2022 SBID Awards Finalists Announced

The SBID International Design Awards finalists for 2022 have been revealed, boasting an impressive shortlist of award-worthy entries across Interior Design, Product Design and Fit-Out. From the design scheme, materials used and products specified through to the final fit-out installation, the SBID Awards champion design standards across the supply chain in the design, procurement and execution of outstanding interiors!

To complete the third and final stage of judging, the online Public Vote is now open! Worth an influential 30% of the final scores, it's your chance to sway the results and decide which finalists you think deserve to take home a prestigious SBID Award! You can only vote once per category, so choose wisely and vote for your favourite designs!

Voting closes at 5pm (BST) on 24 August

Voting closes at 5pm (BST) on 24 August.

Visit www.sbidawards.com to find out more!

In this week's interview with SBID Awards Product Design judge and Chief Executive at Scott Brownrigg, Darren Comber talks about the power of innovative design thinking, its role in future proofing our environments, changing and enriching our lives. He also shares what role the sustainable aspect will play in his judging process.

How important is innovative design thinking when it comes to the future of our built environments?

Innovative design has the power to help address the climate emergency, future proof our built environment, and ultimately enrich lives. We need holistic, culture-led approaches that look beyond aesthetics and current trends in order to create spaces that people choose to be in. The pandemic has caused a significant shift in our thinking; people want to occupy spaces that have been designed with sustainability in mind, and flexible enough to suit their needs. Inclusive spaces that can support a range of communities and cultures are fundamental.

Why is the power of good design so important? How does this impact our lifestyles and ultimately, enrich our lives?

The vast majority of people engage with the built environment in one way or another, and can therefore experience the benefits of good design. It’s not just about new innovations, but thinking critically about how we do things already – and looking for opportunities to make them better.

Good design could play a crucial role in addressing key challenges we face today, such as the rise in the cost of our energy bills.  By changing our mind set on what’s considered the norm, we can improve the quality and efficiency of our homes. Residential planning in the UK often discourages predominantly north facing apartments in favour of dual aspect or south facing aspects. But maybe this should be challenged? South facing apartments often feature smaller windows as a means to manage excess heat gain. If we were to embrace north facing residential design innovatively, it could be a simple way to create comfortable living environments that cost less to light, heat and cool. With bigger windows and better connections to the outdoors.

It can also help us reduce the embodied carbon of our buildings – our design for CABI Headquarters features a stunning exposed steel and concrete interior which saves resources, is sound absorbent, assists with cooling and requires little maintenance. The internal layout is also extremely flexible to reduce need for future fit-out.

Scott Brownrigg are members of the UK Green Building Council and adopt a sustainable building approach. How can the design industry continue to address the environmental impacts of its operations, and will this ethos influence your judging process?

Sustainable solutions can be perceived as the expensive option, so it is up to us to promote the benefits of sustainable design and demonstrate long-term value to our clients and that good sustainable design does not ultimately cost more, but actually less. Sharing knowledge, collaboration and open debate is key to moving the industry forward – ultimately the whole consultancy team needs to be on board and aligned when it comes to meeting the sustainability goals of the project. These goals need to be embedded in the concept and thought about at every stage of the building process; during construction, operation, and what happens once the design reaches end of life. Whole life cycle cost and carbon assessments can help us make more informed decisions when it comes to the design, and the materials and products we specify.

We can also strive to meet benchmark sustainability and wellbeing standards such as Passive House and WELL Certification as we design. Our fit out of EQT Partners London Headquarters was the second London office to achieve a WELL Building accreditation, having successfully tackled issues such as a lack of natural light, poor acoustics, and fitting a variety of functions into a limited space. Challenges we are keen to see addressed during the judging process.

Why is product innovation so essential for the interior design sector, and how can we expect the relationship between manufacturers and designers to evolve going forward?

Interiors tend to have a shorter lifespan than the fabric of the building, changing with occupant need and aesthetic requirements often leads to the interior design being changed many times across the lifespan of a building. Product innovation is therefore crucial in helping us to improve sustainability of the spaces we create. We need to make sure that materials sourced are as sustainable as possible, taking into account the embodied carbon required to make, transport and when the time comes, to reuse, recycle or readapt at end of life.

A much closer relationship between designers and the whole consultancy team is required in order to ensure the design is sustainable, affordable and fit for purpose – fulfilling client (and often, their end user) ESG goals and commercial requirements. We will reach a point where we will need to know the embodied carbon associated with every nut and bolt in order to meet these goals, and the manufacturers buy-in to this process is crucial. With digital twins, we already have the ability to monitor and store data such as predicted lifespan and embodied carbon associated with the building structure – using the same technology for our interior components could help us increase the long-term sustainability and financial viability of our designs too.

Finally, what advice can you give to designers entering the SBID Awards?

The scheme needs to clearly demonstrate its concept and what’s special about it. This should be impactful and easy to explain in no more than 30 seconds. Blue sky thinking is great but we also need innovation that can be implemented – we want to see schemes that are logistically viable yet set new standards of design. All while keeping sustainability and designing for the life cycle of the project in mind.

Cover image: Strata House © Khoogj.

Questions answered by Darren Comber, Chief Executive, Scott Brownrigg.

Material Source Studio has opened its doors, offering architects and designers in the North West the opportunity to immerse themselves in ‘beautifully useful’ products and materials. CDUK is proud to announce its partnership with the Studio which will include a CDUK exhibition area showcasing a diversity of products including Corian® Solid Surface and the recently launched sustainable surface, PaperStone®.

CDUK

CDUK is a leading supplier of surface materials and complementary products. With over 40 years’ experience the company understands customer needs and continues to provide design solutions based on market intelligence. Building on decades of product experience, CDUK understands the value of collaboration and working with fellow creative partners to take products directly to market. With an ambitious programme of growth and development, joining Material Source Studio shows how CDUK is diversifying and tapping into new audiences while continuing to provide high quality design products, expert training, and support.

Material Source Studio

Material Source Studio is the first of its kind in the UK, the 15,000sqft studio is situated in the Grade II listed Hanover Building in NOMA. Set across two levels, it features a wealth of inspirational exhibits and interactive displays from 35 leading brands operating in the commercial interiors and built environment sectors. It also includes an 60-seat theatre, a CPD area, a 300+ book library, 7 meeting spaces, a co-working hub and a podcast studio. Plus, an internal garden and a fully mature, 6-metre tree, spanning both floors.

The space is enhanced further with a seasonally-changing Gallery, opening with two exhibitions as part of the Material Source Studio Presents series. “From the Ground up: A preview” comprises a celebration of innovation in biomaterial development, and “Coo Birds by May Wild Studio” features the local studio’s signature Coo Bird sculptures, inspired by Manchester’s pigeon population.

Fusing the creative acumen of Darren Clanford with the operational experience of Michael Rogan, Material Source Studio was a venture born out of a fervent desire to support and champion the North West’s creative communities. The addition of David Smalley as commercial director bolstered the vast amounts of experience both Darren and Michael bring to the table.

A word from the founders

"With Material Source Studio, we’ve had nothing but support from the design community of the North. And, for this, I can’t thank them enough. It's kept us positive through a pretty tough transformation over the past two years.

“The Studio has been designed by the team at Material Source led by Darren, the partners and the A&D community. I’d like it to be used by everyone as a place to work, meet and, also, socialise. Something we’ve all missed lately.

"I personally can’t wait for the talk series we'll be running in our Theatre space, especially the sessions focused on how we can influence the wellbeing of everyone who walks through our door. After being empty for almost 50 years, it will be great to see the Hanover Building alive again”, comments Michael Rogan, operations director and co-founder of Material Source Studio.

Inside the Studio

Best in the business: 35 built environment brands showcase their products to visitors Making up the Studio’s core offering are bespoke partner PODs – created by neighbouring design and build studio, Tim Denton - and showcasing paint, tiles, flooring and wallcoverings furniture, lighting and smart solutions, fabric, bathroom accessories, plants and acoustic panels.

In addition to the interactive PODs, products from all partners are featured in-situ throughout the space, offering further inspiration to visitors. The entire scheme has been developed by creative director, Darren Clanford, who carefully curated a unique ambience for every zone.

“When serving a design driven audience, it goes without saying that the interiors of Material Source Studio needed to be aspirational. Working with products and materials from the best built environment brands in the business allowed us to create a versatile palette of dynamic, on-trend schemes.

“Spanning a range of ‘zones’, from our 60-seat theatre, to the podcast studio, never-before-seen bespoke pieces from our partners are featured throughout, illustrating the extensive capabilities of each and every one”, comments Darren Clanford, creative director and co-founder of Material Source Studio on the design of the space.

The Studio’s opening hours are 10am – 6.30pm Monday to Friday (closed weekends and bank holidays), and it operates an open-door policy. Events will be advertised on materialsource.co.uk, where you can also find out more information on all partners.

If you’d like to feature your product news here, get in touch to find out more. 

If you’d like to become SBID Accredited, click here for more information.

In this week's interview with SBID Awards Product Design judge Co-Founder & Director of Accouter Group of Companies, Stella Gittins discusses the power of design, Accouter's journey towards becoming a B-corp and talks about the increasing consumer focus on the ethical and sustainable sides of business.

How would you define the power of design?

Design has the power to influence the future, whether that be through innovation, sustainability impacts or the drive for change. Design has the ability to re-imagine what we think we know, and for me, the power of good design is the unity of beauty and functionality. It is courageous in its input and modest in its output, and good design is never out of fashion.

Accouter have recently applied to become B-Corp certified. What will this important certification mean for your business and your clients?

As a future-focused collective, we realised how much difference we could be making on eco and social levels. The first lockdown taught us that even taking small steps to make a change will eventually lead to a more significant impact on healing the planet. Becoming more eco and socially conscious for many in the team was an essential drive for change. So instead of sustaining and maintaining our performance, we prioritised plans to regenerate and commence a never-ending journey towards 'sustainability'.

According to Forbes in 2021, "Generation Z ('97-'12) along with Millennials ('81-'96) are more likely to make purchase decisions based on values and principle." Therefore, commercially we must also be future-proofing ourselves as an industry as the more sustainably conscious generations start to hold the purse strings. Obtaining our B Corp accreditation through initiatives with our teams, customers, supply chain, the wider community and by being transparent and accountable will undoubtedly build that critical trust factor within our business and clients for the future.

When thinking about the future of interior design, what are the key factors driving industry development?

We have lived through, and are still living through, a significant period of re-adjustment that brings a new meaning to and re-orientating our life perspectives. Affiliation with nature and well-being has become a fundamental concept in our way of life. So much so, we have already noticed this drive for change in how we can design a space that incorporates elements for a positive mental and well-being outcome.

Likewise, sustainability is a key focus for industry development. I recently read that 22 million pieces of furniture are thrown away every year in the UK. The shocking stats made us think, “we can do better.” Customers increasingly want a product sourced from ‘responsible’ suppliers and are interested in full traceability on the supply chain offering ‘responsible’ products. Much like our clients, we are investing in the future. Our dedicated ‘Eco-Warrior’ team are directing their efforts on measures that deliver the biggest impacts, with an emphasis on minimising any destructive environmental impact.

When it comes to product specification, how far do environmental considerations influence your design process and buying decisions?

Increasingly, we are actively educating our supply chain on the B Corp Movement. Although we have just started this journey, we are actively on a mission to collect data from our supply chain and environmental credentials of the products we are procuring, intending to deliver on our ambition to source 100% from responsible suppliers.

Launching this year, we will use the Environmental Icons to badge products within our BoxNine7 Curated Furniture Packages service and Bazaar’s e-commerce range. The Environmental icons cover everything from ethical design, FSC Timber and fillings to recyclable packaging. Not only does this influence our design process, but it provides our clients with clarity surrounding terminology and confidence in what they are buying. Our new badging process will assist in educating us all, and over time we are looking to achieve 100% traceability across the AGC collective.

Finally, what advice can you give to designers entering the SBID Awards?

My advice would be not to hold back in your entry and share as much as you can about your project. We have been on such a journey the last couple of years, and we need to celebrate the successes we’ve all had during this time!

Questions answered by Stella Gittins, Co-Founder & Group Director, Accouter.

This week’s instalment of the Project of the Week series features a spacious feng shui-inspired house design by 2021 SBID Awards Finalist, 7K Design.

What was the client's brief? 

The client wanted to change the lifestyle of their home because it had not been changed in over 20 years. Their home was not built with the intention of maximizing space functionality and flow. The client desired a change and wanted to revitalize their spaces not just to make them more practical and flow better, but also to ensure that each space was created with feng shui in mind to bring the family good fortune.

What inspired the design of the project?

As the circle was an important cultural symbol, feng shui was an important component that we wanted to incorporate into the design. It represents yin and yang harmony, as well as the balance of nature.

What was the toughest hurdle your team overcame during the project?

There are precise feng shui principles for each house, and we must incorporate those criteria into our design while still maximizing space, flow, and staying within budget.

Feng shui goes beyond comfort and aesthetic. We had to have a very good understanding of what elements to bring into the space without causing the project's integrity to be disrupted.

What was your team’s highlight of the project?

The team’s highlight of the project is designing the custom spiral stair bookcase. The bookcase incorporates important elements of feng shui: the garden that signifies the growth of life, and the book case signifying growth through knowledge.

Why did you enter this project into the SBID Awards?

We are hoping that SBID will aid in raising awareness of the importance of incorporating cultural identity into designs.

Questions answered by Fianne Zi-Yan Yu, Principal Designer & PM, 7k Design.

The project is developed in an old house in the neighborhood of Palermo. A complete reorganisation of the space was carried out, generating two accesses to two spaces of different uses that complement each other according to the hours of operation of the restaurant.

Considering the history of the old houses of Buenos Aires, the courtyards have always been a space of congregation. So the first great design strategy was to create an access courtyard immediately after the façade as a symbol and blow of effect. This allowed to have a new façade of its own language, and as a consequence to preserve the old style of the main façade. From the point of view of operation, the patio is fundamental for the take away model and also explores outdoor post-covid use.

The proposed language was the result of a deep analysis of the elements that define the gastronomic proposal, a proposal that boasts of a type of American pastry. Hence the reference to the old way of "cooling the cake by the window" and its corollary proposal to use multiple windows on the façade of the entrance courtyard.

Another determining element has been the abstract representation of cakes built by cardboard cylinders, as a system of "skins" that cover certain areas such as the entrance arches and the bar back, a place that attracts all eyes in the purchase process.

These "cakes or cakes" also include two traditional symbols of pastry, the strainer and the whisks, both elements we condense into a single piece as a symbol.

The language of interior architecture is a vernacular composition of the typical demolished industrial style. From this word "demolished" started the idea of using elements that simulate an "under construction" area, that is, scaffolding woods, construction irons, metal fabrics. All neutral materials that make up a universe of constructive sieves and background a demolished house where dry vegetation takes possession of an old house that seems to be in a state of abandonment.

Lighting has become a distinctive element built with wooden structure supports and surrounded by dry vegetation, as a poetic act of how vegetation can take an abandoned wooden scaffolding structure.

On the first floor, crossing the symbolic wooden windows and a large vegetation that climbs through them, we find a private room where the high cocktail bar takes presence. We emulate through the symbolic Lagerstroemia tree in the center of the courtyard and the use of wood around the courtyard the idea of the house in the tree. Hence its name Moshu treehouse.

If you’d like to feature your project here, get in touch to find out more. 

If you’d like to become SBID Accredited, click here for more information.

Wellness design creates spaces that combine form and function for positive mental and physical health. Newmor wallcoverings contribute to creating commercial environments which promote wellbeing through colour, pattern, and texture. Their wallcoverings are also low VOC and contribute to better indoor air quality, as well as enhancing the acoustics of the interior space.

Here are three projects that place wellbeing at their heart:

Platinum Mountain Hotel & Spa is a 5 star hotel and wellness centre in the magical alpine ski village of Szklarska Poręba in Poland. The interiors reflect the hotel’s wellness ethos – comfort, style, and connection to the world outside are beautifully reflected in the organic materials, biophilic design, and cosy accents.

The Folly bar and restaurant is a botanically inspired city haven located in the heart of London. The large-scale skeletal leaf pattern in neutral tones sits alongside a vast collection of plants. Raw wood furniture, stone flooring, sheepskin rugs, and garden-themed ephemera enhance this whimsical uplifting interior.

My Lounge is a laidback oasis located in London Gatwick Airport. The clever use of design scale, colours effects and tactile surfaces create a welcoming space, contrasting with the sterile airport environment. Separate formal and informal dining and seating options ensure visitors of all ages feel at home.

If you’d like to feature your product news here, get in touch to find out more. 

If you’d like to become SBID Accredited, click here for more information.

With rising costs, is a “five-star” luxury space what residents want and need?

One of Just Imagine Interiors' favourite parts of designing a care home is the ability to design an exciting new cinema room for residents. As you will see not only is this a vibrant and fun space to be but its benefits are endless when it comes to bringing people together. This is where our design and creativity really flows, in order to achieve a fun space for residents to relax and enjoy the movie.

Why are cinema rooms so important in care homes, specifically dementia care homes? Who doesn’t love a feel-good movie? Being able to switch off from the outside world with a good movie, in a comfortable chair or preferably a recliner, cosy blanket and a bag of popcorn can revert a bad day into a good day. For residents living with dementia – something as simple as watching a comedy movie or a nostalgic film of the past can help ease stress and anxiety by being so immersed in the film it can be a form of escapism.

We start with the design and choice of funky furniture. We like to be more daring with our colour choices, using vibrancy to add to the fun! The installation of interesting lighting design wholly contributes to an authentic mood in the room. We like the design to be bold and nostalgic or simply a mixture of both! We try to create the full cinema experience in terms of design, look and feel including the smell of popcorn! When designing a home we obey our ethos of creating home from home interiors; the opposite of our design ethos applies in a cinema, as residents can enjoy the experience of stepping out and taking a visit to the Cinema.

Movies provide a great conversation starter, anticipation before the film begins, film enjoyment whilst it is been watched and an after the film review. What’s better than going to see a movie? It’s probably going to see a movie with a friend or loved one! Being able to share the experience of watching movies is a definite relationship booster. When visitors arrive, residents can enjoy taking the family ‘out’ to the cinema, a Birthday celebration or revel in a private film viewing for an everyday treat.

Movies can act like time capsules to a lost era, and the feeling of nostalgia is a powerful tool. Residents can watch old movies from their childhood to unlock memories that have long been buried over the decades. As nostalgia is a way of remembering, talking about and sharing the important events and memories of one’s life, watching nostalgic movies can help provide comfort and meaning to a person’s experiences, as can the cinema itself. This is why décor is so important to every experience that we create. As part of designing for care homes, it is important to accommodate for those living with dementia. We consider landmarks, as research shows that people living with dementia use landmarks as their way of navigation - signage with good contrast text and background, well-lit entrances and utilising natural light. Care and attention are given not only to the fabric and wallcoverings but often it is the accessories and finishing touches that complete the room. There is an emphasis on Artwork this could be old film reels, black and white movie star photos, signage and west end show prints. Well placed accessories such as a popcorn maker, drinks trolley or clapper boards make each room as realistic as possible. Each of these details generates a memory and completes the cinema experience.

Residents should always have a say in the movies being shown in their cinema. Popular films relate to those shown during a residents 30s and 40s, so age is a consideration of film choice. Staff need to know what is “meaningful” to each individual resident as they will have a wide range of viewing preferences depending on what they have done and what they like. Many residents love to sing along when they watch movies, so a good musical is always a winner! Providing residents with varied activities and social opportunities can improve their quality of life. Cinema rooms are installed with smart TVs in most instances so that residents can also access other entertainment online if they prefer. These options can be offered as an alternative or as well as watching movies. Galleries and museums offer virtual tours, which will appeal to the art lover. Whilst Google Earth lets you ‘travel’ all over the world. Simple online games can stimulate the mind, generate memories or help engage with grandchildren on a whole new level!

The cinemas we love to create are bespoke and tailored to the client needs. One of the main challenges when designing is the size of the room allocated. We can be limited to our choice if it’s a small area, but this just adds to the challenge. The seating layout is of a similar style to that of a commercial cinema, whilst where space allows, giving ample wheel chair access. Seats are arranged for maximum viewing. Comfort is key here as a standard film many be 1 1/2 long. Seating must be relaxed and fully support a resident through legs, back, arms and neck. Between each chair sits a table for ease of use and access to popcorn! To save any stressful spills, our specified carpets are impervious and so are the seats. It is difficult to assess the role of the environment in the transfer of infection, therefore our specified impervious finishes allow ease of cleaning and stronger infection control.

The TV screen size is vitally important! Too large or too small can cause a lack of visual clarity. Seating is always placed in proportion to the screen size. We can specify a number of screen options depending on the space. For example, in a more compact space a projector screen can work better. This screen is superior to a plain white wall, as the screen has a coating with reflective properties that help make the projection come out clear and will display every last detail of the projection.

Lighting or lack of lighting are carefully considered in each space. Firstly black out lining is standard on all cinema curtains as showings are mostly during the daylight hours. We need an element of darkness to create the nostalgic ambience, however, safety always comes first. With this in mind, the rooms have options of ambient lighting, task lighting and feature lighting all of which can be adjusted to suite the mood. In some instances the cinema room is used as a training room due to its ability to screen content and comfortably occupy a number of staff. This is where adaptable lighting becomes significant as natural light in addition to ambient light must be optimal.

Finally care is given to the sound quality in each cinema. Again, there are a number of options depending on the size of the room, number of occupants and occupant ability. Depending upon the venue, noise may significantly impact our experience, whether positively or negatively. Understanding the rooms’ acoustics and finding the right balance of sound absorption material, without compromising on our aesthetic is very important. A comfortable acoustic environment can improve well-being and motivation. Sounds are reflected off walls and surfaces in the room; sound coming directly from speakers is flat and even. The size of the room, wallcovering, curtain thickness and length, and items in the room will affect how the sound waves travel and overall quality of projection. Here we can assess location of speakers, add sound bars or, if it’s too much, sound proofing panelling can be installed to the walls. As it is well recognised that noise may be distressing for a person living with dementia it is important that exits are clear, visible and non-hazardous e.g. non slip/ trip.

So why have a luxury cinema in a care home? Having a social space where residents are able to relax, switch off from the outside world and unlock memories that have long been buried is extremely important to improving their quality of life and mental health.

If you’d like to feature your product news here, get in touch to find out more. 

If you’d like to become SBID Accredited, click here for more information.

This week’s instalment of the Project of the Week series features a spacious hotel lobby design by 2021 SBID Awards Finalist, Bishop Design by Paul Bishop.

What was the client's brief? 

SLS Hotels are renowned for breaking stereotypical molds, in sophisticated fashion, and The Sky Lobby at our Dubai destination is no exception. The brief itself was to create a world of true luxury, something that would leave guests overwhelmed with awe.

What inspired the design of the project?

Our creative concept became inspired by the story of Midas, infused with the SLS spirit and excessive glamour of Dubai. This narrative translates through the design and artwork, which perfectly capture these sentiments in a subtle tongue-in-cheek way, enforcing unforgettable connections with guests.

What was the toughest hurdle your team overcame during the project?

Our toughest hurdle started when we inherited the project late on and the construction had already started off the back of the previous design. It was a race against time to redesign the whole project without compromising the construction programme. There was minimal guidance from operations in terms of brand or standard hotel requirements forcing us to create one.

What was your team’s highlight of the project?

Even with the restrictions of the build being carried out during covid, it is known that we have now set a new benchmark for all SLS hotels going forward. An undeniable highlight for us and testament to the standard of work that was carried out.

Why did you enter this project into the SBID Awards?

SBID Awards celebrate the best in design and it is events like this where validation surfaces in recognition that what we are doing is right and that our designs are of global standards.

Questions answered by Paul Bishop, Owner & Founder, Bishop Design by Paul Bishop.

When it comes to challenging the limits of what materials can do, Ledbury Studio is building something of a reputation. The latest design, the Camden Kitchen, is a textbook example of this, combining beautiful materials and artisanal techniques to stunning effect. Ledbury Studio founder Charlie Smallbone talks through how the Camden Kitchen was realised.

What was the project brief?

Our client has a strong sense of style, so was already full of ideas when she came to see us. I really like that because the design process should always be a collaborative one, and is personal to each client. In this case, the room was being extended into the garden beyond, and we were tasked with designing a relaxed and informal space for cooking and entertaining.

How did you design the furniture?

I had decided to use English and European oak throughout the kitchen, and we took particular care to select oak all from the same batch. The result is that the grain matches perfectly and can be seen to run across the width of all the drawers, it’s a really satisfying detail. And for the full-height cupboards, we introduced a design motif that completely belies the practical nature of the fridge, freezer and larder concealed behind.

What can you tell us about the worktops?

The show-stopping island top is a work of art by Lara Bohinc of Bohinc Studio. It’s a selection of Italian marbles, inlaid into an aged-brass edge trim, in a selection of shades that elegantly complement the muted colours throughout the rest of the kitchen. For the long runs of worktop, we specified Ambra quartz, for natural-looking veining in a hard-wearing manmade material.

How have you used pattern and texture in this kitchen?

We’ve employed our signature use of metal with patinated zinc panels on the cupboard to the left and on the extractor hood, where it’s trimmed with aged brass. There is an antiqued glass panel surrounding the extractor, which reflects light from the garden around the kitchen. And possibly my favourite detailing is the delicate fluted oak on the ends of the island, which is echoed in the fluted Ambra quartz splashback.

Any other design highlights?

As this was to be a room for entertaining, our client particularly requested a screen she could pull across to divide the dining area from the kitchen when required. I was inspired by a ‘70s design the client found in an antiques shop, to create this screen of brushed and polished stainless steel in a striking geometric pattern. It’s a great finishing touch to this beautifully eclectic kitchen.

Ledbury Studio kitchens start from £50,000.

If you’d like to feature your product news here, get in touch to find out more. 

If you’d like to become SBID Accredited, click here for more information.