, Oliver. | 0:25:36 | 0:25:38 | |
Hey. It's creative challenge time! OK. | 0:25:38 | 0:25:42 | |
Nicholas, are you ready for this? | 0:25:42 | 0:25:44 | |
I'm sure you will not get hysterical about something... | 0:25:44 | 0:25:48 | |
spherical. How about that? | 0:25:48 | 0:25:50 | |
It's quite good. Yes, it is. | 0:25:50 | 0:25:52 | |
So you've got all the time you need, as long as it appears | 0:25:52 | 0:25:56 | |
in one of the rooms. THEY LAUGH | 0:25:56 | 0:25:58 | |
See you later. See you later. Bye. | 0:25:58 | 0:26:00 | |
Good luck. Thank you, Dan(!) | 0:26:02 | 0:26:04 | |
You mean that, don't you? Yes(!) | 0:26:04 | 0:26:07 | |
The designers' inventiveness with this creative challenge | 0:26:07 | 0:26:09 | |
will be taken into consideration at the final judging, | 0:26:09 | 0:26:12 | |
when Kelly and Dan will be joined by guest judge Michelle Ogundehin. | 0:26:12 | 0:26:16 | |
While Nicholas ponders over the possibilities, | 0:26:19 | 0:26:21 | |
Oliver tackles the challenge head-on. | 0:26:21 | 0:26:24 | |
What I'd like is for that to all come off. | 0:26:24 | 0:26:26 | |
He gets builder Stewart to saw off the top third of the sphere. | 0:26:28 | 0:26:31 | |
So what I've done, I've made it into a fruit bowl. | 0:26:32 | 0:26:36 | |
What I'll do, just to the kind of finish it off is actually go | 0:26:36 | 0:26:39 | |
all around the top with the copper wire, just so it really finishes it. | 0:26:39 | 0:26:42 | |
Attention to detail was also a key factor in the design of these | 0:26:44 | 0:26:48 | |
Arts and Crafts country cottages. | 0:26:48 | 0:26:50 | |
But one feature of the exterior, though, you definitely cannot miss, | 0:26:50 | 0:26:53 | |
is a thatched roof, | 0:26:53 | 0:26:55 | |
that quintessential symbol of the English country cottage look. | 0:26:55 | 0:26:59 | |
But Lutyens didn't just use it for its heritage, | 0:26:59 | 0:27:01 | |
it had practical benefits, too, keeping the cottages snug in winter | 0:27:01 | 0:27:04 | |
but letting them breathe during the summertime. | 0:27:04 | 0:27:07 | |
The most common material used was the straw left over after harvesting. | 0:27:07 | 0:27:12 | |
Rye was a favourite but wheat straw was more widely used. | 0:27:12 | 0:27:16 | |
It was applied lengthways and then trimmed, | 0:27:16 | 0:27:18 | |
a bit like a shaggy hairdo sculpted into shape. | 0:27:18 | 0:27:21 | |
Pebble dash like this was immensely popular on Arts and Crafts houses. | 0:27:25 | 0:27:29 | |
It gave an appealing textured and weathered look, | 0:27:29 | 0:27:32 | |
but it also came in rather handy for keeping the rain off | 0:27:32 | 0:27:35 | |
the bricks hidden underneath. | 0:27:35 | 0:27:36 | |
The Arts and Crafts movement stood for traditional craftsmanship | 0:27:38 | 0:27:41 | |
using simple forms... | 0:27:41 | 0:27:43 | |
..an ideology Nicholas wants to uphold | 0:27:44 | 0:27:46 | |
with the new painted dining room chairs, which he's now waxing. | 0:27:46 | 0:27:50 | |
The wax starts to give it a very different finish. | 0:27:50 | 0:27:55 | |
It's giving it a really good, almost wood-like sheen. | 0:27:55 | 0:28:01 | |
Nicholas's chairs may be on track, | 0:28:01 | 0:28:03 | |
but with just three hours before his dining room must be complete, | 0:28:03 | 0:28:06 | |
he has other vital elements missing. | 0:28:06 | 0:28:08 | |
Hello, Nicholas. Hello. Hi there. | 0:28:11 | 0:28:13 | |
I've heard that there's been a few little hiccups along the way. | 0:28:13 | 0:28:16 | |
The Venetian blinds, they've been made, they've been dispatched... | 0:28:16 | 0:28:21 | |
But they're somewhere in the ether. They are somewhere in the ether. | 0:28:21 | 0:28:24 | |
The cushions are a similar issue | 0:28:24 | 0:28:27 | |
and I didn't have time to make eight seat cushions. | 0:28:27 | 0:28:34 | |
Except, you know, it's a competition and this is about creating something | 0:28:34 | 0:28:38 | |
in the time for the money. | 0:28:38 | 0:28:41 | |
You've had someone do the painting, the electrics, hang the wallpaper, | 0:28:41 | 0:28:44 | |
it was just the cushions. Yeah. | 0:28:44 | 0:28:46 | |
And if I could point out, eight dining room chairs to paint and wax, | 0:28:46 | 0:28:51 | |
that was my priority on the seating, rather than... The cushions. | 0:28:51 | 0:28:55 | |
..making cushions. | 0:28:55 | 0:28:57 | |
I'm feeling a little bit irritated after that meeting, | 0:28:57 | 0:29:00 | |
but I'm feeling that you're quite angry. | 0:29:00 | 0:29:02 | |
What an understatement! | 0:29:02 | 0:29:04 | |
We're both thinking, really, he should have made them himself. | 0:29:04 | 0:29:07 | |
Of course he should have made them himself! | 0:29:07 | 0:29:09 | |
The two things that will really finish that room off | 0:29:09 | 0:29:12 | |
are not going to turn up. | 0:29:12 | 0:29:13 | |
What he really needed on those chairs are bespoke cushions | 0:29:13 | 0:29:17 | |
but something just shop-bought | 0:29:17 | 0:29:19 | |
would just look a little bit makeover to me. | 0:29:19 | 0:29:21 | |
He's better than that. He is better than that. | 0:29:21 | 0:29:24 | |
There isn't a contingency plan. | 0:29:24 | 0:29:27 | |
It's in the lap of the gods. | 0:29:27 | 0:29:29 | |
But keeping a tight rein on his designs, | 0:29:33 | 0:29:35 | |
Oliver is making all of his soft furnishings from scratch. | 0:29:35 | 0:29:38 | |
I've made these fabulous curtains | 0:29:38 | 0:29:40 | |
and now obviously they need to be finished. | 0:29:40 | 0:29:42 | |
The hems aren't done, so just a quick sort of hem the ends up. | 0:29:42 | 0:29:46 | |
Nicholas is racing against the clock and time is of the essence. | 0:29:48 | 0:29:52 | |
The dining room furniture is being repositioned... | 0:29:52 | 0:29:55 | |
This way. | 0:29:55 | 0:29:56 | |
..and artwork is going up... | 0:29:56 | 0:29:58 | |
That's nice, yeah. | 0:29:58 | 0:30:00 | |
..as are the blue pendant lights. | 0:30:00 | 0:30:02 | |
And just in the nick of time, one of the missing deliveries has arrived. | 0:30:04 | 0:30:08 | |
I've got my blinds up. | 0:30:08 | 0:30:11 | |
I'm happy. | 0:30:11 | 0:30:13 | |
Look. | 0:30:13 | 0:30:14 | |
This is happy. | 0:30:14 | 0:30:16 | |
Nicholas's time is now up. | 0:30:16 | 0:30:19 | |
I honestly don't need to do any more in this room... | 0:30:19 | 0:30:26 | |
except try the lights, see if they work. | 0:30:26 | 0:30:30 | |
HE HUMS A TUNE | 0:30:30 | 0:30:32 | |
I've had comments from the judges that have said, | 0:30:32 | 0:30:35 | |
"Nicholas, we want to see your style," | 0:30:35 | 0:30:39 | |
and I can honestly say that doing that room | 0:30:39 | 0:30:44 | |
in those colours is my style. | 0:30:44 | 0:30:48 | |
Nicholas was given the task of creating a luxurious, | 0:30:48 | 0:30:51 | |
atmospheric dining room, | 0:30:51 | 0:30:53 | |
taking inspiration from the blue feature tiles around the fireplace. | 0:30:53 | 0:30:57 | |
Yesterday it lacked warmth and character. | 0:30:58 | 0:31:01 | |
Now, it's got a bold identity with a strong flow of colour. | 0:31:03 | 0:31:07 | |
The feature wall with textured paper | 0:31:08 | 0:31:10 | |
and powerful print adds and air of opulence. | 0:31:10 | 0:31:14 | |
While painting the wooden picture rail in matching grey | 0:31:14 | 0:31:16 | |
gives a sense of space, | 0:31:16 | 0:31:19 | |
and accents of blue in the lights, | 0:31:19 | 0:31:21 | |
picture frames and table accessories tie his scheme together. | 0:31:21 | 0:31:25 | |
They wanted luxurious, they wanted atmospheric. | 0:31:29 | 0:31:32 | |
I think he has created that feeling. | 0:31:32 | 0:31:34 | |
One of the things I find quite clever is this feature wall. | 0:31:34 | 0:31:38 | |
Now, I would have been tempted just to take it to there but in fact he | 0:31:38 | 0:31:42 | |
was quite right to pull it through to the right | 0:31:42 | 0:31:44 | |
because it's almost visually straightened that room out | 0:31:44 | 0:31:47 | |
a little bit because of that awkward corner. | 0:31:47 | 0:31:51 | |
I love the blinds. I think the lights are genius. | 0:31:51 | 0:31:54 | |
This is a big cupboard. Yeah. | 0:31:54 | 0:31:56 | |
By having the smaller lights, very modern, with the blue... | 0:31:56 | 0:32:00 | |
these look like they float. That is very clever. | 0:32:00 | 0:32:04 | |
But I can really do without the blue lights. | 0:32:04 | 0:32:06 | |
Those blue lights, | 0:32:06 | 0:32:07 | |
I think there should be able that unless you're designing | 0:32:07 | 0:32:10 | |
a petrol station, you do not use them. | 0:32:10 | 0:32:14 | |
I think he's working to brief and I think that this blue does work | 0:32:14 | 0:32:18 | |
in creating that atmosphere but I would actually want to imbalance it | 0:32:18 | 0:32:22 | |
slightly, maybe chuck a naughty colour in somewhere, | 0:32:22 | 0:32:27 | |
because at the moment it's too well-behaved. | 0:32:27 | 0:32:30 | |
Nicholas has been working to homeowners Karen and Mark's brief, | 0:32:31 | 0:32:35 | |
so their opinion will be taken into consideration by the judges | 0:32:35 | 0:32:38 | |
when they make their final decision. | 0:32:38 | 0:32:40 | |
Oh, lord! | 0:32:44 | 0:32:46 | |
Oh. Fantastic. | 0:32:47 | 0:32:49 | |
It looks much bigger, doesn't it? It does, yeah. | 0:32:49 | 0:32:54 | |
A completely different room. | 0:32:54 | 0:32:56 | |
So the big question, wallpaper, what do you think? | 0:32:56 | 0:32:59 | |
I don't hate it. | 0:32:59 | 0:33:02 | |
Isn't that... That's praise! That's a start! | 0:33:02 | 0:33:04 | |
..but it's not as bling as I expected it to be. | 0:33:04 | 0:33:07 | |
The clever thing that he's done is the picture rail. | 0:33:07 | 0:33:11 | |
Does the room have atmosphere? Yeah, I think so. Yes... | 0:33:11 | 0:33:14 | |
but there's a lot of blue. | 0:33:14 | 0:33:17 | |
Even if these were toned down and that stayed... | 0:33:17 | 0:33:22 | |
..that would bring it down a bit, | 0:33:23 | 0:33:26 | |
because at the moment I think it's, "Wow, a lot of blue." | 0:33:26 | 0:33:30 | |
I've got less concerns about it than you have. | 0:33:30 | 0:33:33 | |
I think it's great way it is. Maybe I'm just a little bit more... | 0:33:33 | 0:33:36 | |
Picky. That's the word. | 0:33:36 | 0:33:40 | |
Picky's the word. Demanding. Yeah, high expectations. | 0:33:40 | 0:33:42 | |
High expectations. | 0:33:42 | 0:33:43 | |
In Oliver's dining room he's also racing against the clock. | 0:33:45 | 0:33:49 | |
Look at that. | 0:33:49 | 0:33:51 | |
With matching blinds and curtains hung | 0:33:51 | 0:33:54 | |
and painted furniture restored, | 0:33:54 | 0:33:56 | |
all that's left is for Oliver to dress the table... | 0:33:56 | 0:33:59 | |
Can't beat a nice white tablecloth, eh? | 0:33:59 | 0:34:02 | |
..and add a few finishing touches. | 0:34:02 | 0:34:04 | |
HE HUMS A FAST TUNE | 0:34:04 | 0:34:07 | |
Oliver's time is up. That's it, done. | 0:34:07 | 0:34:10 | |
With my hand on my heart, | 0:34:10 | 0:34:12 | |
I can stand here and say I really love that room. | 0:34:12 | 0:34:15 | |
I put my heart and soul into it and it's just so amazing to actually see | 0:34:15 | 0:34:19 | |
it come to fruition and to see it in reality | 0:34:19 | 0:34:21 | |
and I hope they really love it. | 0:34:21 | 0:34:24 | |
Oliver's brief was to design an elegant country dining room | 0:34:24 | 0:34:27 | |
to host sumptuous dinner parties. | 0:34:27 | 0:34:30 | |
Yesterday, it was a cluttered, bland space, | 0:34:30 | 0:34:33 | |
overshadowed by large furniture. | 0:34:33 | 0:34:35 | |
Now, it has a grand, elegant feel, | 0:34:36 | 0:34:39 | |
befitting a quintessentially English cottage. | 0:34:39 | 0:34:42 | |
With wall-to-wall matching paper, bespoke curtains and blinds | 0:34:42 | 0:34:46 | |
adding symmetry and refinement to the window. | 0:34:46 | 0:34:49 | |
While bold modern fabrics on the chairs tie in the colour scheme | 0:34:49 | 0:34:54 | |
and give the room a contemporary edge. | 0:34:54 | 0:34:56 | |
SHE GASPS | 0:34:56 | 0:34:58 | |
This is so enchanting. | 0:34:58 | 0:35:00 | |
It's refreshingly new but actually quite old-fashioned, too. | 0:35:00 | 0:35:04 | |
I think this is quite clever with the matching curtains because we've | 0:35:04 | 0:35:07 | |
all veered away from anything which is matchy-matchy, | 0:35:07 | 0:35:10 | |
yet when you've got a really fussy wallpaper, | 0:35:10 | 0:35:13 | |
if they'd gone for a plainer fabric, it would have stood out more, | 0:35:13 | 0:35:17 | |
but by being the same fabric, it blends in. | 0:35:17 | 0:35:20 | |
But I also like the fact that he's been a little bit naughty. | 0:35:20 | 0:35:23 | |
he's added in this ikat fabric, | 0:35:23 | 0:35:25 | |
so he understands about breaking the pattern at the same time. | 0:35:25 | 0:35:29 | |
This is not my style, end of. Is it not? No. | 0:35:29 | 0:35:32 | |
But the feeling I get is that I'm back at Granny's house | 0:35:32 | 0:35:36 | |
for tea and that was a nice feeling. | 0:35:36 | 0:35:38 | |
A granny who's quite up-to-date. Have you noticed the tableware? | 0:35:38 | 0:35:41 | |
This is absolutely... I know, the sort of rose gold. It's fabulous. | 0:35:41 | 0:35:44 | |
Yeah, I mean, Granny's been out shopping, hasn't she? | 0:35:44 | 0:35:47 | |
Not only has he created good design, | 0:35:47 | 0:35:51 | |
but he's done it in a way like it's been here for a while | 0:35:51 | 0:35:54 | |
and that's really hard. | 0:35:54 | 0:35:56 | |
I was a bit concerned that the light fitting would look too | 0:35:56 | 0:35:59 | |
much like one that you'd find in a snooker room. | 0:35:59 | 0:36:01 | |
For me, it's a shame it's not just a fraction lower. | 0:36:01 | 0:36:04 | |
A bit lower because actually when you're sitting down... | 0:36:04 | 0:36:07 | |
Oh, no! Just think about it. I know, that is a bit of an issue. | 0:36:07 | 0:36:09 | |
You're going to see the light bulbs, so that should have been as low as they dare. | 0:36:09 | 0:36:13 | |
On the brief they ask for a bit of shabby chic. | 0:36:13 | 0:36:15 | |
I'm really glad he moved them away from that | 0:36:15 | 0:36:18 | |
and went to something which is much more, as he said, manor house. | 0:36:18 | 0:36:21 | |
A little bit crisper, a little bit more proud and finished. | 0:36:21 | 0:36:25 | |
Now it's time for the homeowners to check out Oliver's work. | 0:36:26 | 0:36:30 | |
Oh, my gosh! Wow! It's a different room. | 0:36:33 | 0:36:37 | |
The space. | 0:36:37 | 0:36:39 | |
Even this looks much better now | 0:36:39 | 0:36:41 | |
because it was lost before and now it's... | 0:36:41 | 0:36:44 | |
The wallpaper brings it out. | 0:36:44 | 0:36:46 | |
What do you think of the wallpaper and the pattern? | 0:36:46 | 0:36:48 | |
I think it's lovely, it's stunning. | 0:36:48 | 0:36:50 | |
Yeah, I quite like that. I mean the way it's framed that window, | 0:36:50 | 0:36:53 | |
it's made that window look bigger. | 0:36:53 | 0:36:56 | |
He's styled your clutter?! | 0:36:56 | 0:36:58 | |
Wow. Yeah. All the blue and white now. | 0:36:58 | 0:37:00 | |
It looks lovely. He's styled the dresser as well. | 0:37:00 | 0:37:03 | |
So you wanted a kind of dining room that was impressive, | 0:37:03 | 0:37:06 | |
where you could entertain, that's got a bit of the old wow factor. | 0:37:06 | 0:37:09 | |
Has it got it? Yeah. | 0:37:09 | 0:37:10 | |
Half the village will want to come for dinner now. | 0:37:10 | 0:37:12 | |
Where are you going to put them all?! | 0:37:12 | 0:37:14 | |
It's the period of the house, I think. It just all works. | 0:37:14 | 0:37:17 | |
Wow. Top marks. BOTH: Yeah. | 0:37:17 | 0:37:20 | |
Day two is drawing to a close and after such mixed reactions of both | 0:37:23 | 0:37:27 | |
judges and homeowners, it might seem as if Nicholas is trailing Oliver | 0:37:27 | 0:37:31 | |
but the race isn't over. | 0:37:31 | 0:37:33 | |
Tomorrow, both designers have a whole new room to finish, | 0:37:33 | 0:37:37 | |
and a surprise guest judge to impress, | 0:37:37 | 0:37:39 | |
before one of them can secure a place in the final. | 0:37:39 | 0:37:41 | |
Good morning. ALL: Morning. | 0:37:53 | 0:37:55 | |
It's the start of day three and with a place in the final up for grabs | 0:37:55 | 0:37:58 | |
and another room to finish, our designers are feeling the pressure. | 0:37:58 | 0:38:01 | |
So good job we've got an extra surprise for them. | 0:38:01 | 0:38:04 | |
The designers don't know it yet, | 0:38:04 | 0:38:06 | |
but guest judge magazine editor Michelle Ogundehin is on her way. | 0:38:06 | 0:38:11 | |
She'll help decide which designer will make it through to the final. | 0:38:11 | 0:38:16 | |
Before she arrives, she's casting a critical eye over their schemes, | 0:38:16 | 0:38:19 | |
starting with Nicholas's dining room... | 0:38:19 | 0:38:22 | |
Having read the homeowners' brief, | 0:38:22 | 0:38:24 | |
I know that the blue original fireplace tiles are important, | 0:38:24 | 0:38:27 | |
so I see that pop of colour, | 0:38:27 | 0:38:29 | |
but what I don't see is how this would all work together. | 0:38:29 | 0:38:33 | |
..followed by Nicholas's lounge. | 0:38:33 | 0:38:35 | |
There's a lot going on in this board. | 0:38:35 | 0:38:37 | |
We've got different types of material, | 0:38:37 | 0:38:39 | |
different textured wallpapers, copper and the pine. | 0:38:39 | 0:38:44 | |
This is... This is going to be a tough one. | 0:38:44 | 0:38:46 | |
Next up, it's Oliver's design schemes, | 0:38:46 | 0:38:48 | |
starting with the dining room. | 0:38:48 | 0:38:50 | |
I'm a bit worried by the rather rampant use of this traditional wallpaper, though, | 0:38:50 | 0:38:54 | |
we've got it on the walls, we've got it curtains and blinds. | 0:38:54 | 0:38:57 | |
I think that might be a bit OTT. | 0:38:57 | 0:39:00 | |
So what will Michelle make of his lounge? | 0:39:00 | 0:39:02 | |
I love how the designer's introduced this idea of panelling, | 0:39:02 | 0:39:06 | |
which is something that's actually very easy to do. | 0:39:06 | 0:39:08 | |
Wonderful mix of fabrics. | 0:39:08 | 0:39:10 | |
I'm wondering how that's all going to sit together. | 0:39:10 | 0:39:13 | |
With Michelle's arrival, the designers are summoned outside. | 0:39:20 | 0:39:23 | |
Morning. Good morning. Morning. | 0:39:26 | 0:39:28 | |
Morning, Oliver. Good morning. | 0:39:30 | 0:39:33 | |
It's the last day of the semifinal | 0:39:33 | 0:39:35 | |
and you two probably think you've got more than enough pressure heaped | 0:39:35 | 0:39:38 | |
on those shoulders but we're going to add just a little bit more. | 0:39:38 | 0:39:42 | |
You're going to be judged not just by these two formidable design talents, | 0:39:42 | 0:39:46 | |
but a third. Oh, God! | 0:39:46 | 0:39:48 | |
Joining us today is the editor in chief | 0:39:48 | 0:39:51 | |
of one of the leading design magazines in the UK. | 0:39:51 | 0:39:54 | |
She's hugely respected and has been in the design industry | 0:39:54 | 0:39:57 | |
for over 20 years. | 0:39:57 | 0:40:00 | |
It's Michelle Ogundehin from Elle Decoration. | 0:40:00 | 0:40:02 | |
THEY INHALE OK. | 0:40:02 | 0:40:05 | |
Great to meet you. In my job, I see thousands of houses, | 0:40:10 | 0:40:14 | |
so what I'm looking for today is something a bit different. | 0:40:14 | 0:40:16 | |
I want to be surprised. I want originality with a twist. | 0:40:16 | 0:40:20 | |
So with three judges to impress today, better crack on. | 0:40:20 | 0:40:23 | |
Off we go. See you later. | 0:40:25 | 0:40:27 | |
Michelle Ogundehin is going to be judging us. | 0:40:27 | 0:40:30 | |
I mean, come on! | 0:40:30 | 0:40:31 | |
The pressure is now going up and going up and going up. | 0:40:31 | 0:40:35 | |
It's a fresh eye and I'm very honoured that she is here. | 0:40:35 | 0:40:40 | |
They might be right to feel the pressure, | 0:40:42 | 0:40:44 | |
as Michelle checks out the rooms both designers finished yesterday, | 0:40:44 | 0:40:47 | |
starting with Nicholas's dining room. | 0:40:47 | 0:40:50 | |
I was really concerned about this one from the mood board. | 0:40:50 | 0:40:53 | |
I really hadn't got a sense of what I was going to see | 0:40:53 | 0:40:55 | |
and I'm very pleasantly surprised. | 0:40:55 | 0:40:59 | |
The homeowner wanted elegance, | 0:40:59 | 0:41:01 | |
they wanted a high-end boutique feel. | 0:41:01 | 0:41:04 | |
It's certainly elegant. | 0:41:04 | 0:41:05 | |
I like the sort of little sweeps of red, that suddenly really pops out, | 0:41:05 | 0:41:09 | |
which again was something that didn't come across | 0:41:09 | 0:41:11 | |
in the mood board, but here it's working. | 0:41:11 | 0:41:15 | |
It's a very formal arrangement. | 0:41:15 | 0:41:17 | |
I can see that working well for dinner parties, | 0:41:17 | 0:41:20 | |
not quite sure how it's going to work with me | 0:41:20 | 0:41:22 | |
with a bowl of cereal in the morning. | 0:41:22 | 0:41:24 | |
Next up, Michelle casts her eye over Oliver's dining room. | 0:41:26 | 0:41:29 | |
Wow! | 0:41:31 | 0:41:32 | |
I mean, the homeowner wanted wow factor, they wanted pattern, | 0:41:34 | 0:41:38 | |
they wanted some colour, so we've certainly got that, | 0:41:38 | 0:41:40 | |
but I'm just a bit overwhelmed by how much patterned wallpaper | 0:41:40 | 0:41:44 | |
there is here. I think sometimes for a pattern to really sing, | 0:41:44 | 0:41:48 | |
you need to contain it. | 0:41:48 | 0:41:50 | |
When there's so much of it I don't know where to look, | 0:41:50 | 0:41:52 | |
so it's quite busy. | 0:41:52 | 0:41:54 | |
I really like this contemporary modern print in the sort of | 0:41:54 | 0:41:58 | |
dark indigoes against the more traditional wallpaper. | 0:41:58 | 0:42:02 | |
One offsets the other. | 0:42:02 | 0:42:04 | |
It looks like the mood board, | 0:42:04 | 0:42:07 | |
but perhaps it would have been taken to just another level if there'd | 0:42:07 | 0:42:11 | |
been something a little bit unexpected here. | 0:42:11 | 0:42:14 | |
With Michelle's fresh take on the rooms, it's now all to play for. | 0:42:18 | 0:42:23 | |
As the first designer to start, | 0:42:23 | 0:42:25 | |
Nicholas now has just a few hours before his time is up. | 0:42:25 | 0:42:28 | |
Having sprayed the homeowners' original light fitting in copper, | 0:42:30 | 0:42:33 | |
he's incorporating it with the creative challenge, | 0:42:33 | 0:42:35 | |
to create a more contemporary diffused light. | 0:42:35 | 0:42:38 | |
It's interest, so that you look up and you see... | 0:42:38 | 0:42:43 | |
the world. | 0:42:43 | 0:42:45 | |
That's fabulous. | 0:42:45 | 0:42:46 | |
And keen to show his homeowners that he's listened to | 0:42:46 | 0:42:49 | |
their concerns, he's had a rethink about the glass coffee table. | 0:42:49 | 0:42:53 | |
What we were going to do was to put a glass table top on | 0:42:53 | 0:42:57 | |
which was a bigger size. | 0:42:57 | 0:43:01 | |
It's my decision to pull back and not try and be too tricksy with it. | 0:43:01 | 0:43:07 | |
In Oliver's living room, the beaded panelling is up, | 0:43:11 | 0:43:14 | |
ready to be painted the same duck egg blue colour as the walls. | 0:43:14 | 0:43:18 | |
In the garden, Oliver is also breathing new life | 0:43:21 | 0:43:23 | |
into a recycled table. | 0:43:23 | 0:43:25 | |
This was an old table which I've cut down and I've just added this | 0:43:25 | 0:43:29 | |
upholstery foam and then... | 0:43:29 | 0:43:32 | |
Yeah, I'm just upholstering it. | 0:43:32 | 0:43:34 | |
So all in all, this has probably come to... | 0:43:34 | 0:43:37 | |
Probably under ?50. | 0:43:37 | 0:43:39 | |
Having stapled the fabric to the foam, | 0:43:40 | 0:43:42 | |
Oliver is once again using his trusty studs for an elegant finish. | 0:43:42 | 0:43:46 | |
Smart. | 0:43:48 | 0:43:50 | |
Where is it? No, perfect. Thank you. | 0:43:50 | 0:43:54 | |
As the first designer to start, Nicholas is almost out of time. | 0:43:54 | 0:43:58 | |
Can I have furniture in, please? | 0:43:58 | 0:44:00 | |
Round, round, round, round, round, round, round. | 0:44:00 | 0:44:03 | |
Three... | 0:44:03 | 0:44:04 | |
Thank you, God. | 0:44:04 | 0:44:06 | |
Finally, his 48 hours are up. | 0:44:06 | 0:44:08 | |
Guys, thank you so much. | 0:44:08 | 0:44:12 | |
It's now in the hands of the judges. | 0:44:12 | 0:44:15 | |
I honestly can't believe what we have achieved. | 0:44:17 | 0:44:21 | |
It's been incredible. | 0:44:21 | 0:44:24 | |
Nicholas's brief was to bring chic and sophistication | 0:44:24 | 0:44:27 | |
to a tame country cottage | 0:44:27 | 0:44:29 | |
that 48 hours ago was lacking a sense of style. | 0:44:29 | 0:44:32 | |
Now it shouts elegance with its muted colour scheme. | 0:44:34 | 0:44:38 | |
and the abundance of textured fabrics add a sense of class. | 0:44:38 | 0:44:41 | |
The dominating and mismatching pine furniture | 0:44:42 | 0:44:45 | |
has been balanced in colour, | 0:44:45 | 0:44:47 | |
and a new pine cabinet to house the television | 0:44:47 | 0:44:50 | |
has added symmetry to the fireplace. | 0:44:50 | 0:44:53 | |
Accents of burnished copper in the lighting provide warmth | 0:44:53 | 0:44:57 | |
and help soften the space. | 0:44:57 | 0:44:59 | |
Wow, what a transformation. I'm just trying to take it all in. | 0:45:04 | 0:45:08 | |
I do love the fabrics, I love the colours. | 0:45:08 | 0:45:11 | |
His upholstery is good. | 0:45:11 | 0:45:13 | |
I was really concerned by his mood boards, | 0:45:13 | 0:45:16 | |
because I just couldn't get a sense of how this room was going to feel, | 0:45:16 | 0:45:19 | |
but it hangs together a lot better than I thought it would. | 0:45:19 | 0:45:21 | |
I'm quite impressed with what he's done with the creative challenge, | 0:45:21 | 0:45:24 | |
because he's put it up into the ceiling pendant | 0:45:24 | 0:45:28 | |
and I guess when the light's on it's going to cast | 0:45:28 | 0:45:31 | |
some interesting shadows over the ceiling. It's very clever. | 0:45:31 | 0:45:34 | |
With points from Dan and Kelly for the creative challenge, | 0:45:34 | 0:45:37 | |
the judges move on to the rest of the room. | 0:45:37 | 0:45:39 | |
He's done a really, really good job. | 0:45:39 | 0:45:41 | |
If you look at that setting, with the wing chair, those lovely | 0:45:41 | 0:45:44 | |
curtains, that absolutely beautiful window with the view outside, | 0:45:44 | 0:45:47 | |
that is perfect country cottage look. | 0:45:47 | 0:45:50 | |
That's what people aspire to and he's done it so successfully. | 0:45:50 | 0:45:53 | |
It's very calm, it's very considered. It is. | 0:45:53 | 0:45:56 | |
It's a really competent scheme. | 0:45:56 | 0:45:57 | |
Nicholas has added symmetry to the room | 0:45:57 | 0:46:00 | |
and practicality by putting this TV housing here. | 0:46:00 | 0:46:03 | |
I think that the dog is the luckiest dog in the world. | 0:46:03 | 0:46:07 | |
I love this dog bed. I think it's fab. | 0:46:07 | 0:46:09 | |
But that rather lets the whole room down, doesn't it? Yeah. | 0:46:09 | 0:46:12 | |
A coffee table should be the big centrepiece in the heart of the room | 0:46:12 | 0:46:15 | |
and it's not doing it for us. | 0:46:15 | 0:46:18 | |
I think what we're all saying is overall it's a really good scheme, | 0:46:18 | 0:46:21 | |
he did finish it on time, it's on budget, | 0:46:21 | 0:46:24 | |
but is the scheme good enough to go through to the next round? | 0:46:24 | 0:46:28 | |
Nicholas has a lot riding on homeowners | 0:46:31 | 0:46:33 | |
Karen and Mark's reaction to the lounge. | 0:46:33 | 0:46:36 | |
Wow. This is better! | 0:46:38 | 0:46:41 | |
I like this room. OK. This looks fantastic. | 0:46:44 | 0:46:46 | |
I feel a lot better about this room! Because obviously the last room... | 0:46:46 | 0:46:50 | |
You had mixed opinions about. Yes, I did. | 0:46:50 | 0:46:52 | |
I know you liked it... Yeah. I did. This is lovely. | 0:46:52 | 0:46:55 | |
Oh, it is, yeah. And I can't see the TV! | 0:46:55 | 0:46:58 | |
He's made all this. Oh, I love it. | 0:46:58 | 0:47:00 | |
I love it. I honestly do love it. | 0:47:00 | 0:47:02 | |
I can't lie, because it's beautiful. | 0:47:02 | 0:47:04 | |
Oh, this is very classy. I do like this. | 0:47:04 | 0:47:07 | |
Very simple. This is me. | 0:47:07 | 0:47:09 | |
You may have the other room, I'll have this room. | 0:47:09 | 0:47:12 | |
Well, there you go, you can sit in there. Yeah! | 0:47:12 | 0:47:14 | |
You can sit in here. Do you like it? It is brilliant, yeah. | 0:47:14 | 0:47:17 | |
Absolutely. Love it. | 0:47:17 | 0:47:19 | |
Spot-on. Anything not right? | 0:47:19 | 0:47:21 | |
Anything not quite hitting the spot? | 0:47:21 | 0:47:23 | |
The only thing that differs is the coffee table's different | 0:47:23 | 0:47:25 | |
to the mood board presentation of a glass top, | 0:47:25 | 0:47:28 | |
which you had concerns about anyway. I'm happy that it doesn't have it. | 0:47:28 | 0:47:32 | |
Yeah? Yeah, yeah. He's managed to get the new enclosure, | 0:47:32 | 0:47:35 | |
the fireplace and that all looking like they belong together. | 0:47:35 | 0:47:39 | |
Brilliant. Ten out of ten for this one. | 0:47:39 | 0:47:41 | |
I'm really happy with this one. Good. | 0:47:41 | 0:47:44 | |
Meanwhile, with Oliver's 48 hours running out, | 0:47:48 | 0:47:52 | |
he's hanging the curtains and blinds higher up the wall to create | 0:47:52 | 0:47:55 | |
the illusion of a bigger window. | 0:47:55 | 0:47:57 | |
With the bespoke ottoman upholstered, | 0:48:00 | 0:48:02 | |
Oliver just has to place a few finishing touches. | 0:48:02 | 0:48:05 | |
All-righty and then we're done! That's it. That's it. | 0:48:08 | 0:48:11 | |
I've done it! It's done. I can do no more. | 0:48:14 | 0:48:17 | |
Oliver's homeowners requested an English country cottage sitting room | 0:48:19 | 0:48:22 | |
that was cosy and homely. | 0:48:22 | 0:48:25 | |
48 hours ago, it was a symphony of beige | 0:48:25 | 0:48:27 | |
that lacked character and composition. | 0:48:27 | 0:48:30 | |
Now, it's a sophisticated space that oozes warmth... | 0:48:31 | 0:48:34 | |
..with beaded panelling adding grandeur to the room. | 0:48:36 | 0:48:39 | |
The raised curtain and blinds allow additional light | 0:48:40 | 0:48:43 | |
to flood into the room, while the mix of plaids and tweeds | 0:48:43 | 0:48:46 | |
create a sense of finesse and refinement. | 0:48:46 | 0:48:49 | |
Wow, what a difference. | 0:48:54 | 0:48:56 | |
Absolutely loving all the different textures on the cushions. | 0:48:56 | 0:49:00 | |
Absolutely, I really love it too. | 0:49:00 | 0:49:02 | |
I remember seeing all the different fabric swatches | 0:49:02 | 0:49:04 | |
on the mood board and thinking, | 0:49:04 | 0:49:05 | |
"I'm not sure if that's going to work." Yeah. | 0:49:05 | 0:49:07 | |
He's pulled it off. | 0:49:07 | 0:49:09 | |
I mean, he's taken a bit of a risk here, | 0:49:09 | 0:49:11 | |
because the brief was, "No dark colours." | 0:49:11 | 0:49:13 | |
It's sort of just dark enough. | 0:49:13 | 0:49:16 | |
If he'd gone any darker then it might have ruined it as a look. | 0:49:16 | 0:49:19 | |
But it sort of shows his authority as a designer, you know, | 0:49:19 | 0:49:22 | |
to make them step out of their comfort zone just a bit. | 0:49:22 | 0:49:25 | |
You know what I really love though is the moulding. | 0:49:25 | 0:49:28 | |
It feels like it was always here. Yeah. | 0:49:28 | 0:49:30 | |
And the way he's used it to frame the pictures, frame the mirror. | 0:49:30 | 0:49:33 | |
Yeah. I think that's a real touch of magic. | 0:49:33 | 0:49:36 | |
The ottoman's classic, isn't it, these days. | 0:49:36 | 0:49:37 | |
In a country living you've got to have one of these things, | 0:49:37 | 0:49:40 | |
because you can use them both as a seat | 0:49:40 | 0:49:42 | |
and also as a place to put things. | 0:49:42 | 0:49:44 | |
My God, here's the creative challenge. | 0:49:44 | 0:49:46 | |
How clever is that?! | 0:49:46 | 0:49:48 | |
I would've rather liked if he'd done something just a little bit naughty | 0:49:48 | 0:49:51 | |
somewhere that broke the taste. | 0:49:51 | 0:49:52 | |
Don't you think that would've just turned it into being quirky | 0:49:52 | 0:49:55 | |
for the sake of it though? | 0:49:55 | 0:49:56 | |
Well, quintessential English is a bit quirky as well. | 0:49:56 | 0:49:59 | |
I think he's done it with the fabrics. | 0:49:59 | 0:50:01 | |
The fabrics here are different to the fabrics there. Yeah. | 0:50:01 | 0:50:04 | |
That's eccentric enough to me. | 0:50:04 | 0:50:06 | |
You've got the blowsy blooms, you've got tartans, you've got stripes, | 0:50:06 | 0:50:09 | |
you've got the sort of devore. | 0:50:09 | 0:50:11 | |
There's a lot going on in here. | 0:50:11 | 0:50:13 | |
But Kelly's not impressed with the three blinds that have been put up | 0:50:13 | 0:50:16 | |
rather than just one. | 0:50:16 | 0:50:18 | |
I honestly think this is a fantastic room, | 0:50:18 | 0:50:21 | |
but I'm not sure I can forgive him for the blinds. | 0:50:21 | 0:50:27 | |
That, for me, is a mess. | 0:50:27 | 0:50:28 | |
But the homeowners' reaction will play a vital part | 0:50:30 | 0:50:33 | |
in the judges' final decision. | 0:50:33 | 0:50:35 | |
Wow. Oh, my gosh. Different room completely. | 0:50:41 | 0:50:44 | |
That's just lovely. Look at the curtains. | 0:50:44 | 0:50:48 | |
And the sofas, look. They look more stylish now. | 0:50:48 | 0:50:51 | |
That window looks huge now, doesn't it? | 0:50:51 | 0:50:54 | |
The light fitting. Oh, look, look! The mirror... | 0:50:54 | 0:50:57 | |
how it's hung. Brilliant. | 0:50:57 | 0:50:59 | |
Yeah, look, it's hanging off chains. I know, they're so simple. | 0:50:59 | 0:51:03 | |
And this. I know. We've always wanted one of those, haven't we? | 0:51:03 | 0:51:06 | |
Now you've got one. A posh footstool. | 0:51:06 | 0:51:08 | |
A posh footstool! The only thing is I think one of the dogs is going | 0:51:08 | 0:51:11 | |
to think it's a dog bed, but that's not a criticism. | 0:51:11 | 0:51:13 | |
That's all right, that's fine. It's multifunctional. | 0:51:13 | 0:51:15 | |
Oh, it's lovely! It's funny, the colour... | 0:51:15 | 0:51:18 | |
Although it's darker than it was before, | 0:51:18 | 0:51:20 | |
the room looks bigger. I think it's a very calming colour as well. | 0:51:20 | 0:51:23 | |
You wanted comfort and sophistication. Yes. | 0:51:23 | 0:51:25 | |
And have you got it? BOTH: Yeah. | 0:51:25 | 0:51:27 | |
Love it. Love it. | 0:51:27 | 0:51:28 | |
If Oliver was here, I'd kiss him. | 0:51:28 | 0:51:31 | |
The designers can do no more. | 0:51:37 | 0:51:39 | |
It's now a waiting game until the judges decide | 0:51:39 | 0:51:42 | |
who has secured a place in the final. | 0:51:42 | 0:51:45 | |
So, Michelle, as a guest judge how have you coped with it? | 0:51:45 | 0:51:48 | |
You know, from seeing one room to another, two very different people, | 0:51:48 | 0:51:51 | |
two very different designs. | 0:51:51 | 0:51:53 | |
It's always a huge leap, isn't it, to go from someone's flat vision | 0:51:53 | 0:51:56 | |
of what they are presenting to then actually walking into the room | 0:51:56 | 0:51:59 | |
and going, "Oh, is this what I expected? | 0:51:59 | 0:52:02 | |
"Is it more than what I expected?" | 0:52:02 | 0:52:03 | |
And, in some ways, | 0:52:03 | 0:52:05 | |
they gave me that spark of genius that I wanted to look for. | 0:52:05 | 0:52:07 | |
In other ways, it was exactly what was on the board. | 0:52:07 | 0:52:10 | |
So I think there were positives and negatives for both rooms. | 0:52:10 | 0:52:13 | |
Both, in each of their own way, delivered | 0:52:13 | 0:52:15 | |
really quite radical dining rooms | 0:52:15 | 0:52:17 | |
and then pulled it all in and gave us | 0:52:17 | 0:52:19 | |
quite sensible living rooms. | 0:52:19 | 0:52:21 | |
So, judges... Hello! How's it going? Good. | 0:52:21 | 0:52:24 | |
Have you decided, have you decided? No! We're debating. | 0:52:24 | 0:52:26 | |
Debating, and it's not easy because they're both such good designers. | 0:52:26 | 0:52:29 | |
But what did they say? Ahh. We want to know. OK. | 0:52:29 | 0:52:33 | |
Well, shall we start with Nicholas? Yes. | 0:52:33 | 0:52:35 | |
The dining room - very mixed reaction. | 0:52:35 | 0:52:38 | |
He loved it, she was very equivocal about it. | 0:52:38 | 0:52:41 | |
What didn't she like? Blue, very blue. | 0:52:41 | 0:52:44 | |
Blue, blue, blue, blue. I mean, she mentioned blue. | 0:52:44 | 0:52:46 | |
She asked for blue. It was in the fireplace. | 0:52:46 | 0:52:48 | |
But all the same kind of blue everywhere. | 0:52:48 | 0:52:51 | |
She came around to the wallpaper... | 0:52:51 | 0:52:54 | |
Good. But the living room was almost yin to its yang. | 0:52:54 | 0:52:57 | |
She adored it. ALL: Yeah. Both of them adored it because | 0:52:57 | 0:52:59 | |
it had everything the other room lacked. | 0:52:59 | 0:53:01 | |
It had warmth, it had texture, it had lightness, brightness. | 0:53:01 | 0:53:06 | |
You could not have had two more opposite rooms in the same building | 0:53:06 | 0:53:12 | |
as those two rooms. | 0:53:12 | 0:53:13 | |
I think because of the extremes of those two designs, | 0:53:13 | 0:53:16 | |
it shows Nicholas has got quite a wide repertoire, because I think for | 0:53:16 | 0:53:20 | |
a lot of people, they'd love that dining room. | 0:53:20 | 0:53:22 | |
And the homeowner, she asked for a boutique hotel feel | 0:53:22 | 0:53:24 | |
in the dining room and she asked for cosy cosmopolitan in the lounge | 0:53:24 | 0:53:28 | |
and that's what she got. | 0:53:28 | 0:53:29 | |
I thought his sitting room was a little bit country-casual, | 0:53:29 | 0:53:32 | |
but there was no edge to it. | 0:53:32 | 0:53:34 | |
He had a lot of pine to contend with there, though, didn't he...? | 0:53:34 | 0:53:37 | |
Yes, he did. ..that she did not what him to paint over. | 0:53:37 | 0:53:40 | |
Now, Oliver's homeowners... | 0:53:40 | 0:53:42 | |
loved it all. Both rooms. | 0:53:42 | 0:53:45 | |
They were falling over themselves. | 0:53:45 | 0:53:47 | |
I struggled with the dining room. | 0:53:47 | 0:53:49 | |
For me, there was just way too much pattern. | 0:53:49 | 0:53:51 | |
I loved the mix of the modern fabric | 0:53:51 | 0:53:52 | |
with that sort of very traditional wallpaper, | 0:53:52 | 0:53:54 | |
but it was just... It was too much. | 0:53:54 | 0:53:56 | |
What did they say about the living room? | 0:53:56 | 0:53:58 | |
They adored it! | 0:53:58 | 0:53:59 | |
They loved the colour, they loved the curtains. | 0:53:59 | 0:54:02 | |
They adored the curtains. | 0:54:02 | 0:54:03 | |
So, come on, let's go through them, positives and negatives. | 0:54:03 | 0:54:06 | |
I think Oliver has a very simply eclectic way | 0:54:06 | 0:54:11 | |
of design where he creates something that is effortless. | 0:54:11 | 0:54:14 | |
He sometimes over-designs an area. | 0:54:14 | 0:54:18 | |
I think Oliver presents really coherent visions, | 0:54:18 | 0:54:21 | |
so I think I know what I'm going to get. | 0:54:21 | 0:54:24 | |
My concern would be maybe some of the magic gets lost | 0:54:24 | 0:54:27 | |
because he's perhaps fixed on that vision. | 0:54:27 | 0:54:29 | |
In contrast, Nicholas presented a very muddled vision. | 0:54:29 | 0:54:32 | |
I had no idea what I was going to see when I walked into the room | 0:54:32 | 0:54:35 | |
but when I did, I thought he'd really pulled it off. | 0:54:35 | 0:54:38 | |
I'm always entertained with what Nicholas does because he experiments, | 0:54:38 | 0:54:42 | |
he offers us something radical and he offers us solutions to problems | 0:54:42 | 0:54:45 | |
and does that really well. | 0:54:45 | 0:54:47 | |
So we're looking for a finalist. Have you made a decision? | 0:54:47 | 0:54:50 | |
Luckily enough we've got you to help us | 0:54:50 | 0:54:52 | |
because I think we're still at a level of indecision. | 0:54:52 | 0:54:54 | |
Now, the architect of these fabulous cottages, Edwin Lutyens, | 0:55:08 | 0:55:11 | |
was an absolute master of taking tradition | 0:55:11 | 0:55:14 | |
and creating something striking and original with it. | 0:55:14 | 0:55:17 | |
A sensibility which I think you two were absorbing | 0:55:17 | 0:55:20 | |
in your four amazing rooms. | 0:55:20 | 0:55:21 | |
It's been a real honour for me and I can really see that you guys | 0:55:21 | 0:55:25 | |
have worked so hard and there's a lot of time, effort, | 0:55:25 | 0:55:28 | |
dedication and passion gone into these projects. | 0:55:28 | 0:55:30 | |
Well done. | 0:55:30 | 0:55:31 | |
Nicholas, firstly, you answered the brief. | 0:55:31 | 0:55:34 | |
That dining room wanted atmosphere, | 0:55:34 | 0:55:36 | |
you gave it and you gave it in spades | 0:55:36 | 0:55:38 | |
and then use solved the issue of all that pine in the living room | 0:55:38 | 0:55:42 | |
and gave them a very calm and elegant space. | 0:55:42 | 0:55:45 | |
Loved it. Moving on, sometimes hold back. | 0:55:45 | 0:55:49 | |
Those blue lights in the window, maybe didn't need those. | 0:55:49 | 0:55:52 | |
Oliver, your presentation was so fantastic because what you put on | 0:55:53 | 0:55:58 | |
the presentation, you actually delivered. | 0:55:58 | 0:56:01 | |
But going forward, sometimes you just need to stand back | 0:56:01 | 0:56:05 | |
and check what you've done. | 0:56:05 | 0:56:07 | |
I wish there was space in the final for both of you lovely, | 0:56:07 | 0:56:10 | |
talented fellows, but there's only room for one. | 0:56:10 | 0:56:13 | |
So the designer going through to the final is... | 0:56:13 | 0:56:19 | |
..Oliver. | 0:56:23 | 0:56:25 | |
I feel tearful. | 0:56:34 | 0:56:36 | |
I can't believe it! | 0:56:36 | 0:56:38 | |
I am absolutely gobsmacked and that is the absolute truth. | 0:56:38 | 0:56:44 | |
'I've done it. I can't believe it.' | 0:56:44 | 0:56:45 | |
I'm in the final! | 0:56:45 | 0:56:47 | |
You've done a phenomenal job, Nicholas. Phenomenal. | 0:56:49 | 0:56:52 | |
I've got this far and I think I will use this | 0:56:52 | 0:56:56 | |
as a stepping stone. | 0:56:56 | 0:56:58 | |
It's just been a fabulous time and I'll miss that. | 0:56:58 | 0:57:02 | |
Hello there. I didn't get through this round. | 0:57:03 | 0:57:07 | |
Nicholas is brilliant at creating theatre, | 0:57:07 | 0:57:09 | |
no-one better than him, | 0:57:09 | 0:57:12 | |
'but design and designing for the home | 0:57:12 | 0:57:14 | |
'isn't always theatre, sometimes it's just home.' | 0:57:14 | 0:57:18 | |
Do you want some good news?! | 0:57:18 | 0:57:20 | |
Brilliant! | 0:57:20 | 0:57:22 | |
Oliver's got a place in the final because he's a really good designer. | 0:57:25 | 0:57:29 | |
There's a little edge to him where he just creates effortless design. | 0:57:29 | 0:57:34 | |
I felt it was so refreshing to see a classical designer for a change | 0:57:34 | 0:57:38 | |
and he tailored his schemes around the homeowners beautifully. | 0:57:38 | 0:57:42 | |
We want you to go on now and win it. | 0:57:42 | 0:57:44 | |
Oh, he will. I'm sure you will. I'll try my best. I know you will. | 0:57:44 | 0:57:46 | |
I'll do my best, my absolute best. | 0:57:46 | 0:57:49 | |
Thatched cottages like these are the epitome | 0:57:52 | 0:57:54 | |
of olde worlde chocolate box charm. | 0:57:54 | 0:57:56 | |
The kind of place where millions of us dream about living in. | 0:57:56 | 0:57:59 | |
They might be cute, but that doesn't mean they're stuck in the past | 0:57:59 | 0:58:02 | |
as our two designers have proved here | 0:58:02 | 0:58:04 | |
at the heart of the English countryside. | 0:58:04 | 0:58:06 | |
Next time in the grand final... | 0:58:11 | 0:58:14 | |
It's a castle! Oh, my God! | 0:58:14 | 0:58:16 | |
What a transformation. | 0:58:16 | 0:58:18 | |
Yes! | 0:58:18 | 0:58:19 | |
..Daniella and Oliver go head-to-head... | 0:58:19 | 0:58:21 | |
No, no...! | 0:58:21 | 0:58:22 | |
..in the ultimate battle to win. | 0:58:22 | 0:58:24 | |
Oh, wow! It's everything I thought it was going to be. | 0:58:24 | 0:58:26 | |
And the winner is... | 0:58:26 | 0:58:29 |