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'Last year, Piers Taylor and me, Kieran Long, followed | 0:00:02 | 0:00:06 | |
'self builders as they took on the biggest gamble of their lives... | 0:00:06 | 0:00:09 | |
'..trying to build a home from scratch for less than £100,000.' | 0:00:10 | 0:00:14 | |
Come on, baby! | 0:00:14 | 0:00:16 | |
How much money have you got left? | 0:00:17 | 0:00:19 | |
Let me see... | 0:00:19 | 0:00:21 | |
'We helped them create the dream homes | 0:00:21 | 0:00:23 | |
'they longed for by being clever with their cash | 0:00:23 | 0:00:26 | |
'and creative with design.' | 0:00:26 | 0:00:28 | |
-What a fantastic space this has turned into! -Thank you. | 0:00:28 | 0:00:31 | |
'This year, we're following desperate home owners...' | 0:00:31 | 0:00:34 | |
It's dilapidated, it's a dump. | 0:00:34 | 0:00:38 | |
'..trying to create extraordinary homes | 0:00:39 | 0:00:41 | |
'out of the ones they already have.' | 0:00:41 | 0:00:44 | |
Oof! | 0:00:44 | 0:00:45 | |
'They, too, are on the tightest of budgets.' | 0:00:46 | 0:00:49 | |
We've got £540 left. | 0:00:49 | 0:00:52 | |
'We'll come up with ingenious solutions...' | 0:00:52 | 0:00:54 | |
I'm going to propose something quite radical to you, | 0:00:54 | 0:00:56 | |
-and then you don't do the extension. -Right. | 0:00:56 | 0:00:58 | |
'..inspire them with big ideas...' | 0:00:58 | 0:01:00 | |
What you want, really, is exactly what this place provides. | 0:01:01 | 0:01:04 | |
'..and challenge them to be more ambitious...' | 0:01:04 | 0:01:08 | |
He's come in and torn up the rule book, really. | 0:01:08 | 0:01:11 | |
'..to turn their tired houses into exceptional homes.' | 0:01:11 | 0:01:14 | |
Brute force and ignorance, I think, will sort this out now. | 0:01:14 | 0:01:17 | |
'But with design dilemmas at every turn...' | 0:01:17 | 0:01:19 | |
I don't know. | 0:01:19 | 0:01:21 | |
'..and their life savings at risk...' | 0:01:21 | 0:01:24 | |
The hiccups are coming now. | 0:01:24 | 0:01:25 | |
If the money runs out, I'm left with half a house. | 0:01:25 | 0:01:28 | |
'..will the homeowners create the house they've always wanted | 0:01:28 | 0:01:31 | |
'but believed they could never have?' | 0:01:31 | 0:01:33 | |
-This better fit. -If the rest of the house is like this, | 0:01:35 | 0:01:38 | |
we've got some serious problems. | 0:01:38 | 0:01:40 | |
'This week, Dale battles to put right a bodged home extension...' | 0:01:47 | 0:01:52 | |
It's in my face every day and I feel sick every time I look at it. | 0:01:52 | 0:01:55 | |
'..to make the house fit for wife, | 0:01:55 | 0:01:57 | |
'Angela, who has suffered from ill health.' | 0:01:57 | 0:02:00 | |
Physically Angela cannot use that space, it's not safe for her. | 0:02:00 | 0:02:03 | |
'But, first, Dawn is trapped in a tiny country cottage.' | 0:02:03 | 0:02:07 | |
I'm embarrassed to have people round, | 0:02:07 | 0:02:09 | |
I haven't even invited my family. | 0:02:09 | 0:02:11 | |
'Will her ambitious building plans come crashing down?' | 0:02:11 | 0:02:15 | |
It's worrying how people have built this. | 0:02:15 | 0:02:17 | |
I'm on my way to meet Dawn. She's a lady in her 70s | 0:02:23 | 0:02:26 | |
who is facing a pretty common problem - | 0:02:26 | 0:02:29 | |
how to transform a 150-year-old building | 0:02:29 | 0:02:31 | |
into a modern home for her retirement? | 0:02:31 | 0:02:34 | |
'Originally from Sri Lanka, Dawn came to Britain in 1959 | 0:02:36 | 0:02:40 | |
'with her heart set on becoming a nurse.' | 0:02:40 | 0:02:42 | |
The plan was to come here and train, and go back home. | 0:02:44 | 0:02:47 | |
But I got the bug for my job. It was in my soul, I think. | 0:02:47 | 0:02:52 | |
Then, of course, I met someone, got married. But it didn't last long. | 0:02:52 | 0:02:56 | |
And I had two children, two daughters. | 0:02:56 | 0:02:59 | |
I brought my daughters up on my own. | 0:02:59 | 0:03:01 | |
'After 49 years caring for others, Dawn retired, | 0:03:02 | 0:03:06 | |
'ready to realise her other childhood dream.' | 0:03:06 | 0:03:09 | |
As a kid I remember seeing a biscuit tin | 0:03:11 | 0:03:15 | |
with a picture of an old cottage, | 0:03:15 | 0:03:18 | |
and I think it stuck in my mind. | 0:03:18 | 0:03:20 | |
And this house was similar to that. | 0:03:20 | 0:03:23 | |
And then I walked in through the door, and...here I am. | 0:03:23 | 0:03:27 | |
'Seduced by its charms, Dawn sold her three-bedroom house | 0:03:28 | 0:03:33 | |
'and, after paying £178,000, moved into the much smaller | 0:03:33 | 0:03:37 | |
'two up, two down cottage nearly a year ago.' | 0:03:37 | 0:03:40 | |
I didn't think beyond the four walls I was looking at, | 0:03:41 | 0:03:44 | |
that it was so small. | 0:03:44 | 0:03:46 | |
I was just excited. | 0:03:46 | 0:03:48 | |
'But Dawn didn't realise that the cottage was | 0:03:48 | 0:03:50 | |
'unsuitable for a retirement surrounded by loved ones.' | 0:03:50 | 0:03:53 | |
I'm embarrassed to have people around. | 0:03:53 | 0:03:55 | |
I haven't even invited my family. | 0:03:55 | 0:03:57 | |
There's no way you can entertain people here. | 0:03:59 | 0:04:01 | |
When you get three people in that kitchen now, | 0:04:01 | 0:04:03 | |
and you just haven't got space to move. | 0:04:03 | 0:04:06 | |
You certainly wouldn't put a dining table in there cos there's no room. | 0:04:06 | 0:04:09 | |
'Isolated and alone, | 0:04:09 | 0:04:11 | |
'Dawn is totally surrounded by her lifetime's worth of possessions.' | 0:04:11 | 0:04:15 | |
At the moment, it's difficult because when you want something, | 0:04:18 | 0:04:21 | |
you can't find it. | 0:04:21 | 0:04:23 | |
And if it's in a box, you don't know where the box is. | 0:04:23 | 0:04:25 | |
It could be here, it could be parked somewhere else. It's depressing. | 0:04:25 | 0:04:29 | |
'Desperate to change her home and her lifestyle, | 0:04:32 | 0:04:35 | |
'Dawn's already had an architect draw up plans for a rear extension. | 0:04:35 | 0:04:39 | |
'And planning permission has been granted.' | 0:04:39 | 0:04:42 | |
I go to bed and I dream about this extension. | 0:04:43 | 0:04:46 | |
And what it's going to look like because it's no good having | 0:04:46 | 0:04:49 | |
a nice little cottage that you like and being unhappy in it. | 0:04:49 | 0:04:52 | |
'But Dawn's plans aren't limited to the extension. | 0:04:54 | 0:04:57 | |
'She's also going to move the downstairs bathroom upstairs.' | 0:04:57 | 0:05:00 | |
It's really not practical. And if you're half asleep, | 0:05:01 | 0:05:04 | |
it's always a case of you having a stumble on the stairs. | 0:05:04 | 0:05:08 | |
It might have coped with that in years gone by, but not for me. | 0:05:08 | 0:05:12 | |
'Having stretched her finances to buy the cottage, | 0:05:13 | 0:05:16 | |
'she now has the last £20,000 of her life savings | 0:05:16 | 0:05:19 | |
'to make these ambitious changes.' | 0:05:19 | 0:05:21 | |
I just love this place. | 0:05:23 | 0:05:26 | |
And I intend to do what I want with it | 0:05:26 | 0:05:29 | |
without losing the character of the house. | 0:05:29 | 0:05:32 | |
'Historic homes are dotted across the rural county of Bedfordshire. | 0:05:35 | 0:05:40 | |
'While they may look idyllic, | 0:05:40 | 0:05:42 | |
'remodelling a period home can be a risky option. | 0:05:42 | 0:05:45 | |
'Problems can often lie hidden within the building's fabric. | 0:05:45 | 0:05:49 | |
'Dawn has ambitious plans but no contingency fund.' | 0:05:49 | 0:05:53 | |
-Hello. -Hi, Kieran. Come on in. -Nice to see you. -Nice to meet you. | 0:05:56 | 0:06:00 | |
-It's certainly cosy, isn't it? -Very cosy. | 0:06:00 | 0:06:03 | |
You are nearly touching the ceiling. | 0:06:03 | 0:06:05 | |
How important is the age of the building | 0:06:05 | 0:06:07 | |
and the past lives it's had? | 0:06:07 | 0:06:08 | |
It is very important. Absolutely very important. | 0:06:08 | 0:06:12 | |
-This is your house. -This is the very cottage. | 0:06:12 | 0:06:15 | |
-And this was the lady who used to live here. -Wow. | 0:06:15 | 0:06:17 | |
-Isn't that amazing? -Yes. | 0:06:17 | 0:06:19 | |
She does look rather formidable. | 0:06:19 | 0:06:21 | |
She looks kind of an independent person, too. | 0:06:21 | 0:06:23 | |
-Do you share any of that? -I think so, yes. | 0:06:23 | 0:06:26 | |
I'm sure that is what it is that's drawn me to this house. | 0:06:26 | 0:06:29 | |
'A century ago, farm labourers and their large families | 0:06:31 | 0:06:34 | |
'would have crammed into houses like Dawn's. | 0:06:34 | 0:06:37 | |
'On low incomes, they would have had few belongings, | 0:06:38 | 0:06:41 | |
'but with all the trappings of modern life, Dawn is struggling.' | 0:06:41 | 0:06:44 | |
I feel as if I'm camping out. It's tough. | 0:06:45 | 0:06:49 | |
If you go camping for two weeks | 0:06:49 | 0:06:51 | |
and you have to stay for three months, | 0:06:51 | 0:06:53 | |
you can imagine what it's like. And it's exactly like that. | 0:06:53 | 0:06:55 | |
-That would not be my idea of fun, either. -It is not. | 0:06:55 | 0:06:58 | |
'When it was built, this house didn't have a dedicated kitchen. | 0:07:00 | 0:07:03 | |
'Life would have been centred round an iron range on the ground floor, | 0:07:03 | 0:07:07 | |
'used for both cooking and heating. | 0:07:07 | 0:07:09 | |
'Windows were kept to a minimum as glass was an expensive commodity. | 0:07:10 | 0:07:14 | |
'The indoor bathroom is a 20th century addition, | 0:07:16 | 0:07:19 | |
'which has brought its own set of problems.' | 0:07:19 | 0:07:21 | |
As you can see, it's very small and quite compact. | 0:07:23 | 0:07:27 | |
Cos this is a tiny room but it's also making everything else tiny. | 0:07:27 | 0:07:30 | |
Yeah, it's making the corridor very small | 0:07:30 | 0:07:33 | |
so the gap between the sitting room and the dining area. | 0:07:33 | 0:07:36 | |
Really building this place for your needs, | 0:07:36 | 0:07:39 | |
-it's a very personal project, isn't it, in a way? -It is. It is my home. | 0:07:39 | 0:07:43 | |
It's going to be my home. And I can't see me moving from here. | 0:07:43 | 0:07:46 | |
I'm not young any more, and I've got to think, as I get older, | 0:07:46 | 0:07:49 | |
my needs are going to be such. | 0:07:49 | 0:07:51 | |
'The two rooms upstairs were bedrooms | 0:07:51 | 0:07:54 | |
'and, with no heat source, were kept deliberately small.' | 0:07:54 | 0:07:57 | |
-Wow. -This is where the bathroom is going. | 0:07:58 | 0:08:01 | |
-I moved my stuff out. -Wow. So you really have a desperate need for storage, then. -Yeah. | 0:08:01 | 0:08:08 | |
'With so much to tackle, and only £20,000 in the kitty, | 0:08:10 | 0:08:14 | |
'Dawn's in need of an ingenious solution to make every penny count. | 0:08:14 | 0:08:19 | |
'The current cottage already has a small extension | 0:08:21 | 0:08:25 | |
'built in the 1960s, but the kitchen to the rear is still very small. | 0:08:25 | 0:08:29 | |
'The bathroom added in the centre of the house has created a dark | 0:08:31 | 0:08:35 | |
'and awkward corridor between the front and back. | 0:08:35 | 0:08:38 | |
'Dawn's current plans involve moving the bathroom to the first floor, | 0:08:39 | 0:08:43 | |
'then reconfiguring the ground floor to include a downstairs loo and study, | 0:08:43 | 0:08:48 | |
'leaving the front room as a small lounge. | 0:08:48 | 0:08:50 | |
'But it's the addition of a larger rear extension to house a new kitchen | 0:08:53 | 0:08:56 | |
'that is most ambitious of all. | 0:08:56 | 0:08:58 | |
'Dawn's hoping her £20,000 budget will cover all of this. | 0:09:01 | 0:09:04 | |
'Today she's getting back the first quotes for the cost of the work, | 0:09:06 | 0:09:10 | |
'excluding the extension.' | 0:09:10 | 0:09:11 | |
So this is the moment of truth for you. | 0:09:13 | 0:09:15 | |
So... | 0:09:15 | 0:09:16 | |
"All materials in this quote, £14,030." That doesn't include the extension. | 0:09:19 | 0:09:26 | |
Is that more than you... | 0:09:26 | 0:09:28 | |
It is more than I expected. | 0:09:28 | 0:09:31 | |
'Dawn's remaining six grand just won't be | 0:09:33 | 0:09:35 | |
'enough for the extension she dreams of.' | 0:09:35 | 0:09:38 | |
Well, that was just really devastating for Dawn. | 0:09:40 | 0:09:43 | |
That was an awful moment, seeing her see that figure and knowing that it | 0:09:43 | 0:09:47 | |
doesn't include most of the work that she values most about this job. I mean, | 0:09:47 | 0:09:51 | |
she just simply doesn't haven't the money to do wants to do. | 0:09:51 | 0:09:54 | |
'I need to meet with Piers to try and find another way to give Dawn | 0:09:57 | 0:10:01 | |
'what she needs on her limited funds.' | 0:10:01 | 0:10:04 | |
At the moment there's a bathroom on the ground floor and it's | 0:10:04 | 0:10:07 | |
sensible to move it upstairs, | 0:10:07 | 0:10:08 | |
but the problem is she's not really solving her space problems. | 0:10:08 | 0:10:12 | |
She's leaving the problems inherent in this by putting a study | 0:10:12 | 0:10:15 | |
and a loo back in there. | 0:10:15 | 0:10:17 | |
So, for you, the extension is not going to solve the problems, whether she can afford it or not? | 0:10:17 | 0:10:21 | |
Not at all. This is a really small building and I don't think making it slightly | 0:10:21 | 0:10:25 | |
bigger is going to sort this building out. | 0:10:25 | 0:10:27 | |
She's focused on quantity of space not quality of space, | 0:10:27 | 0:10:30 | |
and I think that doing this extension may not be the answer. | 0:10:30 | 0:10:33 | |
One of the most important things to Dawn is entertaining, cooking, | 0:10:33 | 0:10:36 | |
she wants this to be a place full of life, full of friends and family and so on. | 0:10:36 | 0:10:41 | |
Where is that space going to be on this tiny plan? | 0:10:41 | 0:10:44 | |
At the moment it's not really anywhere, | 0:10:44 | 0:10:46 | |
because this dining space has no light. | 0:10:46 | 0:10:48 | |
No natural light coming in, it's separated from the garden. | 0:10:48 | 0:10:51 | |
And I think the key thing here is to get a really good | 0:10:51 | 0:10:53 | |
space at the back of the house that addresses the garden. | 0:10:53 | 0:10:56 | |
I think the risk here is really that Dawn spends what is | 0:10:56 | 0:10:59 | |
effectively her live savings on something that is not going | 0:10:59 | 0:11:01 | |
to solve the fundamental problem. | 0:11:01 | 0:11:03 | |
She still might have a pokey, | 0:11:03 | 0:11:05 | |
small house that is not as sociable as she would like. | 0:11:05 | 0:11:08 | |
And I think that's a really critical thing that we have to solve. | 0:11:08 | 0:11:10 | |
How do we persuade her that all of the work that has been put into this and the thought that she's put in, | 0:11:10 | 0:11:15 | |
in fact, is the wrong answer? Do you think she's going to be able to accept it? | 0:11:15 | 0:11:18 | |
I suspect that Dawn is very attached to this extension, | 0:11:18 | 0:11:20 | |
she has gone through the process of getting her consent and paying for this. | 0:11:20 | 0:11:24 | |
And letting go of that may be problematic, but I think she's got to before she can move on. | 0:11:24 | 0:11:28 | |
OK, so, who's going to tell her? You or I? | 0:11:28 | 0:11:30 | |
-I think it's going to have to be me. -Good luck with that. | 0:11:30 | 0:11:33 | |
'Dawn is not alone in thinking that an extension will solve all | 0:11:38 | 0:11:41 | |
'her problems. They give instant additional space | 0:11:41 | 0:11:44 | |
'but often fail to address the underlying design issues.' | 0:11:44 | 0:11:48 | |
Originally we were quite happy with little space. | 0:11:49 | 0:11:52 | |
And now we want more and more space. | 0:11:52 | 0:11:54 | |
We can see, outside the back of Dawn's row of terraces, | 0:11:54 | 0:11:57 | |
how that's happened. | 0:11:57 | 0:11:58 | |
There's the original cottage | 0:11:58 | 0:12:00 | |
and then there's a flat roof back extension that was put on in the '60s. | 0:12:00 | 0:12:03 | |
But what worries me here is that these houses are already long | 0:12:03 | 0:12:06 | |
and thin, and I'm worried that if you add on another extension it will make the house seem like a tunnel. | 0:12:06 | 0:12:11 | |
Oh, hello, Piers. | 0:12:11 | 0:12:13 | |
'Piers' radical plan needs Dawn to give up on her dream extension. | 0:12:13 | 0:12:17 | |
'What she needs is better space, not just more of it.' | 0:12:17 | 0:12:21 | |
So it's great to see this, cos I've seen it on your plans | 0:12:21 | 0:12:26 | |
and initially I'm worried by the extension, | 0:12:26 | 0:12:29 | |
because the building is quite long and quite narrow. | 0:12:29 | 0:12:32 | |
You're going to end up with a funny tunnel-like building that has | 0:12:32 | 0:12:36 | |
no light coming in except for a dot at either end, really. | 0:12:36 | 0:12:39 | |
So what do you propose? | 0:12:39 | 0:12:42 | |
I'm going to propose something quite radical to you. | 0:12:42 | 0:12:44 | |
I think this is where your kitchen should go, | 0:12:44 | 0:12:46 | |
so, if you imagine this is taken away. Your bathroom goes upstairs. | 0:12:46 | 0:12:51 | |
Your kitchen effectively sits in the middle bit of your house | 0:12:51 | 0:12:54 | |
where you don't need to sit, so you're standing cooking | 0:12:54 | 0:12:56 | |
-and you're bridging both sides of the house. -Right. | 0:12:56 | 0:12:59 | |
This then becomes a fantastic dining space with big, full-length | 0:12:59 | 0:13:04 | |
sliding doors out on to the garden. And then you don't do the extension. | 0:13:04 | 0:13:08 | |
-Right, that's interesting. -Come down here. | 0:13:08 | 0:13:12 | |
So what you would have, I think, is that | 0:13:12 | 0:13:14 | |
if you open the front door, | 0:13:14 | 0:13:15 | |
eventually you would be able to look straight through to the | 0:13:15 | 0:13:19 | |
back of the building, all of this space would be open. | 0:13:19 | 0:13:22 | |
That would be an open plan? | 0:13:22 | 0:13:24 | |
I think this building does need to be an open-plan building | 0:13:24 | 0:13:26 | |
-on the ground floor to give you a sense of space. -Right. | 0:13:26 | 0:13:30 | |
'Piers is convinced Dawn can create the home transformation | 0:13:30 | 0:13:34 | |
'she craves, if she opts for savvy, cost effective solutions. | 0:13:34 | 0:13:38 | |
'Instead of building an extension, | 0:13:39 | 0:13:41 | |
'Piers' vision for Dawn's property is to spend her £20,000 opening up the space. | 0:13:41 | 0:13:47 | |
'The downstairs toilet gets positioned under the stairs. | 0:13:47 | 0:13:51 | |
'And a more generous kitchen-diner can then be created within | 0:13:51 | 0:13:54 | |
'the existing footprint. Piers' final suggestion is to invest in new | 0:13:54 | 0:13:59 | |
'bi-fold doors that lead out onto the garden.' | 0:13:59 | 0:14:02 | |
The other key thing to remember in small buildings | 0:14:04 | 0:14:07 | |
is that we need to find a sense of generosity. | 0:14:07 | 0:14:10 | |
And a big opening here will make it so generous, the space. | 0:14:10 | 0:14:14 | |
I want you to find big areas of wall | 0:14:14 | 0:14:17 | |
and that's why a big area of wall above the sitting area, a big area of wall | 0:14:17 | 0:14:21 | |
through there, which will make the building feel much bigger again. | 0:14:21 | 0:14:25 | |
Well, it all sounds... | 0:14:25 | 0:14:26 | |
..very modern for an old cottage, | 0:14:28 | 0:14:30 | |
and I was trying to retain the age of the building. | 0:14:30 | 0:14:34 | |
The sense of it being a cottage we're not trying to hide at all, we're not trying to make it something it isn't, | 0:14:34 | 0:14:38 | |
we're trying to make the most of what it is. | 0:14:38 | 0:14:40 | |
And, you know, we mustn't pickle buildings in aspic, they need to move | 0:14:40 | 0:14:44 | |
on, they need to change, they need to embrace the next cycle of living. | 0:14:44 | 0:14:48 | |
With Piers showing me what could be done, it has opened my eyes. | 0:14:49 | 0:14:55 | |
And if I can contain everything I want within this space, | 0:14:55 | 0:14:59 | |
so much the better. | 0:14:59 | 0:15:00 | |
Remember, the builder isn't a designer, | 0:15:00 | 0:15:03 | |
you're really the designer in this case. | 0:15:03 | 0:15:05 | |
'This project will be challenging for Dawn. | 0:15:06 | 0:15:09 | |
'She'll need to abandon plans that she has emotionally | 0:15:09 | 0:15:11 | |
'and financially invested in, but Piers and I think this is | 0:15:11 | 0:15:16 | |
'only way she can achieve her dream with the budget she has.' | 0:15:16 | 0:15:20 | |
Dawn's coming to terms with the task of carving a space | 0:15:22 | 0:15:25 | |
out of a small cottage for the things she loves to do. | 0:15:25 | 0:15:28 | |
But other houses have much more practical problems. | 0:15:28 | 0:15:31 | |
When design goes wrong it can sometimes leave you with | 0:15:31 | 0:15:34 | |
the spaces you can't even get into. | 0:15:34 | 0:15:36 | |
'Our second challenge is in County Durham, | 0:15:38 | 0:15:41 | |
'where nine years ago, childhood sweethearts | 0:15:41 | 0:15:43 | |
'Dale and Angela made the decision to extend their cramped living space. | 0:15:43 | 0:15:47 | |
'They had plans to convert part of their garage into an elegant | 0:15:49 | 0:15:52 | |
'dining room linking off their kitchen. | 0:15:52 | 0:15:54 | |
'Over £20,000 later they had the new dining room, | 0:15:56 | 0:16:00 | |
'but the first of their problems was finding there was almost no way to get into it.' | 0:16:00 | 0:16:03 | |
As you can see it's a normal bi-fold door, but that's just a little | 0:16:05 | 0:16:09 | |
trick I thought of to hide what is actually behind it. Voila. | 0:16:09 | 0:16:13 | |
A narrow gap which is just totally impractical. | 0:16:15 | 0:16:18 | |
Can't carry nothing through, can't use it. It's just a useless space. | 0:16:18 | 0:16:23 | |
It's in my face every day and I just feel sick every time I look at it. | 0:16:24 | 0:16:28 | |
I could just see when they were doing the bottom of the wall that | 0:16:28 | 0:16:32 | |
the gap wasn't going to be enough, it wasn't going to be a standard doorway. | 0:16:32 | 0:16:38 | |
And I tried telling them but nobody would listen. | 0:16:38 | 0:16:41 | |
Might as well be a garage at the end of the day because we just use it as a store room. | 0:16:41 | 0:16:46 | |
Angela spotted it but nobody listened to Angela. | 0:16:47 | 0:16:50 | |
Those four little words, "I told you so." | 0:16:50 | 0:16:54 | |
'Resourceful Dale quickly decided to try and fix the problem himself.' | 0:16:54 | 0:16:59 | |
I put the conservatory up to try | 0:16:59 | 0:17:01 | |
and make access easier from through the conservatory | 0:17:01 | 0:17:03 | |
but in the winter months it's freezing cold out there so you just | 0:17:03 | 0:17:06 | |
don't want to come in this part of the house, | 0:17:06 | 0:17:08 | |
in the summer it's red hot out there. | 0:17:08 | 0:17:10 | |
'The conservatory cost Dale a further £2,500, and brought with it a new set of problems.' | 0:17:10 | 0:17:17 | |
I was expecting more light through from the conservatory, | 0:17:17 | 0:17:20 | |
that was another little misjudgement I made. | 0:17:20 | 0:17:23 | |
'Dale and Angela tolerated the disastrous extension for four years. | 0:17:24 | 0:17:29 | |
'But when Angela fell ill the situation became unbearable.' | 0:17:29 | 0:17:32 | |
Unfortunately I had a stroke on Christmas night 2009. | 0:17:34 | 0:17:39 | |
All of a sudden, my wife can't walk. She's had a blood clot on the brain. | 0:17:39 | 0:17:43 | |
About 18 months later, I had another stroke. | 0:17:43 | 0:17:47 | |
It just hit me like a hammer. | 0:17:47 | 0:17:50 | |
Emotionally, psychologically, it completely floored me. | 0:17:50 | 0:17:55 | |
I didn't think I was going to get her back. | 0:17:55 | 0:17:57 | |
'The strokes affected Angela's mobility, | 0:17:58 | 0:18:01 | |
'which now makes the hodgepodge extension even more of a nightmare.' | 0:18:01 | 0:18:04 | |
The main problem is from the kitchen into the conservatory, | 0:18:06 | 0:18:08 | |
we've got a good three-to-four-inch step. | 0:18:08 | 0:18:11 | |
Then from the conservatory to the dining room, | 0:18:11 | 0:18:13 | |
we've got another three-to-four-inch step. | 0:18:13 | 0:18:15 | |
Physically, Angela can't use that space. | 0:18:15 | 0:18:17 | |
It's not practical for her, it's not safe for her because she has | 0:18:17 | 0:18:21 | |
to step over a lot of obstacles and walk through that small gap. | 0:18:21 | 0:18:26 | |
It's just not physically possible, really. | 0:18:26 | 0:18:29 | |
'Dale's determined to fix it this time, and they've been saving hard.' | 0:18:31 | 0:18:35 | |
We've saved, like, £5,000 up. | 0:18:35 | 0:18:37 | |
Hopefully we can do something with that. | 0:18:38 | 0:18:42 | |
But I don't want to do it wrong again. | 0:18:42 | 0:18:44 | |
It does upset me. | 0:18:45 | 0:18:46 | |
Get you sorted, get it all done. | 0:18:49 | 0:18:52 | |
'To help them repair past mistakes, Piers needs to solve | 0:18:57 | 0:19:01 | |
'the layout issue and make their home safe for Angela to live in.' | 0:19:01 | 0:19:04 | |
In a way, this is a small tragedy, because they've got something | 0:19:07 | 0:19:11 | |
that's so compromised, and Angela's health isn't the best. | 0:19:11 | 0:19:15 | |
I really want to help them sort this out. | 0:19:15 | 0:19:17 | |
Hi, Angela, how are you doing? | 0:19:19 | 0:19:20 | |
Nice to see you. | 0:19:20 | 0:19:21 | |
-How are you? -Very well thanks. Good to see you. | 0:19:22 | 0:19:25 | |
-Come on through. -Thank you. | 0:19:25 | 0:19:27 | |
So I don't believe in feng shui, but this is giving me bad vibes, | 0:19:27 | 0:19:30 | |
-this space. I can see that that is an issue. -That is a big issue. | 0:19:30 | 0:19:34 | |
Well, it's a little issue. | 0:19:34 | 0:19:36 | |
So you've spent all this money on an extension | 0:19:36 | 0:19:38 | |
-that you can't really use properly. -No. | 0:19:38 | 0:19:41 | |
I'm noticing these steps to get into internal rooms. | 0:19:42 | 0:19:46 | |
They're another barrier really, aren't they? | 0:19:46 | 0:19:49 | |
Everything here is showing you | 0:19:49 | 0:19:51 | |
that these are separate spaces, aren't they. | 0:19:51 | 0:19:54 | |
-The change of finish, the door threshold, all of those things. -Yep. | 0:19:54 | 0:19:58 | |
I can feel that this space feels unloved, unused, unheated. | 0:19:58 | 0:20:03 | |
'Transforming a dark kitchen | 0:20:03 | 0:20:05 | |
'and an unusable conservatory will require a major structural | 0:20:05 | 0:20:09 | |
'transformation, but the biggest challenge is in the former garage.' | 0:20:09 | 0:20:12 | |
There's no ventilation, there's no light. It's clearly bonkers. | 0:20:13 | 0:20:19 | |
No natural light at all, is there. | 0:20:19 | 0:20:21 | |
How often have you used this room since you've built it? | 0:20:21 | 0:20:23 | |
-Once for one Christmas dinner. -Once in ten years. That's incredible. | 0:20:23 | 0:20:27 | |
'On just £5,000, Piers needs to find a way to give Dale and Angela's | 0:20:28 | 0:20:32 | |
'home the most basic qualities we look for in domestic architecture.' | 0:20:32 | 0:20:36 | |
'Housing needs to have good-sized spaces, | 0:20:38 | 0:20:41 | |
'it needs to have good ventilation, good quality' | 0:20:41 | 0:20:43 | |
of spatial flow and good quality natural light. | 0:20:43 | 0:20:46 | |
This building doesn't have that, | 0:20:46 | 0:20:48 | |
so buildings need to work from basic principles. | 0:20:48 | 0:20:52 | |
This house isn't doing it. | 0:20:52 | 0:20:54 | |
'The challenge now is rectifying a whole host of fundamental | 0:20:55 | 0:20:58 | |
'problems in this home on such a paltry budget.' | 0:20:58 | 0:21:01 | |
My initial impressions are that you actually need to do a fair | 0:21:04 | 0:21:08 | |
bit of structural work to sort out this corner where everything | 0:21:08 | 0:21:13 | |
comes together. | 0:21:13 | 0:21:14 | |
'Piers suggests removing the walls where the kitchen, | 0:21:15 | 0:21:18 | |
'dining room and conservatory meet. | 0:21:18 | 0:21:21 | |
'It's expensive, structural work, so he must now look for every | 0:21:21 | 0:21:25 | |
'possible way to keep other costs down.' | 0:21:25 | 0:21:27 | |
The advantage of this is it leaves all of your kitchen as it is. | 0:21:28 | 0:21:31 | |
You don't reconvene your kitchen at all. | 0:21:31 | 0:21:33 | |
But what you end up with is a kitchen/dining space that is | 0:21:33 | 0:21:36 | |
uninterrupted and is...you know, that big. | 0:21:36 | 0:21:40 | |
Then, finally, take these doors | 0:21:40 | 0:21:43 | |
and re-use those doors as French doors | 0:21:43 | 0:21:45 | |
-going out into the garden there. -Brilliant. | 0:21:45 | 0:21:48 | |
Just for the light and the openness. | 0:21:48 | 0:21:50 | |
It'll make this room feel twice the size it is as well. | 0:21:50 | 0:21:52 | |
The good thing about that is, as well, that's something I can do. | 0:21:52 | 0:21:55 | |
-Absolutely. -That's not a problem for me to do that. | 0:21:55 | 0:21:59 | |
But it is completely transformed. | 0:21:59 | 0:22:02 | |
I suspect then you'd actually live out here quite a lot of the time. | 0:22:02 | 0:22:07 | |
This is definitely something that we can now use. | 0:22:07 | 0:22:10 | |
'Dale's inspired...' | 0:22:10 | 0:22:12 | |
-I'm not cutting corners now. -No. -We'll get it done properly. | 0:22:12 | 0:22:16 | |
'..and starts by relocating the dining room doors. | 0:22:17 | 0:22:20 | |
'But with money so tight, Dale is having to take on the lion's | 0:22:23 | 0:22:27 | |
'share of the work himself, and calling on favours from mates.' | 0:22:27 | 0:22:30 | |
I would never have thought of putting a set of doors | 0:22:33 | 0:22:35 | |
in this wall at all. Or a window, even. | 0:22:35 | 0:22:37 | |
This is going to be revealing, this, actually, | 0:22:37 | 0:22:39 | |
because I've never seen natural light in that room. | 0:22:39 | 0:22:43 | |
That's going to be some size, eh? | 0:22:45 | 0:22:47 | |
Look at that. Daylight in here. | 0:22:50 | 0:22:52 | |
Oh, this is just going to be so different. | 0:22:52 | 0:22:55 | |
'Light floods in. | 0:22:57 | 0:22:59 | |
'Dale's hard work and Piers' idea of reusing | 0:22:59 | 0:23:02 | |
'the dining room doors has saved the couple at least £500.' | 0:23:02 | 0:23:06 | |
That's it. | 0:23:06 | 0:23:09 | |
'It's a big moment, | 0:23:09 | 0:23:10 | |
'but the most ambitious part of the build is still ahead.' | 0:23:10 | 0:23:13 | |
The structural work is what I'm apprehensive about, | 0:23:14 | 0:23:17 | |
I know what's involved. | 0:23:17 | 0:23:18 | |
You just think, "What's going to go wrong? | 0:23:21 | 0:23:23 | |
"Is something going to go wrong?" | 0:23:23 | 0:23:25 | |
'And even if nothing goes wrong, | 0:23:27 | 0:23:28 | |
'with just £5,000, it's going to be tight.' | 0:23:28 | 0:23:32 | |
-Steel...that's going to be... -It's going to be £1,000. | 0:23:32 | 0:23:38 | |
-The roof is 2,750. -2,750. | 0:23:38 | 0:23:42 | |
I think we might be going over here. | 0:23:42 | 0:23:45 | |
'In Bedfordshire, Dawn's initial excitement about | 0:23:53 | 0:23:56 | |
'Piers' suggestions has worn off, and the amount of work required to | 0:23:56 | 0:24:00 | |
'turn the ideas into reality has taken its toll.' | 0:24:00 | 0:24:04 | |
I've felt really under the weather for about two weeks. | 0:24:04 | 0:24:07 | |
I don't sleep well at night, | 0:24:07 | 0:24:09 | |
you're fretting over things that you are not in control of. | 0:24:09 | 0:24:13 | |
It is basically because of Piers' plans of opening up the | 0:24:13 | 0:24:16 | |
whole area, and having to get all this structural stuff indoors done. | 0:24:16 | 0:24:24 | |
'She needs new quotes, new plans and a structural survey. | 0:24:25 | 0:24:29 | |
'If she loses sight of the bigger picture, | 0:24:31 | 0:24:33 | |
'then Dawn could end up wasting her life savings on a project | 0:24:33 | 0:24:36 | |
'that doesn't actually give her the space she needs. | 0:24:36 | 0:24:38 | |
'So it's vital that we prove to her that | 0:24:43 | 0:24:46 | |
'Piers' big ideas will be worth the effort. | 0:24:46 | 0:24:48 | |
'I've managed to get access to a house in North London that | 0:24:50 | 0:24:53 | |
'I hope will help Dawn see the potential of her own home. | 0:24:53 | 0:24:56 | |
'Here, the architect Ruth Butler has transformed the | 0:24:59 | 0:25:02 | |
'long, narrow garage into a generous open-plan kitchen, | 0:25:02 | 0:25:06 | |
'almost identical in size to Dawn's ground floor.' | 0:25:06 | 0:25:09 | |
My, this is nice. | 0:25:13 | 0:25:15 | |
If you think about it, this space is about the width | 0:25:16 | 0:25:20 | |
and depth of your floor plan. | 0:25:20 | 0:25:22 | |
I do like it. | 0:25:22 | 0:25:23 | |
Flooded with light, which is something you've talked about. | 0:25:23 | 0:25:26 | |
That was important. That's important to me. | 0:25:26 | 0:25:29 | |
'Dawn was worried that modern sliding doors may not fit | 0:25:30 | 0:25:33 | |
'with her Victorian cottage.' | 0:25:33 | 0:25:36 | |
-I do like this idea of the door. I really do. -Yeah. | 0:25:36 | 0:25:40 | |
I really wanted to bring you here cos, in a way, | 0:25:40 | 0:25:42 | |
the owners here were facing such similar problems to you. | 0:25:42 | 0:25:45 | |
They needed more space and they couldn't extend at the back | 0:25:45 | 0:25:48 | |
so they decided, "Right, what's important to us? | 0:25:48 | 0:25:51 | |
"We want a kitchen, dining room, | 0:25:51 | 0:25:52 | |
"a sociable space for eating together." | 0:25:52 | 0:25:55 | |
And having everything sort of streamlined. | 0:25:55 | 0:25:57 | |
Everything is at hand. | 0:25:57 | 0:25:58 | |
'The sense of space has also been maximised by lifting | 0:26:00 | 0:26:03 | |
'storage of the ground, and you see the full width of the floor. | 0:26:03 | 0:26:06 | |
'These ideas are not expensive to adopt. | 0:26:10 | 0:26:13 | |
'The floating units cost just £160 | 0:26:13 | 0:26:16 | |
'and painting the brick walls cost just 60 quid.' | 0:26:16 | 0:26:19 | |
This is by no means an expensive interior. | 0:26:19 | 0:26:22 | |
You know, it's a fairly standard kitchen - | 0:26:22 | 0:26:24 | |
some nice appliances and so on | 0:26:24 | 0:26:26 | |
but this is not pushing the boat out, moneywise. | 0:26:26 | 0:26:28 | |
It's just got the space right, hasn't it? | 0:26:28 | 0:26:30 | |
It just gives you these ideas that you can adapt. I love it. | 0:26:30 | 0:26:34 | |
'With enough motivation, | 0:26:34 | 0:26:36 | |
'Dawn could create exactly this effect in her home.' | 0:26:36 | 0:26:40 | |
You've got to make up your mind what's important to you... | 0:26:40 | 0:26:42 | |
-Yeah, absolutely. -..cos I've been drawing pieces of paper, maps, | 0:26:42 | 0:26:45 | |
and trying to work out and measuring to see where everything goes | 0:26:45 | 0:26:49 | |
but this sort of gives you an idea exactly how I can fit it in. | 0:26:49 | 0:26:53 | |
I think it's important for Dawn to get a sense | 0:26:56 | 0:26:58 | |
of that light into the cottage. | 0:26:58 | 0:26:59 | |
I mean, of course these small cottages are cosy and often quite | 0:26:59 | 0:27:03 | |
dark with small windows. There's no reason to have that now. | 0:27:03 | 0:27:06 | |
I think opening up the back of the house, | 0:27:06 | 0:27:08 | |
connecting with that lovely garden that she is really fond of | 0:27:08 | 0:27:11 | |
is going to be really important. | 0:27:11 | 0:27:13 | |
This visit has made a big difference for me | 0:27:15 | 0:27:17 | |
because now I can see that this idea does work. | 0:27:17 | 0:27:21 | |
I've got to get this act together now quickly and get it moving | 0:27:21 | 0:27:26 | |
and I'm ready. | 0:27:26 | 0:27:27 | |
'In no time at all, the demolition work begins. | 0:27:29 | 0:27:32 | |
'Structural alterations like this need approval from planning | 0:27:35 | 0:27:39 | |
'and building control so Dawn's finalised the new layout with | 0:27:39 | 0:27:42 | |
'her engineer and architect. | 0:27:42 | 0:27:43 | |
'In a matter of days, | 0:27:45 | 0:27:46 | |
'her small Victorian cottage becomes open-plan.' | 0:27:46 | 0:27:49 | |
Oh! | 0:27:50 | 0:27:52 | |
Oh, my... It's huge. | 0:27:52 | 0:27:54 | |
This is just amazing. I don't know... | 0:27:54 | 0:27:56 | |
I miss my house. | 0:27:56 | 0:27:59 | |
I miss part of the house! | 0:27:59 | 0:28:02 | |
You just feel, "Oh, God! | 0:28:02 | 0:28:04 | |
"Did I have the right to pull this down?", basically. | 0:28:04 | 0:28:07 | |
'Now inspired by contemporary bi-fold doors, | 0:28:08 | 0:28:11 | |
'she's put in an order for some at just over £4,000. | 0:28:11 | 0:28:15 | |
'Aware of her tight budget, | 0:28:15 | 0:28:17 | |
'builders Darren and Nick are hoping to complete the structural work | 0:28:17 | 0:28:20 | |
'for around £7,000.' | 0:28:20 | 0:28:22 | |
She's a lovely lady. | 0:28:23 | 0:28:24 | |
We've nicknamed her "Duchess". | 0:28:24 | 0:28:26 | |
Princess Dawn - what she wants, she gets. | 0:28:26 | 0:28:30 | |
A lot of people her age, bless 'em, | 0:28:30 | 0:28:31 | |
will be sitting in armchairs reading the newspaper. | 0:28:31 | 0:28:34 | |
They wouldn't be having their house knocked about, would they? | 0:28:34 | 0:28:37 | |
'But with no contingency, she only has £9,000 left | 0:28:37 | 0:28:40 | |
'for floors, rewiring, new windows, internal decoration, | 0:28:40 | 0:28:44 | |
'a new bathroom and a new kitchen.' | 0:28:44 | 0:28:46 | |
It doesn't look very securely built, does it? | 0:28:47 | 0:28:50 | |
An old property like this, it's like Pandora's box. | 0:28:54 | 0:28:57 | |
Something's not right. | 0:29:07 | 0:29:09 | |
Cos it's solid wall. | 0:29:09 | 0:29:11 | |
'The next morning, cracks have started to appear | 0:29:13 | 0:29:16 | |
'in Dawn's back wall on the first floor. | 0:29:16 | 0:29:18 | |
'Work has stopped and she's called out the structural engineer | 0:29:19 | 0:29:23 | |
'at a cost of £180.' | 0:29:23 | 0:29:25 | |
The main concern is the block-work wall that's sitting on floorboards | 0:29:26 | 0:29:30 | |
upstairs and obviously that weighs too much to be on a floorboard. | 0:29:30 | 0:29:34 | |
OK, now I'm with you. | 0:29:34 | 0:29:36 | |
'Behind the cracks lies a breeze block wall built by a previous owner. | 0:29:36 | 0:29:40 | |
'This unsupported weight has created | 0:29:40 | 0:29:42 | |
'a potentially disastrous problem for Dawn's build.' | 0:29:42 | 0:29:46 | |
The trouble with properties this age | 0:29:46 | 0:29:48 | |
is that you don't know what you're going to get until you open it up. | 0:29:48 | 0:29:50 | |
So the whole wall has to come down? | 0:29:50 | 0:29:52 | |
I think that would be the most economic solution. | 0:29:52 | 0:29:55 | |
That was horrendous news. | 0:29:57 | 0:29:59 | |
I just felt I was taking five steps back, not just one or two. | 0:29:59 | 0:30:04 | |
Gosh, it's worrying how people have built this. | 0:30:05 | 0:30:08 | |
The hiccups are coming now. | 0:30:08 | 0:30:10 | |
'It's more expense on a project that already stripped to the bone.' | 0:30:11 | 0:30:14 | |
The main worry is the cost of bringing the wall down | 0:30:16 | 0:30:18 | |
and rebuilding a wall. | 0:30:18 | 0:30:20 | |
But it has to be done. | 0:30:20 | 0:30:21 | |
I'm just hoping it won't run into thousands, | 0:30:22 | 0:30:25 | |
because that was my floor and everything else. | 0:30:25 | 0:30:28 | |
'Back in County Durham, the steelwork has arrived | 0:30:38 | 0:30:41 | |
'that will allow the crucial structural transformation | 0:30:41 | 0:30:44 | |
'of Dale and Angela's home. | 0:30:44 | 0:30:45 | |
'Costing £1,000, it's a fifth of their meagre £5,000 budget.' | 0:30:48 | 0:30:52 | |
It's some size, that, isn't it? | 0:30:54 | 0:30:57 | |
It really weighs a ton. | 0:30:57 | 0:30:58 | |
It's a lot heavier than I thought. | 0:30:58 | 0:31:00 | |
That's what's going to hold the back of my house up. | 0:31:00 | 0:31:02 | |
'The joists are too big to fit through Dale and Angela's house, | 0:31:03 | 0:31:07 | |
'so they have to haul two and a half tonnes of steel | 0:31:07 | 0:31:10 | |
'through the neighbour's garden.' | 0:31:10 | 0:31:11 | |
This is some substantial weight, this. | 0:31:16 | 0:31:18 | |
'It's more than the four-man job Dale anticipated.' | 0:31:19 | 0:31:23 | |
If possible, I need everybody's help. | 0:31:23 | 0:31:27 | |
Cheers for coming over, lads. | 0:31:27 | 0:31:28 | |
'They rally some free help from friends and family.' | 0:31:30 | 0:31:33 | |
Right, are we on? | 0:31:34 | 0:31:36 | |
This better fit. | 0:31:38 | 0:31:39 | |
Ready? | 0:31:41 | 0:31:42 | |
Right! | 0:31:42 | 0:31:44 | |
Watch out, watch out - it's going to come off the end now. | 0:31:44 | 0:31:46 | |
Whoa! | 0:31:46 | 0:31:49 | |
Lift it. | 0:31:49 | 0:31:51 | |
Everybody all right? | 0:31:51 | 0:31:53 | |
Where are we going now? | 0:31:53 | 0:31:55 | |
'Instead of a costly heavy-duty lift, | 0:31:55 | 0:31:57 | |
'this steel is raised eight feet in the air | 0:31:57 | 0:32:00 | |
'by eight burly blokes.' | 0:32:00 | 0:32:02 | |
Push! Right. | 0:32:02 | 0:32:04 | |
Just watch my stench pipe. | 0:32:04 | 0:32:05 | |
Ready and up! | 0:32:05 | 0:32:06 | |
-Are we on? -Yep. | 0:32:07 | 0:32:08 | |
Sheets of steel, innit? | 0:32:10 | 0:32:12 | |
That's what mates are for, innit? | 0:32:12 | 0:32:13 | |
'Six weeks into Dawn's build | 0:32:20 | 0:32:21 | |
'and with her budget under severe pressure, | 0:32:21 | 0:32:24 | |
'she needs innovative solutions to one of the most expensive parts | 0:32:24 | 0:32:27 | |
'of a renovation like this - | 0:32:27 | 0:32:29 | |
'the kitchen. | 0:32:29 | 0:32:30 | |
'To make matters worse, | 0:32:31 | 0:32:33 | |
'she's just received a bill | 0:32:33 | 0:32:34 | |
'for rebuilding the wall in the new bathroom.' | 0:32:34 | 0:32:37 | |
The extra cost is about 1,200. | 0:32:37 | 0:32:39 | |
It is a lot of money. Every penny counts now. | 0:32:39 | 0:32:42 | |
-Hi, Dawn. -Morning! -How are you doing? Wow, look at this! | 0:32:44 | 0:32:48 | |
That's fantastic. | 0:32:48 | 0:32:50 | |
'With the walls removed and fabulous bi-fold doors in place, | 0:32:50 | 0:32:54 | |
'the open-plan living space is taking shape. | 0:32:54 | 0:32:56 | |
'But Dawn has chosen to deviate from Piers' plan | 0:32:59 | 0:33:02 | |
'by keeping the toilet in the same place, | 0:33:02 | 0:33:04 | |
'albeit in a much smaller room.' | 0:33:04 | 0:33:07 | |
So what about the kitchen? Where's that going? | 0:33:07 | 0:33:09 | |
Is that going from here up to the end? | 0:33:09 | 0:33:11 | |
Yes, right from this corner right down to that. | 0:33:11 | 0:33:14 | |
-Originally, I wanted the fridge here. -Mmm. | 0:33:14 | 0:33:16 | |
But... | 0:33:16 | 0:33:19 | |
the builder reckons the fridge is better in that corner | 0:33:19 | 0:33:22 | |
because of the plumbing | 0:33:22 | 0:33:23 | |
-and I think he's right. -Your fridge is a full-height fridge, is it? | 0:33:23 | 0:33:26 | |
-Yeah. -And it's going in that corner. | 0:33:26 | 0:33:28 | |
At the moment, I look in there and my eye doesn't stop | 0:33:28 | 0:33:30 | |
until it hits that corner. | 0:33:30 | 0:33:32 | |
This feels spacious like this | 0:33:32 | 0:33:34 | |
and this is such a joy to see this open | 0:33:34 | 0:33:37 | |
and you fought so hard to get this space | 0:33:37 | 0:33:39 | |
and at the moment, in my mind, | 0:33:39 | 0:33:41 | |
your worktop comes along and hits this wall here... | 0:33:41 | 0:33:44 | |
-And it's all open space. -..and it's all open. | 0:33:44 | 0:33:46 | |
And the ugly thing, the thing that's the block, | 0:33:46 | 0:33:50 | |
-you tuck away somewhere. -I agree with you. | 0:33:50 | 0:33:52 | |
Remember that your builder is very good, | 0:33:52 | 0:33:55 | |
but he's not particularly interested | 0:33:55 | 0:33:57 | |
in the poetics of standing next to the open door. | 0:33:57 | 0:34:00 | |
He just wants to plumb it all in. | 0:34:00 | 0:34:02 | |
This is the best bit of the kitchen, right here. | 0:34:02 | 0:34:04 | |
Hmm. | 0:34:04 | 0:34:06 | |
-I need to have another little chat with him. -Mm-hmm. | 0:34:06 | 0:34:09 | |
'In Britain, the average spend on a kitchen is £8,000, | 0:34:10 | 0:34:14 | |
'but Dawn just can't afford this.' | 0:34:14 | 0:34:17 | |
What about the kitchen? What are you doing for that? | 0:34:17 | 0:34:20 | |
It's upstairs. | 0:34:20 | 0:34:21 | |
Somebody's throwing it out. | 0:34:21 | 0:34:22 | |
These are the units that are being thrown out. | 0:34:22 | 0:34:24 | |
Yeah, great. | 0:34:24 | 0:34:25 | |
'Most of the money we spend on a new kitchen | 0:34:27 | 0:34:29 | |
'goes on materials, middlemen and the design process. | 0:34:29 | 0:34:33 | |
'So adapting an unwanted one can save thousands. | 0:34:33 | 0:34:37 | |
'A clever face-lift will even improve outdated designs.' | 0:34:37 | 0:34:40 | |
You know, you could even paint the glass, | 0:34:41 | 0:34:43 | |
-paint the whole lot. -Could you? | 0:34:43 | 0:34:45 | |
Yeah. This would look much better as a solid thing. | 0:34:45 | 0:34:48 | |
-I just think this draws your eye... -I wasn't happy with that. | 0:34:48 | 0:34:52 | |
-A pattern on it - it looks very dated. -It does look very dated. | 0:34:52 | 0:34:56 | |
And this colour's very dated, isn't it now? | 0:34:56 | 0:34:58 | |
Maybe I should practise on one. | 0:34:58 | 0:35:00 | |
See what they look like with a coat of paint. | 0:35:00 | 0:35:02 | |
If it goes wrong, | 0:35:02 | 0:35:04 | |
it'd be upon your head. You buy me a new kitchen! | 0:35:04 | 0:35:08 | |
It was free anyway, so nothing to lose. | 0:35:08 | 0:35:11 | |
'To help link her kitchen and garden together, | 0:35:12 | 0:35:15 | |
'Dawn is keen on a bluey-green.' | 0:35:15 | 0:35:17 | |
I think this might be too bright. This isn't remotely scientific. | 0:35:19 | 0:35:22 | |
So this, Dawn, is just very heavy-duty wood and metal paint. | 0:35:22 | 0:35:26 | |
These colours themselves aren't ideal, | 0:35:26 | 0:35:28 | |
but I would always mix them up anyway. | 0:35:28 | 0:35:30 | |
That's quite a nice colour. Subtle, isn't it? | 0:35:30 | 0:35:32 | |
'Rather than choosing from a colour chart, | 0:35:32 | 0:35:34 | |
'architects and designers often mix colours themselves | 0:35:34 | 0:35:37 | |
'to allow for trial and error.' | 0:35:37 | 0:35:39 | |
-Maybe a bit too purple. -Yeah. | 0:35:39 | 0:35:41 | |
'Once decided, these can then be colour-matched at a paint shop.' | 0:35:41 | 0:35:44 | |
A bit bluer, do you think? | 0:35:44 | 0:35:45 | |
I think you need to choose your own colour. | 0:35:45 | 0:35:47 | |
I don't want to choose a colour for you, | 0:35:47 | 0:35:49 | |
but I think all we want to do now is just try out the effect. | 0:35:49 | 0:35:51 | |
This is too dark. | 0:35:51 | 0:35:52 | |
This is a nice grey-blue. | 0:35:52 | 0:35:55 | |
-I think we go for that, we try that. -Try that? | 0:35:55 | 0:35:58 | |
I think it looks better already. | 0:35:58 | 0:36:00 | |
Do you know what I like best about it? | 0:36:00 | 0:36:02 | |
-That it's free. -Yeah. | 0:36:02 | 0:36:04 | |
Beautiful. | 0:36:04 | 0:36:06 | |
Isn't that nice? | 0:36:06 | 0:36:07 | |
Fantastic. | 0:36:07 | 0:36:09 | |
So I think this is nice, but we need to do a couple more things to it. | 0:36:09 | 0:36:14 | |
For me, the worktop is really important | 0:36:14 | 0:36:16 | |
and want I think you should do | 0:36:16 | 0:36:18 | |
-is find a really chunky, crisp, very simple timber worktop. -Mm-hmm. | 0:36:18 | 0:36:23 | |
This is just an old piece of timber I found lying around in the garden | 0:36:23 | 0:36:26 | |
and then what I think you need to do is to find some nice handles. | 0:36:26 | 0:36:30 | |
-That then looks completely different, doesn't it? -Yeah. | 0:36:30 | 0:36:33 | |
I'm just trying to show you how the right worktop | 0:36:33 | 0:36:37 | |
and the right handle would transform that kitchen. | 0:36:37 | 0:36:42 | |
Yep, I agree. | 0:36:42 | 0:36:44 | |
'In County Durham, | 0:36:44 | 0:36:45 | |
'Dale and Angela are finally getting a sense of their new home. | 0:36:45 | 0:36:48 | |
'If they pull it off, | 0:36:48 | 0:36:50 | |
'this build could have a profound effect on their lives.' | 0:36:50 | 0:36:52 | |
If I'm not in the house, | 0:36:52 | 0:36:54 | |
I worry about Angela falling over | 0:36:54 | 0:36:56 | |
and not being able to look after herself. | 0:36:56 | 0:36:59 | |
'The key now is to create a floor which flows seamlessly through, | 0:36:59 | 0:37:03 | |
'allowing Angela to move around easily and safely. | 0:37:03 | 0:37:06 | |
'But having done the sums, | 0:37:07 | 0:37:09 | |
'they're running seriously short on funds.' | 0:37:09 | 0:37:11 | |
We've got £540 left. | 0:37:13 | 0:37:16 | |
I am a little bit worried, because I don't know... | 0:37:18 | 0:37:21 | |
We're trying to think outside the box for flooring. | 0:37:21 | 0:37:24 | |
Me and Angela are just thinking your basic magnolias | 0:37:24 | 0:37:27 | |
and your average laminate flooring. | 0:37:27 | 0:37:29 | |
'Even cheap laminate floor will set them back over £400 | 0:37:30 | 0:37:34 | |
'and it could spoil the look of the whole project. | 0:37:34 | 0:37:37 | |
'We need to find them a more stylish and cost-effective solution. | 0:37:41 | 0:37:45 | |
'I'm in Sheffield to visit a building that I love | 0:37:46 | 0:37:48 | |
'and, surprisingly, | 0:37:48 | 0:37:49 | |
'could provide some money-saving inspiration for Dale and Angela,' | 0:37:49 | 0:37:52 | |
cos it uses an architectural feature that needn't cost the earth, | 0:37:52 | 0:37:55 | |
and that's colour. | 0:37:55 | 0:37:57 | |
This building was designed by Sauerbruch Hutton, | 0:38:00 | 0:38:02 | |
who are probably the most important architects in the world right now, | 0:38:02 | 0:38:05 | |
working with how colour can play a role in architecture. | 0:38:05 | 0:38:08 | |
This is a building that has 24 colours in total its facade | 0:38:09 | 0:38:12 | |
in three colour families - | 0:38:12 | 0:38:14 | |
a family of reds, | 0:38:14 | 0:38:16 | |
a family of greens, | 0:38:16 | 0:38:18 | |
a family of blues. | 0:38:18 | 0:38:19 | |
The panels could seem random, but in fact, | 0:38:20 | 0:38:24 | |
the tones have been carefully picked | 0:38:24 | 0:38:25 | |
from colours found in the nearby environment. | 0:38:25 | 0:38:27 | |
If Dale and Angela can put the same intensity of thought into colour | 0:38:29 | 0:38:32 | |
that this building does, | 0:38:32 | 0:38:33 | |
they can really make an architectural difference | 0:38:33 | 0:38:35 | |
with the very thinnest layer. | 0:38:35 | 0:38:37 | |
'Dale and Angela could use colour | 0:38:39 | 0:38:41 | |
'as an inexpensive and ingenious solution to their flooring problem, | 0:38:41 | 0:38:45 | |
'transforming one of the cheapest materials available, chipboard, | 0:38:45 | 0:38:49 | |
'into something special.' | 0:38:49 | 0:38:50 | |
So, I've got two different colours of floor paint. | 0:38:53 | 0:38:57 | |
What this is is a two-pack of epoxy water-based paint | 0:38:57 | 0:39:01 | |
that goes incredibly hard | 0:39:01 | 0:39:04 | |
and you'll be glad to know it's gloss finish. | 0:39:04 | 0:39:05 | |
-Oh, good. -Oh! | 0:39:05 | 0:39:06 | |
-On this floor, what I would do is put down chipboard to level it. -Yes. | 0:39:06 | 0:39:10 | |
Then on top of the chipboard, use a thinned down coat of this, | 0:39:10 | 0:39:15 | |
then either one or two more coats, depending. | 0:39:15 | 0:39:17 | |
-So this is the first colour. -Yes... -It's bright, isn't it? | 0:39:17 | 0:39:23 | |
And this is the second. | 0:39:23 | 0:39:24 | |
'Piers and I know bold ideas like these | 0:39:26 | 0:39:28 | |
'could make Dale and Angela's home distinctive and different. | 0:39:28 | 0:39:32 | |
'But will they get on board?' | 0:39:32 | 0:39:34 | |
So I'm presuming, of course, that these aren't very similar | 0:39:34 | 0:39:37 | |
to the colours that you were thinking of? | 0:39:37 | 0:39:39 | |
Nowhere near! We'd even sent for a couple of samples. | 0:39:39 | 0:39:44 | |
Just your basic, run-of-the-mill laminate flooring | 0:39:44 | 0:39:47 | |
and the same with the colours on the wall, magnolias and just... | 0:39:47 | 0:39:51 | |
Basically trying to put the walls to match the furniture, | 0:39:51 | 0:39:54 | |
rather than the opposite way round. | 0:39:54 | 0:39:56 | |
Colour is such a gift. It costs so little. | 0:39:56 | 0:39:59 | |
This is no more expensive than magnolia | 0:39:59 | 0:40:02 | |
and the difference that it makes is fantastic. | 0:40:02 | 0:40:05 | |
So I'm wondering if you'd like some soup. | 0:40:05 | 0:40:07 | |
LAUGHTER | 0:40:07 | 0:40:08 | |
'But to really appreciate what it will look like as a floor finish, | 0:40:11 | 0:40:14 | |
'they need to get it onto some sample chipboard. | 0:40:14 | 0:40:17 | |
'Ordinarily used for concrete garage floors, | 0:40:18 | 0:40:20 | |
'this paint is mixed with an activator | 0:40:20 | 0:40:22 | |
'which makes it dry to a hardwearing sheen.' | 0:40:22 | 0:40:25 | |
The more I'm looking at this, the more I am actually liking it. | 0:40:27 | 0:40:31 | |
-It looks totally different when it's on. -Yeah. | 0:40:31 | 0:40:33 | |
Completely different - that's gone purplier, hasn't it? | 0:40:33 | 0:40:36 | |
Definitely. | 0:40:36 | 0:40:37 | |
-This is so crisp and clean, though, isn't it? -It is. | 0:40:46 | 0:40:50 | |
Now, which one where? | 0:40:50 | 0:40:53 | |
-They go with each other, don't they? -I don't know. | 0:40:53 | 0:40:56 | |
I think tonight, when the sun goes down, | 0:40:56 | 0:40:59 | |
-you'll see what it looks like in the room without the sunlight. -Yeah. | 0:40:59 | 0:41:02 | |
-Definitely food for thought. -Yes. Good. | 0:41:04 | 0:41:06 | |
'Angela and Dale park the tricky decision on the floor colour | 0:41:13 | 0:41:18 | |
'while Dale concentrates on laying the chipboard, | 0:41:18 | 0:41:20 | |
'which is vital to create | 0:41:20 | 0:41:22 | |
'one unified space in the remodelled extension.' | 0:41:22 | 0:41:24 | |
Ange walked in, she actually walked straight through | 0:41:26 | 0:41:28 | |
and she never had to once look down at where she was walking. | 0:41:28 | 0:41:32 | |
I feel good inside, knowing she can use this part of the house now | 0:41:32 | 0:41:35 | |
without me being here. | 0:41:35 | 0:41:37 | |
'To cover the whole space with chipboard | 0:41:39 | 0:41:41 | |
'has cost just £200 | 0:41:41 | 0:41:43 | |
'with another 100 for paint. | 0:41:43 | 0:41:45 | |
'But Angela is still uncertain about the colour.' | 0:41:45 | 0:41:48 | |
Initially, it's going to be a bit, mmm... | 0:41:49 | 0:41:53 | |
Cos it's quite bold for me. But we'll wait and see. | 0:41:53 | 0:41:56 | |
'Despite working shifts, Dale's put in over 60 hours | 0:41:58 | 0:42:02 | |
'in the last fortnight trying to finish the build.' | 0:42:02 | 0:42:04 | |
Dale's just been at it. | 0:42:07 | 0:42:08 | |
And he just was so tired. | 0:42:10 | 0:42:11 | |
I said to him one night - in fact, I was in tears - | 0:42:11 | 0:42:14 | |
I said I wished I could have a magic wand | 0:42:14 | 0:42:17 | |
and do it for him. | 0:42:17 | 0:42:19 | |
He's just worked so hard. | 0:42:19 | 0:42:21 | |
'With 30 square metres to first prime, then paint, | 0:42:22 | 0:42:26 | |
'Dale's hoping that this 300 quid floor | 0:42:26 | 0:42:29 | |
'isn't an architectural step too far.' | 0:42:29 | 0:42:31 | |
Big moment... | 0:42:34 | 0:42:35 | |
-LAUGHING: -Oh...! | 0:42:38 | 0:42:40 | |
Wow - that is different. | 0:42:40 | 0:42:43 | |
Hope it looks this nice on the floor. | 0:42:44 | 0:42:46 | |
'12 weeks ago, Dale and Angela's house | 0:42:50 | 0:42:52 | |
'was plagued with a cramped kitchen, dark dining room conversion | 0:42:52 | 0:42:56 | |
'and badly insulated conservatory. | 0:42:56 | 0:42:58 | |
'The hotchpotch of poorly connected spaces, | 0:43:00 | 0:43:03 | |
'impossibly narrow doorway and uneven floor levels | 0:43:03 | 0:43:07 | |
'all created a serious hazard for Angela. | 0:43:07 | 0:43:10 | |
'Piers proposed some radical solutions, | 0:43:13 | 0:43:15 | |
'but with just £5,000 to spend, | 0:43:15 | 0:43:18 | |
'they had to put in all the hard work themselves. | 0:43:18 | 0:43:20 | |
'I'm fascinated to see how Dale and Angela | 0:43:23 | 0:43:25 | |
'have interpreted Piers' ideas.' | 0:43:25 | 0:43:27 | |
-Hi, guys. -Hi. -Nice to see you again. | 0:43:28 | 0:43:31 | |
How are you doing? How's it all been going? | 0:43:31 | 0:43:33 | |
-Ups and downs. -Yeah? -But really, really pleased. | 0:43:33 | 0:43:36 | |
It's been tiring, difficult, | 0:43:36 | 0:43:37 | |
we've had some good days and bad days. | 0:43:37 | 0:43:39 | |
Well, I'm dying to see what you've done. | 0:43:39 | 0:43:41 | |
-So am I - can I have a look? -Go on. | 0:43:41 | 0:43:43 | |
Wow! | 0:43:49 | 0:43:50 | |
It is just extraordinary | 0:43:55 | 0:43:56 | |
how much light you get into this space | 0:43:56 | 0:43:58 | |
and how completely different it feels. | 0:43:58 | 0:44:00 | |
-This is like being in another house. -Yeah. | 0:44:00 | 0:44:03 | |
Feels contemporary, spacious - what a great space. | 0:44:03 | 0:44:06 | |
'In order to address the disconnected spaces, | 0:44:08 | 0:44:10 | |
'narrow doorway, and uneven thresholds, | 0:44:10 | 0:44:13 | |
'Dale and Angela took on Piers' idea | 0:44:13 | 0:44:15 | |
'of using structural steel and knocking down walls.' | 0:44:15 | 0:44:18 | |
It was so miserable before | 0:44:22 | 0:44:24 | |
and this was a forgotten, bodged extension. | 0:44:24 | 0:44:27 | |
There was a half-door through there, wasn't there, | 0:44:27 | 0:44:29 | |
-into the rest of the house? -Yeah. | 0:44:29 | 0:44:31 | |
And now, it glows with light. | 0:44:31 | 0:44:34 | |
'Instead of expensive flooring, | 0:44:35 | 0:44:37 | |
'Angela and Dale went with Piers' suggestion of painting chipboard | 0:44:37 | 0:44:41 | |
'to create a bright, contemporary, low-cost floor | 0:44:41 | 0:44:44 | |
'that's easy to negotiate.' | 0:44:44 | 0:44:45 | |
One of the things that really excites me | 0:44:45 | 0:44:47 | |
is, of course, the colour. | 0:44:47 | 0:44:48 | |
I mean, it adds so much brightness, the sheen of the paint. | 0:44:48 | 0:44:51 | |
I remember being a little bit quiet when it was mentioned about colours | 0:44:51 | 0:44:55 | |
and it being so bold. But it's lovely. | 0:44:55 | 0:44:57 | |
We'd never have thought of going for nothing as vibrant. | 0:44:57 | 0:45:01 | |
And as we put it on, it was just..."Wow, | 0:45:01 | 0:45:03 | |
"this is going to be good." | 0:45:03 | 0:45:05 | |
Even in February, when the sun's not out, | 0:45:05 | 0:45:07 | |
I suspect it will still feel really warm. | 0:45:07 | 0:45:11 | |
The light - it just seems to bounce up off the floor. | 0:45:11 | 0:45:13 | |
-It does. There's no lights on in here. -None whatsoever. | 0:45:13 | 0:45:17 | |
'Angela and Dale also saved money by following Piers' plan | 0:45:17 | 0:45:21 | |
'of reusing doors from the dining rooms | 0:45:21 | 0:45:23 | |
'as French doors that lead into the garden.' | 0:45:23 | 0:45:27 | |
You've managed to make every bit of what was already here still work. | 0:45:27 | 0:45:31 | |
We got one wall there which was bit of conservatory. | 0:45:31 | 0:45:33 | |
No architect would ever design that in, | 0:45:33 | 0:45:35 | |
but somehow, it works here, doesn't it? | 0:45:35 | 0:45:37 | |
Totally. | 0:45:37 | 0:45:39 | |
Do you it will change the way you guys live in your house? | 0:45:39 | 0:45:41 | |
Definitely, it's given us this back half of the house back - | 0:45:41 | 0:45:45 | |
given me it back, anyway - | 0:45:45 | 0:45:46 | |
that I can use it safely. | 0:45:46 | 0:45:48 | |
Dale knows I can use it safely, with all the access and everything, | 0:45:48 | 0:45:52 | |
it's much better for me, much easier. | 0:45:52 | 0:45:54 | |
-I think we'll use this as a living room, more than anything. -Hm. | 0:45:54 | 0:45:57 | |
Sit and look in the garden or you can sit and read, | 0:45:57 | 0:46:00 | |
just have a chill-out. | 0:46:00 | 0:46:01 | |
For me, it shows that space and light are the most important things | 0:46:01 | 0:46:05 | |
and that's what you've got in spades here, now. | 0:46:05 | 0:46:08 | |
'Angela and Dale had just £5,000 to spend. | 0:46:09 | 0:46:13 | |
'Did they achieve this stunning result within that small budget?' | 0:46:13 | 0:46:16 | |
I need to ask you, have you done this for £5,000? | 0:46:18 | 0:46:22 | |
This place feels a lot more generous than that tiny budget suggests. | 0:46:22 | 0:46:26 | |
Did you come in under budget? | 0:46:26 | 0:46:27 | |
-We came in under budget by...I think it was £17.52. -Almost to the penny! | 0:46:27 | 0:46:33 | |
Yeah - I've got it all wrote down to the penny and we're under budget. | 0:46:33 | 0:46:37 | |
Amazing - per square metre for a space like this, I mean, | 0:46:37 | 0:46:40 | |
that's fantastic value. | 0:46:40 | 0:46:42 | |
Actually, I suspect if you'd had this costed, | 0:46:42 | 0:46:45 | |
I'd have thought maybe 12, 15 grand? | 0:46:45 | 0:46:48 | |
-But you've done it yourself. -Yeah. | 0:46:48 | 0:46:50 | |
Do you feel a sense of pride? | 0:46:50 | 0:46:51 | |
Because there's so much of your work in this. | 0:46:51 | 0:46:53 | |
I do now, cos this time, there's nothing being done wrong, | 0:46:53 | 0:46:56 | |
I've made sure everything was correct, | 0:46:56 | 0:46:58 | |
There's no corners being cut. | 0:46:58 | 0:47:00 | |
'It's a fantastic result, | 0:47:03 | 0:47:04 | |
'providing a bright and accessible space | 0:47:04 | 0:47:07 | |
'that Dale and Angela can enjoy together.' | 0:47:07 | 0:47:10 | |
Angela and Dale have achieved something amazing, | 0:47:10 | 0:47:12 | |
which is to take a very ordinary house that had been badly compromised | 0:47:12 | 0:47:17 | |
by some misguided decisions, | 0:47:17 | 0:47:19 | |
and now, this house isn't just better than it was, | 0:47:19 | 0:47:23 | |
it's a fantastic, delightful, colour-filled space, | 0:47:23 | 0:47:27 | |
and Dale and Angela have achieved this through their own | 0:47:27 | 0:47:30 | |
resourcefulness and imagination. | 0:47:30 | 0:47:32 | |
They've made this happen. | 0:47:32 | 0:47:34 | |
'After years of feeling embarrassed by their home, | 0:47:35 | 0:47:37 | |
'they can now enjoy giving a warm welcome to friends and family.' | 0:47:37 | 0:47:42 | |
- Wow! - Wow! | 0:47:42 | 0:47:44 | |
Wow! | 0:47:44 | 0:47:45 | |
Oh, thank you. Well done. | 0:47:45 | 0:47:50 | |
Well done. | 0:47:50 | 0:47:51 | |
'Delivering this safe and beautiful space for Angela | 0:47:53 | 0:47:56 | |
'has been a real labour of love for Dale.' | 0:47:56 | 0:47:59 | |
There's not enough words that I could say | 0:47:59 | 0:48:02 | |
for what he's done. | 0:48:02 | 0:48:03 | |
And I know why he's done it. | 0:48:03 | 0:48:05 | |
I know he's done a lot of it for me | 0:48:05 | 0:48:06 | |
and...the predicament we had at the time | 0:48:06 | 0:48:10 | |
and it's made it a lot easier and safer for me. | 0:48:10 | 0:48:14 | |
Mm... | 0:48:14 | 0:48:15 | |
Tears of happiness, definitely. | 0:48:18 | 0:48:21 | |
I think Dale and Angela have made a wonderful space, I love it. | 0:48:22 | 0:48:25 | |
I think what they've created out of an unprepossessing building | 0:48:25 | 0:48:29 | |
is full of optimism and life and light. | 0:48:29 | 0:48:31 | |
I think that'll serve them really well in the years to come. | 0:48:31 | 0:48:33 | |
Can you have that sent out to us, so we can get it tomorrow? | 0:48:37 | 0:48:40 | |
'Six weeks later in Bedfordshire, | 0:48:42 | 0:48:43 | |
'the building work at Dawn's cottage has progressed. | 0:48:43 | 0:48:47 | |
'With the stud walls now in place and plastering complete, | 0:48:47 | 0:48:50 | |
'Dawn's juggling different tradesmen to try and finish her build.' | 0:48:50 | 0:48:53 | |
The carpenter has been on site since Monday | 0:48:55 | 0:48:57 | |
and he's put the kitchen in | 0:48:57 | 0:49:00 | |
and he's progressing really well, I'm really impressed. | 0:49:00 | 0:49:03 | |
We've also got the electrician, | 0:49:04 | 0:49:06 | |
who's come to do the fusebox and tidy up bits in the kitchen, | 0:49:06 | 0:49:13 | |
like the plug points and everything else. | 0:49:13 | 0:49:16 | |
And the decorator's here and he's been doing the bedroom. | 0:49:16 | 0:49:20 | |
The thing is, we can't do any of the downstairs | 0:49:20 | 0:49:23 | |
until the kitchen is finished. | 0:49:23 | 0:49:25 | |
They all have to work on top of each other, really. | 0:49:25 | 0:49:28 | |
It's a bit hard, especially with the carpenter, | 0:49:28 | 0:49:31 | |
cos there's a lot of things to saw and you need the space. | 0:49:31 | 0:49:35 | |
'Having to pay more to contractors than originally planned, | 0:49:36 | 0:49:40 | |
'on top of having to rebuild the bathroom wall, | 0:49:40 | 0:49:42 | |
'is putting yet more pressure on Dawn's £20,000 budget.' | 0:49:42 | 0:49:46 | |
Money has definitely gone over budget now. | 0:49:46 | 0:49:49 | |
For example, the worktop, the one we ordered, | 0:49:49 | 0:49:53 | |
wasn't the right thickness, wasn't the right width. | 0:49:53 | 0:49:57 | |
So had to wind up getting two lots, so that's double the cost. | 0:49:57 | 0:50:01 | |
I've had about...I would say ten nights that I didn't quite sleep. | 0:50:02 | 0:50:08 | |
They are the sleepless nights - money worries are sleepless nights. | 0:50:08 | 0:50:12 | |
After buying her dream retirement home, former nurse Dawn | 0:50:19 | 0:50:23 | |
found that the old worker's cottage was cramped and dingy. | 0:50:23 | 0:50:26 | |
The small rooms were dark, boxy spaces, stuffed with Dawn's clutter. | 0:50:28 | 0:50:32 | |
The bathroom was slap-bang in the middle of the ground floor, | 0:50:33 | 0:50:36 | |
creating a dark corridor. | 0:50:36 | 0:50:38 | |
And the kitchen at the back was gloomy and impractical, | 0:50:39 | 0:50:42 | |
with nowhere to sit with family and friends. | 0:50:42 | 0:50:45 | |
'Dawn had a budget of £20,000 for all the work, | 0:50:47 | 0:50:50 | |
'and Piers encouraged her to abandon her plans for an extension | 0:50:50 | 0:50:54 | |
'and open up the space.' | 0:50:54 | 0:50:55 | |
Emotionally attached to the period charm of her property, | 0:50:57 | 0:51:00 | |
Dawn bravely took on the huge task that lay ahead. | 0:51:00 | 0:51:04 | |
Ripping apart the interior was the first step to creating her | 0:51:04 | 0:51:06 | |
dream living space. | 0:51:06 | 0:51:08 | |
'But we know that it hasn't been an easy ride and that she | 0:51:09 | 0:51:12 | |
'ran into serious structural problems along the way. | 0:51:12 | 0:51:16 | |
'Today, we're back to see how she got on.' | 0:51:16 | 0:51:19 | |
-Hi, Dawn. -Hi, you two. | 0:51:19 | 0:51:20 | |
-How are you? -Nice to see you. | 0:51:20 | 0:51:23 | |
Great to see you. | 0:51:23 | 0:51:24 | |
-How are you? How's it been? -It's been good, mainly. | 0:51:24 | 0:51:28 | |
Are you exhausted? Are you tired? Are you fed-up? | 0:51:28 | 0:51:31 | |
A bit tired - not fed-up. | 0:51:31 | 0:51:33 | |
And what about the result? Is it something your happy with? | 0:51:33 | 0:51:36 | |
-Have you got what you needed? -Results are fantastic. | 0:51:36 | 0:51:39 | |
You'll love it. You must come inside and have a look. | 0:51:39 | 0:51:41 | |
-Can't wait to see. -Come inside. Brilliant. | 0:51:41 | 0:51:44 | |
Wow! This is amazing! | 0:51:49 | 0:51:51 | |
-You like it? -It's incredible. | 0:51:51 | 0:51:53 | |
Look at this. | 0:51:53 | 0:51:54 | |
This is fantastic, Dawn. | 0:51:57 | 0:51:58 | |
It's just full of space and light. | 0:51:58 | 0:52:01 | |
Just look at how open it is - | 0:52:01 | 0:52:02 | |
you can really see all the way through this space now. | 0:52:02 | 0:52:05 | |
It's wonderful. | 0:52:05 | 0:52:06 | |
'It's an impressive transformation of the downstairs.' | 0:52:08 | 0:52:11 | |
How do feel about this now? You must be thrilled. | 0:52:12 | 0:52:15 | |
-Elated is the word. -Really? | 0:52:15 | 0:52:17 | |
Truly, I'm excited. | 0:52:17 | 0:52:18 | |
And you've taken away loads of doors. | 0:52:18 | 0:52:22 | |
'Instead of building an extension that she just couldn't afford, | 0:52:22 | 0:52:25 | |
'Dawn has embraced Piers' idea of a more open-plan layout.' | 0:52:25 | 0:52:30 | |
Give us your thinking that led to this idea of opening up this space. | 0:52:30 | 0:52:34 | |
What do you make of the result? | 0:52:34 | 0:52:36 | |
I felt it was just common sense that this building was just too | 0:52:36 | 0:52:39 | |
small really to have rooms. | 0:52:39 | 0:52:41 | |
I can see the bones of this cottage far clearer now with this | 0:52:41 | 0:52:45 | |
arrangement than I could previously. | 0:52:45 | 0:52:47 | |
Do you think it's taken away from the character of the cottage, | 0:52:47 | 0:52:50 | |
or added to it? | 0:52:50 | 0:52:51 | |
It just gives you, like, a breath of fresh air | 0:52:51 | 0:52:55 | |
when you walk in, you know. | 0:52:55 | 0:52:56 | |
There's space, there's light and it's also cosy at the same time. | 0:52:56 | 0:53:00 | |
'Dawn's opened up the previously dark corridor | 0:53:02 | 0:53:05 | |
'in the centre of the house.' | 0:53:05 | 0:53:07 | |
So this works really well. | 0:53:07 | 0:53:08 | |
This is a little writing space that you were really keen to have, | 0:53:08 | 0:53:11 | |
and you've carved out a little niche underneath this stair, haven't you? | 0:53:11 | 0:53:14 | |
You were desperate to keep the bathroom here, | 0:53:14 | 0:53:17 | |
and we tried to persuade you, but it seems to work all right. | 0:53:17 | 0:53:20 | |
I think it does. | 0:53:20 | 0:53:21 | |
So this is the main event really. What a lovely space you've made | 0:53:26 | 0:53:30 | |
and obviously this was going to be the extension. | 0:53:30 | 0:53:33 | |
At the very beginning of the project, | 0:53:33 | 0:53:35 | |
you wanted to build outwards into the garden. | 0:53:35 | 0:53:37 | |
You haven't got that, but does this make up for it? | 0:53:37 | 0:53:40 | |
-Is this enough? -Absolutely. | 0:53:40 | 0:53:41 | |
-I think it makes up for it more than the extension would have. -Really? | 0:53:41 | 0:53:44 | |
Yeah, because the extension would have cut out the light, | 0:53:44 | 0:53:47 | |
I think, from the inside of the house cos there would have been | 0:53:47 | 0:53:50 | |
a roof over it. | 0:53:50 | 0:53:51 | |
What this has done is thrown the light | 0:53:51 | 0:53:53 | |
and brought the garden in at the same time. | 0:53:53 | 0:53:55 | |
Not just into the kitchen space... | 0:53:55 | 0:53:57 | |
Right throughout. | 0:53:57 | 0:53:59 | |
No, I think this was a better move. | 0:53:59 | 0:54:02 | |
The big picture is this big, open-plan downstairs, | 0:54:02 | 0:54:05 | |
but actually, | 0:54:05 | 0:54:06 | |
the small things like bringing the light in to the middle of the plan, | 0:54:06 | 0:54:09 | |
painting the ceiling all one colour, | 0:54:09 | 0:54:11 | |
not having threshold strips on the floor. | 0:54:11 | 0:54:13 | |
They're easy things to let go, cos you think, "Are they worth it?" | 0:54:13 | 0:54:16 | |
But they're so worth it and you really need to hang on to those. | 0:54:16 | 0:54:20 | |
I also need to talk about your kitchen and, of course, | 0:54:20 | 0:54:23 | |
I really like the fact that it's very simple | 0:54:23 | 0:54:25 | |
and it's just one run of cupboards along this wall. | 0:54:25 | 0:54:27 | |
You haven't spent a huge amount of money, | 0:54:27 | 0:54:29 | |
you've just used what you've had and you've given it a new lease of life. | 0:54:29 | 0:54:33 | |
The kitchen units, to be honest, have only cost me about £20. | 0:54:33 | 0:54:38 | |
And that's the paint. | 0:54:38 | 0:54:39 | |
I really love the kitchen. I think, it's not that I got it for nothing, | 0:54:39 | 0:54:43 | |
it's just I made something out of nothing. | 0:54:43 | 0:54:46 | |
What's interesting is you could have spent maybe £5,000 on the kitchen, | 0:54:46 | 0:54:50 | |
but for that money, you've got the floor, | 0:54:50 | 0:54:52 | |
you've got the light and the bi-folds. | 0:54:52 | 0:54:54 | |
What are you looking forward to in terms of how you're going to use this space? | 0:54:54 | 0:54:57 | |
-Have you got a dinner planned? -I have. | 0:54:57 | 0:54:59 | |
I'm going to get my neighbours over... | 0:54:59 | 0:55:01 | |
when the weather is good and we're going to have a supper. | 0:55:01 | 0:55:05 | |
'Central to Piers' plan of getting light into the back | 0:55:05 | 0:55:07 | |
'of the house were full-width bi-fold doors.' | 0:55:07 | 0:55:09 | |
These doors are fantastic, aren't they? | 0:55:11 | 0:55:14 | |
They're the best. | 0:55:14 | 0:55:15 | |
Best thing we've done to this house is put the bi-fold doors in. | 0:55:15 | 0:55:20 | |
This is really fantastic, isn't it? | 0:55:20 | 0:55:22 | |
This is really the link you wanted with your garden, | 0:55:22 | 0:55:25 | |
-which you always wanted to be part of the house. -Absolutely. | 0:55:25 | 0:55:28 | |
More and more, space is at such a premium in this country, | 0:55:28 | 0:55:31 | |
and you do have a small house and a small garden, | 0:55:31 | 0:55:33 | |
but actually, the way that you're using it, | 0:55:33 | 0:55:35 | |
you're making every inch work hard for you. | 0:55:35 | 0:55:38 | |
I'm so pleased with it, I can't tell you. | 0:55:38 | 0:55:42 | |
'The re-invention of this home has included moving the bathroom | 0:55:42 | 0:55:45 | |
'upstairs and adding central heating.' | 0:55:45 | 0:55:48 | |
How much has it ended up costing you? | 0:55:49 | 0:55:51 | |
Well, my original budget was 20,000, | 0:55:51 | 0:55:54 | |
but I have exceeded that by about 4,000. | 0:55:54 | 0:55:57 | |
That included the central heating which I hadn't, to start with, | 0:55:57 | 0:56:02 | |
budgeted for. | 0:56:02 | 0:56:04 | |
And also, we had a few problems with the walls. | 0:56:04 | 0:56:07 | |
All in all, I don't think that's a big overspend. | 0:56:07 | 0:56:10 | |
What I like is that you've known exactly where to spend the money, | 0:56:10 | 0:56:13 | |
and also, what not to spend money on. | 0:56:13 | 0:56:15 | |
And this is fantastic really, for the amount of money you had. | 0:56:15 | 0:56:20 | |
This is the best money I've ever spent. | 0:56:20 | 0:56:22 | |
I've got the space, I've got the light and it's wonderful. | 0:56:22 | 0:56:25 | |
What's great about Dawn's renovation is that it takes | 0:56:29 | 0:56:32 | |
an old house and it completely transforms it | 0:56:32 | 0:56:35 | |
and brings it into the 21st century. | 0:56:35 | 0:56:37 | |
What's also interesting here is that Dawn hasn't increased | 0:56:37 | 0:56:40 | |
the footprint of this building - | 0:56:40 | 0:56:42 | |
it's the same size, the space just works far better. | 0:56:42 | 0:56:46 | |
And Dawn has shown that you don't necessarily need more space, | 0:56:46 | 0:56:48 | |
what you do need to be is smarter about the way that you use space. | 0:56:48 | 0:56:52 | |
'And Dawn's smart use of space means she now has room to | 0:56:54 | 0:56:58 | |
'entertain her friends and family.' | 0:56:58 | 0:57:00 | |
To Dawn - hooray! | 0:57:00 | 0:57:01 | |
THEY TOAST DAWN | 0:57:01 | 0:57:05 | |
I've got my retirement home. I think this is for keeps. | 0:57:05 | 0:57:08 | |
This is it. | 0:57:08 | 0:57:09 | |
'Dawn's been able to achieve this amazing transformation | 0:57:09 | 0:57:12 | |
'by embracing Piers' ideas and architectural tricks of the trade. | 0:57:12 | 0:57:17 | |
'For someone like Dawn, at her stage in life, | 0:57:19 | 0:57:21 | |
'this was a really ambitious project.' | 0:57:21 | 0:57:23 | |
But she's pulled it off, not just with success, | 0:57:23 | 0:57:26 | |
but with real style. She's kept her eyes on the prize. | 0:57:26 | 0:57:29 | |
She's really focused on the things | 0:57:29 | 0:57:30 | |
she valued about the space, which is light and space to enjoy, | 0:57:30 | 0:57:34 | |
and she's come up with a brilliant result. | 0:57:34 | 0:57:37 | |
Next week, Cath and Greg's family home is stuck in a 1970s time warp. | 0:57:40 | 0:57:46 | |
So depressing - it's horrible. | 0:57:46 | 0:57:48 | |
Is solving its problems even possible on their tight budget? | 0:57:49 | 0:57:52 | |
Whoo! | 0:57:52 | 0:57:53 | |
I don't think it can be done! | 0:57:53 | 0:57:55 | |
And a divorcee, who dreams of a new life with grand plans for her home. | 0:57:57 | 0:58:02 | |
I just want to do what's best for it. | 0:58:02 | 0:58:04 | |
I just want to make it what it should be and not what it is. | 0:58:04 | 0:58:08 | |
But she's never attempted anything like this before. | 0:58:09 | 0:58:12 | |
That's the problem - being on your own, being my age | 0:58:12 | 0:58:15 | |
and taking on a project like this. | 0:58:15 | 0:58:17 |