Frank Gehry literally changed the shape of architecture. In a globe-spanning career spent in rebellion against the square strictures of modernism, he designed buildings with radically tilted angles and swooping curves like a cubist painting rendered in 3D. Gehry creations became instant landmarks everywhere, and in Bilbao, Spain, his Guggenheim art museum almost single-handedly revitalized a whole city. Not everyone loved Gehry’s style, whether it was his rough, industrial-style early work—which critic Mike Davis called “Dirty Harry architecture”— or the colossal, highly polished complexes that boldly imposed their “starchitect” creator’s will onto the landscape. But Gehry insisted that a building had to be more than just functional. “I want buildings that have passion in them,” he said in 2003, “that make people feel something, even if they get mad at them.”

Gehry was born in Toronto as Frank Owen Goldberg, the son of a heavy drinker who “held a series of jobs,” said The New York Times. As a kid, Frank tinkered in his grandfather’s hardware store and watched his grandmother buy a live carp to make gefilte fish, a memory that inspired a recurring fish motif in his work. Frank’s world “abruptly fell apart in the mid-1940s,” when his father had a heart attack while the two were arguing; Frank blamed himself. His father never fully recovered, and the family moved to a poor area of Los Angeles seeking a milder climate. On the advice of an art teacher, Frank studied architecture at the University of Southern California; on the advice of his first wife, he changed his surname “to avoid antisemitism.” He spent his early career “toiling as a mid-level designer” at “a firm known for its shopping malls.”

By the 1970s, though, he had “staked a position outside normal architecture,” said The Guardian. He made his first truly avant-garde statement in 1978 with his own Santa Monica, Calif., house, transforming the Dutch colonial with layers of corrugated metal, plywood, and chain-link fencing. It was “hated by the neighbors” but hailed by critics as “the freshest creation in architecture.” As Gehry’s reputation grew, his style “evolved into a sophisticated and playful collage of folding, twisting, and slanting forms,” said The Washington Post. These shapes became possible by his use of CATIA, a computer drafting system for aerospace manufacturing. It enabled “whimsical experiments” such as his 1996 collaboration with Czech architect Vlado Milunic on Dancing House, a Prague hotel and office complex that looked like a couple dancing and was nicknamed “the Fred and Ginger building.” It also informed the 1997 masterpiece that “vaulted Gehry into architecture’s pantheon,” the Guggenheim Bilbao. A riot of sinuous, twisting forms clad with 33,000 titanium panels, the riverfront museum transformed the economically and politically troubled Basque city into a major tourist destination. His success in Spain helped him save another ambitious design, the “audaciously curvilinear” Walt Disney Concert Hall in Los Angeles. He’d begun the $274 million project in 1988, but it got bogged down in economic troubles; thanks to private donations it finally opened in 2003.

“There were disappointments,” said the Los Angeles Times, such as the coolly received 2000 Experience Music Project in Seattle. At times Gehry was suspected of “spreading his talents too thin,” and his planned Guggenheim Abu Dhabi, commissioned in 2006, still has yet to open. Yet “Gehry’s work didn’t slow down” even in his 90s, said The Wall Street Journal. While he was known for recurring motifs, he objected to any suggestion that he had begun to repeat himself. “I cannot face my children if I tell them I have no more ideas,” he said in 2015. “It is like giving up and telling them there is no future for them.”

Archaeologists have uncovered an extravagant private bath complex in Pompeii, shedding further light on the ancient Roman city's grandeur prior to its destruction by Mount Vesuvius in AD79.

You might think a site that has been excavated since the 18th century has "little left to surprise us with", said The Independent. But Pompeii is "the gift that just keeps on giving".

Splendour and esteem

The bathhouse has been described in the sort of language reserved for modern luxury holiday resorts. It housed "hot, warm, and cold rooms" and accommodated up to 30 guests, "offering them relaxation" before entering a nearby banquet hall "adorned with Greek mythology scenes", said Dev Discourse. A large basin within a central courtyard only "enhances the house's splendour", and it's believed to belong to an "esteemed member of society during its final years".

So the venue was "lending itself" to important occasions for the owner to "secure an electoral consensus, promote the candidacy of family or friends", or "merely display their social status", said CNN.

Extraordinary house

The bathhouse is "the latest find to emerge" from this "extraordinary house" in the area of the city known as Regio (Region) IX, said the BBC. Last year, archaeologists uncovered a vast banqueting room with "breathtaking artwork of classical scenes".

Although it was painted black, this was "no grunge-teenager room", said The Independent. Rather it included "exquisitely painted scenes from myth", including one fresco portraying "the king of the gods, Zeus, in disguise as a swan". There was also a smaller, "more intimate" room, where residents of the house would "go and pray to the gods".

Excavations in Regio IX have "yielded" other treasures since they began in February 2023, said The Guardian. These have included a "cramped" bakery where enslaved people were thought to have been imprisoned and "made to produce bread". There is also a laundry, which, like other laundries in ancient Italy, used urine as their "key active cleaning ingredient", said The Independent.

The excavations have also unearthed the remains of 1,000 of the city's ancient inhabitants, including two bodies inside a private residence within the bathhouse – a woman estimated to have been between 35 and 50 years old, clutching jewellery and coins, and a much younger man.

Cheek by jowl

The contrast between the drudgery of a hot, crowded bakery or urine-soaked laundry room and the lavish bathhouse show that "two very different styles of life" are "set cheek by jowl with one another" in Pompeii, said The Independent. This was "often the norm" in ancient Roman cities, which had "no luxury leafy suburbs separate from the industrial areas of town", but a "much more mixed up" and "starkly contrasting, urban fabric".

"Every day here is a surprise," Dr Anna Onesti, director of the excavation, told the BBC, ahead of this evening's BBC Two documentary "Pompeii: The New Dig". "Sometimes in the morning I come to work thinking that it's a normal working day – and then I discover we found something exceptional."

You might assume that the 40 metre-high dome in the Dutch city of Haarlem is a religious building, said The Guardian – "until you notice the bars covering its 230 windows".

The Haarlem Koepelgevangenis ("dome prison") is just one of three so-called panopticons in the Netherlands: circular prisons with a central watch tower, built in the 19th century and designed to oppress inmates. All three have been closed in the past decade, as part of the country's drive to reduce its prison population, and are being "repurposed".

Psychological terror

The panopticon, first envisioned by British philosopher and social reformer Jeremy Bentham in the 1700s, is a circular structure with a domed roof and cells arranged in tiers on the circumference. From the centre, guards can observe all the inmates.

The design "aimed to instill psychological terror" in prisoners, said Semafor. The giant circle of cells, with the guard tower in the centre, "made prisoners feel constantly watched", whether they were or not.

Bentham himself saw the panopticon as "a new mode of obtaining power of mind over mind", and believed this "simple idea in architecture" could reform morals and improve health. He thought the design would work in other institutional settings, including schools, hospitals and factories.

The idea was that constant central inspection would "cause the prisoners to learn to love their work", Tim Causer, a principal research fellow at UCL's Bentham Project, told The Guardian. "But the psychological terror of thinking you're being watched at all times, I imagine, would never leave you."

No panopticons were ever built in the UK. But the Netherlands emerged as the "unwitting 'heartland' of panopticon design", said The Guardian. The three structures in Haarlem, Breda and Arnhem were designed in the 1880s by Dutch architect Johan Frederik Metzelaar and his son Willem Cornelis, who "praised Bentham's design for restricting interactions between prisoners, who were in solitary confinement for 23 hours a day".

In the 1970s, the French philosopher Michel Foucault criticised the panopticon as inducing in prisoners "a state of conscious and permanent visibility that assures the automatic functioning of power". In his 1975 book "Discipline and Punish", he used the panopticon as an example of how societies used discipline to oppress citizens.

Cultural hub

Koepelgevangenis Haarlem, opened in 1899, finally closed to inmates in 2016. The city then briefly used the prison as a shelter space for Syrian refugees, while the government attempted to sell it. But the "bleak design, dark atmosphere and staggering heating costs" made the building "unappealing", said The Guardian.

In 2022, however, following a "grassroots initiative led by the local population", it reopened as a cultural hub and community space. Nearly all the cells are rented; there is a "podcast studio, art school ateliers and gallery spaces", with a cinema bar and a café on the ground floor. The refurbishment has "generated hundreds of jobs", and up to 1,500 people visit the building every day.

Amazon rents a space on the third floor, where cells have been converted into office spaces. The Amazon Web Service logo is "plastered just above the cell numbers", said Business Insider. Many social media users "noted the irony" of Amazon renting an office in a former prison, given the "widespread reporting" of allegations that Amazon warehouse workers and delivery drivers are "overworked, oversurveilled and underpaid".

The Haarlem site also includes student accommodation and social housing, said Positive News, "answering a national shortage of both".

Arnhem's panopticon is currently undergoing reconstruction to turn it into an event space and hotel, and Breda's domed prison is set to reopen in 2028 as an exhibition space for audio-visual projects.

They are among more than 20 Dutch prisons to have closed in the past decade, as the country's prison population has fallen by more than 40% over the past 20 years. The incarceration rate per capita in the Netherlands is now half that of the UK, and there are "far fewer" repeat offenders. "At times, the Netherlands has even resorted to importing convicts from abroad to fill its empty cells and keep some prisons open."

Cracks in the marble façade of the Taj Mahal are fuelling claims that the Indian government is choosing to look the other way as the much-loved monument crumbles.

The Taj Mahal is a Unesco World Heritage site and international symbol of India. But the marble mausoleum in Uttar Pradesh has "long been a source of political point-scoring", said The Times, and there are suggestions that Hindu nationalism could be contributing to its declining health.

Tear of marble

The Taj Mahal is India's most famous building, attracting around eight million visitors each year. It was built in the 17th century by Emperor Shah Jahan, as a mausoleum for his favourite queen, Mumtaz Mahal, who had died giving birth to their 14th child.

The emperor used marble from Rajasthan, which was believed to have a unique quality – it appears pink in the morning, white in the afternoon, and milky in the evening. Rabindranath Tagore, a renowned Indian poet, described the Taj Mahal as "a tear of marble… on the cheek of time".

However, recent photographs on social media have "fuelled concerns" that the monument is "crumbling", said The Times. The images include a leaking dome, cracks in the walls and a tree sprouting from a pillar.

"Semi-precious" stones "inlaid through the walls" are also "grappling with the ravages of time", Shakeel Chauhan, national general secretary of the Tourist Guide Federation of India, told The Times of India.

Damage caused by airborne pollution has also long been a concern, said the BBC. Environmentalists have been "particularly concerned" about a major oil refinery 30 miles away from the Taj Mahal emitting sulphur dioxide and other pollutants, which combine with moisture in the atmosphere to cause corrosive rain.

Go-slow?

The tree spotted emerging from a pillar at the Taj Mahal is a peepul, a variety of fig considered sacred by Hindus – symbolic, for those pointing the finger of blame for the monument's decline on the growing influence of Hindu extremists.

There is a "pervasive influence" of Hindu nationalism in the "highest echelons" of Indian politics, said La Croix, and "an intent to establish a Hindu hegemony at the expense of religious minorities", a policy known as Hindutva.

Some Hindu fringe groups have "set their sights" on the Taj Mahal, which they believe that was built on the site of a shrine to the Hindu deity Shiva, said France24. "It was destroyed by Mughal invaders so that a mosque could be built there," Sanjay Jat, spokesman for the organisation Hindu Mahasabha, told the news website.

But that claim was disputed by Audrey Truschke, an associate professor of South Asian history with Rutgers University. The theory is "about as reasonable as the proposals that the Earth is flat", she said, and speaks to a "frenzied and fragile nationalist pride that does not allow anything non-Hindu to be Indian" and "demands to erase Muslim parts of Indian heritage".

Although responsibility for the monument lies with the Archaeological Survey of India (ASI), political opponents of Prime Minister Narendra Modi's Hindu nationalist BJP, accuse the party of turning a blind eye to the neglect. In a post on X translated by the Deccan Herald, Uttar Pradesh's former chief minister, Akhilesh Yadav, claimed: "The BJP government and its dormant departments have completely failed to maintain the Taj Mahal."

The ASI told The Times of India that there are "no serious structural issues" with the site, and on the allegations of "laxity, corruption, and mismanagement of funds" for its upkeep, it said maintenance funds are regularly audited and "no concerns have been raised in these audits".

If you've ever got lost in a shopping centre you shouldn't beat yourself up about it because they're designed to disorientate you, said an expert.

Escalators are positioned in shops "simply to make people get lost", David Gianotten, of the Office for Metropolitan Architecture, told the Sydney Morning Herald, and this is just one of many tricks used by retail to get you to spend more.

'Smelling salts'

Gianotten, who's been exploring the ways of retail, noticed that there was "always an extra bank of escalators" to divert shoppers so they "spend more money". This was to disorient visitors and "slow them down enough" so they "looked at the merchandise nearby, distracting them from their target", said the newspaper.

During a visit to Westfield Parramatta in Sydney, Gianotten stood by a pair of escalators and noticed another set that went at right angles. "There's always one set that is a little bit outside the circuit, so that [shoppers] feel, 'Oh, where am I now?' I'm disoriented," he explained.

Experts say that "nothing" has "revolutionised shopping" and "cemented" the role of the shopping centre as much as "the invention of the escalator", which was launched in the 1850s to make it "effortless" for customers to reach upstairs floors.

When Harrods introduced them, said London Walks, "nervous customers" were "offered brandy at the top to revive them after their 'ordeal'", or if they were "overcome with joy", they were handed smelling salts. 

In the 1940s, a brochure from the Otis company, which manufactures escalators and lifts, said the lift was made for the "man on a mission" who knew what he wanted and where it was located, and then bought it, but an escalator was designed for impulse buys because it "beckoned" a customer, with its "smooth continuous movement" encouraging the "casual shopper to take in the range of goods".

Manipulative tactics

Escalators are not the only feature of the shopping experience carefully designed to part you from your money. Shopping centres rarely have clocks in them and this is for a "manipulative reason", said Metro. The lack of clocks means "time seems to evaporate", so a "twenty-minute in-and-out trip" could "easily turn into an hours-long spending sesh".

It is a "meticulously crafted strategy, deeply anchored in consumer psychology" designed to "extend the duration of your visit and consequently, your expenditure", psychologist Laura Geige told Metro.

The "severe lack of windows" in malls helps make them "feel like an entirely different world", said StartUp Talky, and the car parks are deliberately "intimidating" so by the time you successfully park, you "won't easily want to go back to retrieve your car because of all the architectural challenges involved" which makes you "more likely to shop for a little more time".

It's also "an open secret" that shops and supermarkets "use techniques to entice people into spending more money", said Metro, including making shopping trolleys larger so shoppers can fit more inside and, in an "age-old favourite", it's "quite common for pricier products to be placed at eye level".

Dr Cathrine Jansson-Boyd from Anglia Ruskin University told The Mirror that the most "traditional trick of all" in supermarkets is pumping out the smell of bread – or something that smells like bread. It's "often an artificial scent", she said.

In 2020, Senegalese-American singer Akon vowed to create "a real-life Wakanda" in Senegal. But four years on, his futuristic city remains little more than a pipe dream.

The West African nation had granted Akon 136 acres of land along its Atlantic coast to develop "Akon City", inspired by the fictional country in Marvel Studios' "Black Panther" films, said Bloomberg.

Akon promised a high-tech metropolis featuring "condominiums, amusement parks, and a seaside resort in gravity-defying skyscrapers rising above the rural landscape", all powered by solar energy and the singer's Akoin cryptocurrency.

Yet today, "goats and cows graze the deserted pasture 60 miles south of Dakar", in the coastal village of Mbodiène, as local authorities grow "increasingly impatient" with the lack of progress.

'A sanctuary for the African diaspora'

Phase one of the $6 billion project was originally due to be completed by 2023, said The Times. The plans included "homes, a hospital, a school, a police station, and a solar power plant". The entire city was to be finished by 2030.

Akon envisioned the development not only as a source of opportunity and employment for Senegal's youth but also as a "sanctuary for African-Americans seeking to reconnect with their African roots", said The Guardian. Senegal is already a "pilgrimage destination" for many in the African diaspora, with many visiting the island of Gorée, the largest slave-trading centre on the African coast from the 15th to the 19th century.

"I wanted to build a city or a project like this to give them the motivation to know that there is a home back home," Akon said at a 2020 press conference.

'We're still waiting'

But the global star, who has sold some 35 million albums worldwide, has now been given an "ultimatum", said The Times. Either get on with the project – or lose the land that was granted for it.

Sapco-Senegal, the state-owned entity charged with developing the country's coastal and tourism areas, has given Akon formal notice that the government will take back 90% of the land unless work is started on the project, according to Serigne Mboup, Sapco's director general.

Akon was given the notice "after missing several payments to Sapco", said Bloomberg, which added that a spokesperson for Akon had declined to comment on the matter.

The project has encountered numerous setbacks and delays since its inception. In 2021, Akon's former business partner Devyne Stephens sued him for $4 million, claiming unpaid debts related to the project, said Tortoise.

Stephens' lawyers later accused Akon City and Akoin of displaying "many of the trademark characteristics… of fraudulent business ventures such as Ponzi schemes and pyramid schemes". Akon settled part of the lawsuit out of court.

And in February 2023, Senegalese lawmaker Bara Gaye told parliament that "Akon City is a scandal," said Bloomberg.

Even staunch supporters of the project, like Mbodiène village chief Michel Diome, now doubt it will ever be built. "Akon City would bring employment for our youth," Diome told the news site. "We would finally have a hospital and even a university."

"We're still waiting," he said.

A controversial new Egyptian capital city is being built 30 miles east of Cairo at the expense of $45bn.

"Sprawled" across a patch of desert four times the size of Washington, DC, the "showy new capital" is "imperial in scale and style", embodying the "grandiose ambitions" of President Abdel Fattah el-Sisi, said the New York Times.

Construction of the "New Administrative Capital" has "well overshot" its original first-phase completion date of 2019-2020, said The Times. But work on the project continues, as does the chorus of hullabaloo it has sparked.

'Modernist' metropolis

For seven decades, the military has ruled Egypt from buildings designed during the "semi-colonial, semi-liberal era of the country's last monarchs", said the paper. But the architecture of the new city is "modernist" and "more in keeping, some say, with the authoritarian nature of military rule".

The new capital will be built in stages across the space of 170,000 feddans (270 square miles). It is based around a financial district where international banks and businesses will have their global headquarters. The city already boasts the tallest tower in Africa and the biggest cathedral in the Middle East.

"Slowly but surely", life is "beginning to trickle" into the city, said CNN. More than 1,500 families have moved in, according to project manager Khaled Abbas, and by the end of 2024, he expects this number to have risen to 10,000.

Eventually, "the whole country will be managed from within the new capital", Abbas added, but not everyone is convinced.

'Massive city for the rich'

There has been "little public fanfare" over the new city, said The Times, as the move to the new capital "coincides with a serious economic crisis" and a fall in the value of the Egyptian pound, leaving many questioning the project's cost.

Critics are "concerned about the expense" as the country "goes through a period of economic downturn" and deals with increased pressures from the war in Gaza, said CNN.

When Egypt opened a "record-breaking mosque" it was "widely criticised for the costs involved", said the BBC. The mosque and accompanying centre covers more than 19,000 sq m and cost 800 million Egyptian pounds (£20.7m) to build.

Writing on Facebook, one critic said the mosque had "the tallest pulpit" and "the heaviest chandelier" but people in Egypt "can't find anything to eat".

Others argue that a "key motivation behind the new city" is to "allow the government to keep its distance from large protests", like those that happened in 2011 around Cairo's Tahrir Square, said CNN.

Maged Mandour, an Egyptian political analyst, told the New York Times that President Abdel Fattah El-Sisi was "borrowing money from abroad to build a massive city for the rich" and that the poor and middle class of Egypt were paying the price in higher taxes.

Speaking to The Times, he said that it is a capital "for the military and its support base, but it is not for the poor, it’s not for the middle class". He added that the "regime's goal" is "very clear", it is the "centralisation and concentration of economic power in the hands of the military", and the capital is "just the clearest example of that".

Even some of the government workers moved out of Cairo's "crushing traffic and pollution" to new offices are complaining, added the paper, saying it takes them up to two hours to commute every morning.

The architects Jacques Herzog and Pierre de Meuron met at primary school in Basel back in 1957, said Robert Bevan in the Evening Standard. Since then, they have produced 600-plus buildings all over the world, ranging from luxury apartments to “cultural institutions”: in the UK alone, the cutting-edge projects they have overseen include Oxford’s Blavatnik School of Government, the Royal College of Art’s new outpost in Battersea, south London, and the conversion of the old Bankside power station into Tate Modern.

Now, the Swiss duo are the subject of this “unusual” new exhibition, which promises to lift the lid on their design process. It is not strictly a retrospective: rather it is billed as an introduction to their “method” and their ethical approach to big architectural projects. The promise is that the show will use everything from augmented reality headset displays to replicas of pieces of furniture they’ve designed to demonstrate how their projects are conceived and built – while swerving the clichés of the standard architectural exhibition.

Herzog & de Meuron’s “brilliance” is not in doubt, said Alastair Sooke in The Daily Telegraph. Browse through a replica of their archives in the opening gallery, filled with small models of their designs and “scuffed, cardboard-and-masking-tape mock-ups”, and you might just get a sense of their global influence. Alas, the cabinets don’t hold the attention for long enough to offer much more than that: rifling through this vast assemblage could “stifle even the most willing exhibition-goer’s inquisitiveness”. It’s a laborious introduction to a show that is markedly short on visual spectacle and on material to illuminate the duo’s achievements. A 37-minute video about a clinic they built in Basel hardly even addresses the architecture, instead focusing on the patients. Should you wish to know more about the design, you are obliged to download an app, which is pretty infuriating.

The show does bring Herzog & de Meuron’s more experimental side to “vivid life”, said Oliver Wainwright in The Guardian. We see, for instance, how “a row of crumpled metal pipes” provided the inspiration for a “beguiling” art storage facility in Switzerland: plaster was cast against them before they were digitally scanned and deployed as a framework for the structure’s “rugged concrete walls”. Yet it’s “frustrating” that so few captions are provided, and the show is selective to say the least: there is no explanation for the scotching of their plan for a new Chelsea stadium for Roman Abramovich; nor do we hear about the major backlash to their proposal “to plonk a cluster of bloated office blocks” on top of Liverpool Street Station – a scheme that is surely “among the most crass commercial speculations the capital has seen in recent years”. Overall, this is an exhibition that poses as many questions as it answers.

Royal Academy, London W1 (020-7300 8090, royalacademy.org.uk). Until 15 October

Where to look first? Down, perhaps. There, placed on the grounds of the Petit Salon, the Salon de Musique or the Salon des Pensionnaires now lie carpets imported to Rome from Nepal. Many thousand miles away from Italy, artisans in Nepal custom-finished the carpets using only recycled wool which had been gathered in the Massif Central, a region of valleys and mountains in France’s southern centre. A labour-intensive undertaking, the makers first dyed their raw material – only natural and ecological dyes were used – before hand-knotting yarns and letting the finished product dry naturally, unfolded to catch rays of sunlight. Today, the floorcoverings feature in three of the six Villa Medici salons that Roman maison Fendi has refurbished and artfully furnished.

It’s a special project and one in which Fendi – spearheaded by artistic directors Silvia Venturini Fendi and Kim Jones – have been joined by Mobilier National (the national furniture collection and conservation agency of France) and Paris-based textile conservation expert Bobin Tradition. French architect Pierre-Antoine Gatier, whose previous projects include work on storied French monuments such as the Eiffel Tower or an 11th-century church in Paris’s Saint-Germain-des-Prés, was drafted in to gently refresh select decorative features.

Unveiled at the end of last year, the result is visually striking. Reframing contemporary furniture design and fine art within the Renaissance surrounds of the 16th century Villa Medici and its generous gardens dotted with oak, cypress and pine trees, the six spaces unite the site’s many chapters that have unfolded since it was first built and later acquired by Cardinal Ferdinando de’ Medici in 1576.

The Villa Medici has long been a home to the fine arts. Ferdinando de’ Medici, who had chosen the building and its plot of land as the Medici family’s first property in Rome, finessed his acquisition with many statues, sculptures and Roman bas-reliefs. And later, when the estate fell into the hands of Napoleon Bonaparte, the deeds to the Villa Medici were transferred to the French Academy at Rome. The Villa Medici has since welcome winners of the Prix de Rome art award and directors that were also blue-chip artists, such as French-Polish artist Balthasar Klossowski de Rola, better known as Balthus, who put his stamp on the building’s interiors from 1961 to 1967.

Latterly, the interiors had been left untouched for about two decades. “The union of past and future is one of the most important and recurring values for Fendi,” said Venturini Fendi. “And as with everything we do, we started from this for the Villa Medici project.”

Now, on the walls there are tapestries by contemporary American artist Sheila Hicks and French artist Sonia Delaunay (Panneau, 1954). Sainte Seìbastienne, a tapestry in hues of beige, sand, nude clashed with sharp arrows drawn in black by Louise Bourgeoise faces a 17th century sketch by Albert Eckhout and woven by The Gobelins Tapestry Manufactory. And throughout: modern furniture made by Fendi Casa to designs by creatives such as Chiara Andreatti, Toan Nguyen and Vitra.

Upholstered in soft browns, Nguyen’s Fendi Casa Sandia sofa is now installed in the Petit Salon; its organic, wave-like silhouette blends in elegantly with the room’s design which also incorporates historic marbles drawn from Greek mythology.

With his creations, French designer Noé Duchaufour-Lawrance paid tribute to Rome, the city that gave shape to Fendi and the Villa Medici. Three iterations of his Tavolo Borghese feature marble tabletops that nod to the shape and sequence of stone slabs that paved the streets of Ancient Rome. Venturini Fendi said: “We have combined several elements and linked the Fendi Casa furnishings to the archive pieces of Mobilier National, bringing the Villa Medici Salons back to their primary intended use, with a contemporary twist.” See fendi.com

Lalique, the luxury glassware atelier and lifestyle brand, is celebrating the centenary of its factory in Alsace, northeastern France.

As far as heritage brands go, Lalique has elegantly glided through the decades without pomp or bravado. On the way, the brand has set new standards of excellence by creating extraordinary objects for the home as well as decorative glass ornaments used in a multitude of domains, from grand exhibition halls and theatres to public fountains, churches and cruise ships.

A short history

René Lalique first made his name as a jeweller in the late 19th century, embarking on this career at the tender age of 16 by enrolling at the École des Arts Décoratifs in Paris. He honed his skills at art school in England and returned to the French capital to open his first workshop on Place Gaillon in 1885.

It was in Paris, aged just 25, that Lalique pioneered a new kind of jewellery inspired by the Art Nouveau movement, patenting a high relief enamel similar to pâte de verre (glass paste) and championing forgotten semi-precious stones such as corundum, sardonyx, agate, carnelian, jasper and opal.

Soon, he began to include elements of glass in his creations too, which was an unprecedented move in Parisian haute joaillerie given the industry’s predilection for diamonds and precious gemstones.

By the turn of the century, Lalique’s ornate and opulent pieces were considered the epitome of avant-garde style, capturing the mood of the moment with motifs and designs inspired by archaeological discoveries, new painting trends, exotic insects, mythical beasts, rare plants and travels to far-flung places such as Japan and India.

His fan base was eclectic and exciting, counting everyone from pre-eminent glassmaker Émile Gallé, who christened him “the master of modern jewellery”, to seminal actress Sarah Bernhardt, who became his muse and patron.

Jewellery, however, had its limitations. It was never Lalique’s desire to simply cater to moneyed clients and Paris’ elite. He believed in art as an educational tool, not as a luxury reserved only for those who could afford it.

Glassmaking as a means of expressing his love of experimental form became a preoccupation for the young Lalique, who opened his first glass workshop in Rambouillet in north-western France in 1898.

Here, he perfected the lost wax technique inspired by an ancient process used for casting bronze sculptures, endowing his glass creations with their own warmth and living mystery. They caught the eye of perfumer Francois Coty who became a central figure in his work, with Lalique providing elaborate glass bottles for his scents made on a semi-industrial scale. Never before had the humble perfume bottle been crafted with such care and attention, turning what had historically been a purely functional item into a veritable object d’art.

In 1921, Lalique decided to open a new, much-larger factory in the village of Wingen-sur-Moder, near the city of Strasbourg, taking full advantage of the post-war grants offered by the French government to help reinstate the artisanal reputation of the Alsace region, which has glassmaking roots dating back to the Middle Ages.

This is where the factory remains to this day, and where Lalique entered a new phase of production that changed the way glassware was appreciated and understood in early 20th-century society.

Key to his success was a dedication to craftsmanship guided by the sleek and glamorous aesthetic of Art Deco style, with its curving contours, geometric shapes and linear decorations. But Lalique did not simply tap into a trend, he pioneered an arts and crafts movement that was anti-elitist and accessible to all. “We need to introduce people to objects that will educate their eye, to populate the notion of aesthetics,” he said. “Art is too expensive, and that needs to change!”

The Lalique Museum

A visit to the Lalique Museum in Wingen-sur-Moder reveals just how revolutionary his glassware factory was as a producer of collectable objects and ornaments that served to embellish both private and public spaces.

The museum, built by architect Jean-Michel Wilmotte and opened to the public in 2011, is home to hundreds of early jewellery pieces, including a gold, enamel and diamond Cleopatra brooch made for Sarah Bernhardt, who played the Egyptian queen on stage, as well as exceptionally rare perfume bottles crafted for the likes of Francois Coty, Charles Worth and Lucien Lelong.

You’ll find rare artefacts such as Lalique’s Epis lamp (one of only ten in existence, noted for its halo of hand-etched corn silk) and a prototype of his famous Poisson fountain, made for the Exposition Internationale des Arts et Techniques held in Paris in 1937. He made two of these cone-shaped fountains decorated with symmetrical rows of “jumping” fish, but only one remains on public display, at London’s Savoy hotel.

Beyond this, there’s much to learn about the magical family talent that pushed Lalique’s production into new realms of creativity in the 1930s to 1980s. A glittering tribute to René’s son Marc Lalique, who brought his own extraordinary design verve to the foundry when he took over the business in 1945 after his father’s death, is paid via the museum’s gigantic 1951 crystal chandelier, comprised of 337 cubic pieces of glass.

Marc Lalique also conceived Nina Ricci’s famous L’Air du Temps perfume bottle featuring a stopper of two frosted kissing doves.

Exhibits shed a light on the oft-forgotten accomplishments of René’s daughter Suzanne Lalique-Haviland, who, like her father, had a polymathic approach to the arts, turning her hand to ceramics, glassmaking, painting, set-design and costume-making. Some of the tableware she conceived for the first-class dining room of the ocean liner Normandie is on show here, although most is held by New York’s Met Museum.

Marie-Claude Lalique, René’s granddaughter also followed in René’s footsteps, creating jewellery at the end of the 1960s and taking over the business in 1977. As a scion of the glassware enterprise, she designed many important pieces including the crystal/gold medals for the Albertville 1992 winter Olympics.

Lalique today

Lalique crystal glassware is still made by hand in the original Alsace factory, with many intricate pieces crafted using the lost wax technique, taking months to complete.

Icons of the brand include the majestic Bacchantes vase with its circumference of sculptural nudes in bas-relief, the Mûres (Blackberries) vase noted for its highly textural motif of plump berries and interwoven branches, and the Mossi vase, an enduring classic whose pattern was conceived by René Lalique in 1933 and is characterised by a bubbly surface of frosted cabochons.

Of course, the list of icons doesn’t stop there: Lalique’s extensive portfolio of products encompasses crystal ornaments, perfumes, furniture and jewellery. A best-selling Cabochon ring is £129, while a limited edition from the Lalique Art Division, a branch of the business dedicated to creative collaborations, may set you back tens of thousands of pounds.

Examples include Zaha Hadid’s wavy blue Fontana Bowl and Damien Hirst’s signed and numbered crystal skull. Of special note is the limited edition Sirènes vase. Made in partnership with American realist painter Terry Rodgers, this vase is a modern reinterpretation of the dance of the bacchantes – but while Lalique presented his female nudes as long and languid, in this contemporary version, Rodgers has them strike a daring pose.

From glassware maker to lifestyle brand

Since he acquired the business in 2008, Silvio Denz, chairman and CEO of Lalique, has been expanding the company into a well-curated lifestyle brand angled towards luxury travel experiences and fine dining. New to the fold, for example, is the Lalique Bar at Restaurant Daniel in New York City, which opened in May 2022.

A few kilometres from the Lalique Museum in Wingen-sur-Moder, is the Villa René Lalique, a five-star hotel with six suites, each decorated in a modern Art Deco style, replete with exquisite black and white Lalique furnishings.

An expert wine collector, Denz has equipped the hotel with an extraordinary 20,000-bottle wine cellar designed by celebrated Swiss architect Mario Botta, an auteur of many spiritual structures including the rhombus-shaped wonder that is the Garnet Chapel in Austria.

The architect was a wise choice given the many sacred treasures housed in this vast modernist space: the oldest and rarest wine is from 1865 and priced at 28,000 euros a bottle. Botta was also commissioned to design the hotel’s dining space, home to a two Michelin-star restaurant helmed by chef Paul Stradner.

People come far and wide to experience this gastronomic get-away, but in true René Lalique style, there’s a more affordable option for overnight guests in the shape of Lalique’s Château Hochberg, which overlooks the Lalique Museum.

A grand manor house located on the site of the former Hochberg glassworks, the hotel has a much larger capacity with rooms (crisp, white and designed by Lalique Interior Design Studio) starting at 200 euros a night for a standard double room.

For more details about the museum, hotels, dining and glassware, visit lalique.com

As a tourist attraction, Oslo has long existed “in the shadow” of Stockholm and Copenhagen, said Thomas Rogers in The New York Times. Yet where once the Norwegian capital was “derided” as “sleepy and overpriced”, it is now in the midst of a bona fide cultural renaissance that may put it on a par with its more traditionally glamorous Scandinavian neighbours. A major redevelopment project, dubbed “Fjord City”, is transforming Oslo’s waterfront into “a glossy district of high-rises and pedestrian plazas”, and a home for a clutch of world-class museums and art galleries.

Chief among these is Norway’s national museum, a “gargantuan” new institution that finally opened its doors to the public in June, after an 11-year gestation. Combining the collections of four pre-existing galleries and costing more than £500m, the Nasjonalmuseet is Europe’s third-largest museum; with 80 rooms and no less than three acres of display space, it will be able to showcase some 6,500 of the 400,000 objects in its inventory, as well as major temporary exhibitions to rival those at Tate Modern or Paris’s Centre Pompidou. Featuring everything from paintings by Edvard Munch (including The Scream, Madonna and other famous works) to 17th century Norwegian tapestries, to contemporary works of art, it takes an “assertive approach to showcasing Norwegian culture”.

This “long-anticipated” museum takes London’s V&A as a major “curatorial influence”, said Helen Barrett in the FT. This means that design will be displayed on an equal footing to art. Among its first big name exhibitions will be a solo show of Grayson Perry’s ceramics and textiles. On display are traditional arts and crafts and, as you might expect, exquisite examples of Norwegian furniture – a highlight is the studio of Terje Ekstrøm, designer of futuristic 1970s chairs, transplanted wholesale into the museum. But there is also industrial design from recent decades, when Nordic companies pioneered many technological advances. There are deep-sea robots, and displays of consumer tech by Finland’s Nokia and Sweden’s Ericsson. (In 2001, Nokia released a camera phone a full six years ahead of Apple’s first iPhone.) Elsewhere, we see a display devoted to “digital graphic design”, featuring curios such as the video for the Norwegian band A-ha’s 1985 hit Take on Me.

The museum’s holdings are fascinating, said Tim Abrahams in the Architectural Record. One moment, you’re looking at Eastern Orthodox icons that ended up in Norway following an 11th century schism with the Western Church; the next, you’re in a room filled with “simple furniture” dating from the 19th century. It’s a shame, then, that the building that houses all this is rather uninspired. The architects, German firm Kleihues + Schuwerk, strived to avoid sculptural elements and idiosyncrasy; the result is a “minimalist” design that underwhelms on almost every level. It is clad in a stone that is neither “attractive or versatile”, and from certain approaches, it looks “astonishingly drab”. Its interior spaces are better, but not by much: the exhibits, you feel, are under-served. Nevertheless, it is possible to spend “a full day immersed” in this “very expensive box”, perusing “vibrant medieval tapestries, remarkable collections of glass and silverware, or the more recent story of a nation told through its modern art”. It is proof that “content, mercifully, can still be everything”.

Now open to the public; nasjonalmuseet.no

John Pawson is sat in his wife Catherine’s study at Home Farm when he dials in over Zoom. The couple’s renovated farmhouse, located in a small village in the Cotswolds, is the apotheosis of Spartan living. Here, sharp lines of design, a suffusion of natural light and the finest materials do magical things together, ushering in a sense of grace, warmth and visual clarity using an artistic language of subtraction that has been the British architect’s signature for more than four decades. The study, however, is slightly different.

Dominated by a large red glossy table and floor-to-ceiling shelves lined with books, it’s perfectly tidy but patently “un-Pawson” – by his standards, it’s terribly cluttered. “My wife [an interior designer] is the exact opposite to me,” he said. “I love her madly but she builds this whole history next to the bed – magazines, dog toys, reading glasses... all ten pairs seem to end up there. She loves books, but she also likes looking at their spines. To me, it’s a reminder that we have 35 travel books on Tanzania, most of which are out of date.”

Pawson is as prolific in architecture as he is in the world of product design. He’s applied his purist principles to iconic buildings the world over from private residences, airport lounges and luxury boutiques to restaurants, exhibition spaces and places of worship including St John at Hackney, his first UK church completed in 2020. On a smaller scale, he’s emboldened everyday objects, including door handles, tableware, benches and lighting, with this same reductive and sleek approach.

His branch of minimalism has a calm and immersive quality that arches seamlessly from secular to spiritual realms as proven by his ground-breaking 1995 Calvin Klein boutique in New York and his ongoing work for the monastery of Our Lady of Nový Dvůr in the Czech Republic.

Now, Pawson has turned his hand to the restful sanctuary that is the bedroom with a newly designed wooden bed frame and matching set of bedding made in collaboration with Tekla, marking his third collaboration with the Danish homeware brand. The first projects were dedicated to two limited series of luxury blankets, which, like this third release, were stylistically influenced by the interplay of light, colour, shadow and space in and around his Oxfordshire home.

In this case, the sheet, duvet cover and pillowcases are crafted from 100% off-white cotton with a delicately crumpled texture like linen to evoke Home Farm’s palette of timber, stone and plaster, and especially the way natural light dances on these surfaces. “The bed linen starts off in the state that it finishes in, which I think is very attractive,” he said of this tactile detail.

Meanwhile, the linear bed frame is set low to the ground with an elegantly slatted base, echoing his love of “silent” furniture. “Beds can be these big clumsy things that fill a space, and they rather spoil a room,” he explained. “The more discreet the bed, the better the space, in my opinion. Crucially, the design has an adjustable headboard that can be raised and lowered thanks to a conspicuous brass hinge. I do hate headboards. There’s a sort of finality to them. They create an L-shape that stops the eye immediately, so the idea was to have one that you could fold away during the day.”

Although a mattress is not included in this Tekla collaboration, Pawson said he chooses his with great care and attention: “I particularly like horse hair and I don’t like springs.”

With sleep hygiene being such a hot topic, are there any other no-nos in the Pawson rulebook of bedroom design? “Catherine often complains that there aren’t enough sockets near the bed,” he said. “There’s one for the light and a spare, which I think is double what you need. So what turns up? A huge adapter with six sockets for the hairdryer and everything else!” he says laughing again, just as Catherine pops into the room to reclaim her handbag from the red table. “Oh look, here’s the boss!” he says affectionately.

Despite the lack of electrical sockets, the couple clearly still have that special spark. And in terms of neatness, they may not be so different after all, as Pawson suggested: “The reason I love visual order is because I am so disordered myself. My brain is busy and I can’t fix for long on the same thing.” No wonder, then, that the more you take in his striking minimalism the more it reveals itself to be an expression of complex thought.

As the architect once famously said: “Minimalism is not defined by what is not there, but by the rightness of what is, and the richness with which this is experienced.” That’s definitely a poignant message to sleep on.

“Location, location, location” was once everything in the property market, said Kate Saines on What Mortgage. But since the start of the pandemic it’s all been about “space, space and more space” for would-be home buyers.

Demand for properties with gardens and outdoor areas grew considerably in the “race for space” as millions were working from home. Even though people are now returning to the office, the appeal of the great outdoors remains.

Investing in your outdoor space is “an investment in your wellbeing”, said Mariel Roe on Properly. So, whatever your outdoor space, “make the most of it”.

A focus on outdoor ‘living’

Our gardens have taken on “such a greater importance” since the pandemic, said Duncan Aird, co-founder and designer at Outdoor Kitchen Expert. During 2022 he expects to see a more sophisticated approach to outdoor entertaining, as families increasingly “embrace their outside areas as permanent socialising spaces, rather than temporary ones”. There’s a focus on outdoor “living” rather than simply cooking or dining.

In this guide, the team from Outdoor Kitchen Expert pick out the top trends for outdoor living in 2022 and the must-have items to help create the ultimate year-round outdoor entertaining space.

1. Smart spaces

Outdoor living trends

This year will all be about making outdoor living spaces “smarter in every sense”, said Duncan Aird. Smart outdoor kitchens are a natural progression from smart indoor kitchens and in terms of appliances, Wi-Fi-enabled BBQs, grills and smokers are now available, meaning families can cook to their exact specifications directly from a smartphone app.

Smart fridges can be installed in outdoor kitchens as well as Bluetooth-controlled heating features, such as fire pits and wireless smart heaters. Homeowners looking to go the extra mile can also consider high-tech canopies. Enabling use year-round, the canopy blades can be adjusted at the touch of a button to track the sun or tilted to catch a breeze. Rain sensors can also automatically close the roof to keep from a passing rain shower.

“As indoor/outdoor living blends, we predict that more families will seek ways to master the skies by adopting smart technology that makes the weather work for them – tilting canopies to collect a breeze or angling to extend the sunshine hours,” he said. “Clients are finding new and exciting ways to extend their entertainment time through amazing smart technology, heating and lighting options.”

2. Multi-generational ‘zones’

Trends

Within our homes, different generations often occupy discrete and different spaces. Our outdoor living spaces are different, with families ripping up the rulebook and reinventing how they live and play together. The vast list of covetable features – LED mood lighting, sound systems, hot tubs, saunas and perfect grilling and entertaining spaces, to name just a few – means that families can create multi-generational spaces that deliver wellness for the whole family.

“Outdoor living spaces can deliver a holiday-style vibe that indoors just can’t match,” said Jo Aird, co-designer and client liaison at Outdoor Kitchen Expert. “Indoors, we must deal with chores and practicalities, but being outside is about being free from domestic duties and spending time together focused on fun and wellbeing – on laughter.

“We can have it all in the back garden, creating a mini-holiday feeling that combats the uncertainty that seems to pervade every other area of life right now. It’s about creating a space that feels safe, where a family will never tire of being at home, and that means creating something multi-use that will appeal to all generations.”

3. Wilding: embrace nature

Trends

Nature will also come into play in other ways in 2022 when it comes to embracing the best of outdoor living. “Wilding” will be one of the biggest trends of 2022, as families look to disconnect from indoors but still enjoy the comforts of home.

Bird song and ambient lighting – when combined with a mobile phone blocker that filters out external distractions but still allows full control over outdoor smart features – can go a long way towards creating a sanctuary that delivers an escape from modern-day chaos.

Edible climbing plants, scaling trellises, herb walls built into and around outdoor kitchen and dining spaces, planters overflowing with flowers that wash the area with relaxing scents… it’s all about creating a space that feels harmonious and natural.

A space where firing up the smoker or charcoal barbecue, or grilling over the fire pit delivers an earthy, glamping-style experience that acts as a sensory detachment from daily life.

4. An area to enjoy all year round

Trends

Winter doesn’t have to mean we’re confined to spending time indoors. From bespoke outdoor fireplaces and firepits to infrared heaters placed in optimum locations, outside entertaining spaces can be created for all year round.

“Why should curling up to watch the stars while sipping a cocktail be something we can only do during the summer months,” Jo Aird said. “With such an array of energy-efficient patio heaters, Wi-Fi controlled heaters, in-table fire pits and other products on offer, outdoor living spaces can enable us to indulge our love of being outdoors at any time of the year.”

5. Heat and coverings

Must-have items

​​This emphasis on outdoor living means that families are looking at the overall entertainment experience. A barbecue, table and chairs might once have sufficed, but homeowners are now looking for fridges, pizza ovens, state-of-the-art barbeques, hot chocolate stations, ice machines, AV systems and more.

All of this means that practical considerations are a top priority, with heating and seating coming under as much scrutiny as eating. Heat is top of the list for UK homeowners looking to create a space that can be used year-round, closely followed by protection from the elements. That means patio heaters, remote controlled electric heaters, fire pits and the like, along with appropriate coverings.

“Coverings require careful consideration, as they need to provide shelter from the rain and wind in the winter but also be suitable for the sunny summer months – and allow for plenty of fresh air to flow through the space,” Duncan Aird said. “Pergolas and awnings are popular choices, while marquees and retractable canopies can also serve well.”

6. Furnishings and AV systems

Must-have items

Furnishings also need to be practical year-round, balancing style and comfort with weather resistance. Again, it’s not just about the basics in 2022. Homeowners are now increasingly looking for outdoor rugs, water resistant cushions and blankets too, in their quest to create an outdoor living space that's suitable for every season. This is where AV systems come into play as well.

The Outdoor Kitchen Expert team is advising clients on everything from hidden TVs and water-resistant projects to surround sound systems connected to streaming apps. The British weather is always an important consideration for such systems, which need to be well protected from the rain in winter and shaded sufficiently that screens are still easily visible in bright sunshine.

7. Lighting

Must-have items

Finally, lighting needs to be given plenty of consideration. LED, solar lighting, smartphone-controlled mood lighting… the choice is seemingly endless and decisions around how to illuminate an outdoor living space can have a huge impact on its overall feel.

“The right lighting can transform an outdoor entertainment area into somewhere that feels cosy and welcoming as darkness falls,” Duncan Aird said. “This is important in the winter months due to the shorter days but also in the summer for long, lazy evenings spent enjoying good food and good company.”

outdoorkitchenexpert.com

One of the quirkiest digital trends to emerge since the start of the pandemic is to have a bookcase in the background for your online meetings and interviews. From news broadcasters to politicians, everyone’s been talking in front of their book collections.

The “credibility bookcase” became “quarantine’s hottest accessory” in 2021, said Amanda Hess in The New York Times. The bookcase offers both a “visually pleasing surface” and “a gesture at intellectual depth”.

Books “are back” and it’s “time to get lit”, said Sydney Gore in Architectural Digest’s predictions of 2022’s biggest interior design trends. People are not just reading books more but they’re also curating books for home decoration and using them for building stairs and tables. In short, books are the “new status symbol”.

As the English writer Sydney Smith said, “no furniture is so charming as books, even if you never open them or read a single word”. We take a look at some of the ways you can use your books for home decor and interior design…

1. Design your own credibility bookcase

If you’re looking to create a credibility bookcase, Penguin Random House has some digital examples that could inspire your real-life collection. Project professionalism from a new home office with options such as:

• The Little-Bit-of-Everything Reader: “perfect for the user trying to convey a colourful reading list”
• The Literary Heavyweight: ideal if you’re “looking to impress your coworkers with your literary prowess”
• The Classics Collector: “you have a taste for the finer things in life, and an appreciation for the trailblazers that came before you”
• The Trend Finder: this collection suggests you are “multi-media savvy, with a keen eye for trends”
• The Adventure Seeker: a YA and dystopian-centric bookshelf which is “perfect for showing your coworkers your creative side”

2. Bookcases and shelving

You may not be seeking credibility from your bookcase or shelves, but they are a great place to start in order to revamp a room.

There’s something “so charming about an abundance of books”, said House & Garden. And a shelf full of books “adds instant appeal to any room”, whether in the form of “bespoke joinery or stand alone shelves”.

A collection of hardcovers is “full of design potential”, said Architectural Digest. Go bold with colour, make an architectural statement and or even incorporate art. “Whether it’s simple rows of shelves or beautiful built-ins, bookcases offer stylish storage for books, artwork, and other treasured collections.”

3. Not just a pile of old books…

The simplest way to show off your books may be by displaying them on shelves. However, there are many other ways you can make your book collection into stylish home décor, said Anne Pilon on Homedit. If you’re going for “a more dramatic effect”, you could even use book pages as wallpaper to cover an entire wall.

Displaying books on tables is a nice option – or you could make a table out of books (as residentreader showed on Instagram, above). Piles of books can look great anywhere – in baskets or simply stacked high on the floor.

4. Elevate your stair game

Staircase design has become a big trend in home decor – whether that’s by incorporating storage areas, adding a reading nook or even designing the steps themselves.

Add an interesting touch to your interiors by giving your stairs a makeover, said The Owner Builder Network. One clever project is to paint each step with the spine designs of your favourite books.

If a paint job is not an option, then some 3-D book staircase stickers could be exactly what your boring steps are missing, said House Beautiful. They can really “elevate your stair game”.

Pantone has created a brand new shade of blue – “Very Peri” – which has been selected as its colour of the year for 2022.

Officially called “Pantone 17-3938 Very Peri”, it is described as a “dynamic periwinkle blue hue with a vivifying violet red undertone”, the institute said. Blending the “faithfulness and constancy” of blue with the “energy and excitement” of red, this “happiest and warmest of all the blue hues introduces an empowering mix of newness”.

Creating a new colour for the first time in the 22-year history of the colour of the year reflects the “global innovation and transformation taking place”, said Laurie Pressman, vice president of the Pantone Color Institute. And the choice of Very Peri was “largely influenced by the desire to overcome the Covid-19 pandemic, environmental concerns and a larger reckoning with injustice and flaws within our current social structures”, Time reported.

When used in home décor and interior design, Very Peri injects a sense of “playful freshness into home interiors, enlivening a space through unusual colour combinations”, Pantone said. This versatile shade is suited to an array of different materials, textures and finishes, providing “a pop of colour, whether introduced through a painted wall, accent furniture or home décor, or acting as an intriguing and eye-catching accent in a pattern”.

Here, designers and stylists share their top tips for using Very Peri in your home and garden…

Pantone’s colour of the year may seem like a “brave choice” for paint if you’re a “little nervous of redecorating and have usually remained a steadfast neutral person”, said Paula Taylor, trend specialist at wallpaper, paint and home interior specialists Graham & Brown. However, Very Peri “reflects the transition from digital to reality” that “many of us are currently experiencing in our homes”.

Working from home digitally, to home life in reality, our “surroundings can reflect the blurred boundaries between the two”, Taylor said. Last year Graham & Brown predicted Tanzanite to be a “big player on the paint scene – a bold splash creating that vibrancy that we are so in need of in our homes”. It will add a welcoming backdrop to any hallway and in a bedroom it will provide a “fabulous pop to compliment the pared back, calming neutral greens that we have all been using”. For a crisp comforting living room, you can team this with soft off whites, like Baked Cheesecake, to create a “timeless effect with a modern twist”.

“We aren’t afraid of colour and love the bold announcement of ‘Very Peri’ as Pantone’s colour of the year,” said James Greenwood, Graham & Brown brand and interiors expert. This look is easily translatable into home décor schemes and the Tanzanite paint is the perfect combination of a striking blue with red undertones. This royal colour looks purple in brighter lighting, or deeper blue in dimmer closed spaces.

Luxury home and garden furniture supplier Bridgman has put together some top tips on how to use the colour of the year to invigorate gardens in 2022. Very Peri is a “spritely, joyous and dynamic” colour that “encourages courageous creativity and imaginative expressions”, the company said. “So don’t be afraid to be bold with this beautiful violet-blue shade.” Liven up neutral furniture by introducing dynamic periwinkle accessories. The mild olive-green rattan weave of the Mayfair Collection pairs perfectly with lavender scatter cushions. These versatile cushions are completely waterproof and effortlessly elegant, providing excellent practicality and a luxurious look.

Grey tones also make for a “harmonious complement” to periwinkle, Bridgman said. Cliveden Collection lounging and dining furniture is characterised by stunning handwoven grey rattan and matching grey waterproof cushions that complement each chair. Accessorise furniture from this collection with Very Peri-inspired pieces to create a serene and calming outdoor space where you can relax and unwind.

“I just love markets,” said Jermaine Gallacher. “I find it thrilling. You can find anything.” And it was a market – a car boot sale held in a schoolyard – that for Gallacher caused something akin to a ripple effect. Because it was then, a little over ten years ago, and in Battersea, London, that a chance find came in a many-pointed shape. “The first thing I ever bought,” he revealed, “well, the first thing that I bought to sell, but I never did sell, was a zigzag candlestick.” The zigzag has since become a key motif for Gallacher, a London-based design dealer and designer of furniture and interiors. “And then of course one thing inspires another and that leads on to all the fun things you can do with the zigzag shape,” he says. “It’s kind of endless.”

Fun things Gallacher has recently done with the zigzag shape include: metal candle sticks and matching candle snuffers, in saturated tones of black, orange, blue, pink or black, all cast from metal; a corresponding metal console table that is hand-welded, its top measured to fit one, perhaps two drinks. Also, coat hooks and a chair of throne-like volume. Part of Gallacher’s debut collection of homeware named Prototypes, his new creations are tactile – their metal surface is cool to the touch, their points sharp – and are a joy to use and to behold, as one can at department store Liberty London or at his own showroom. Gallacher operates from a space on Lant Street, within walking distance of both London Bridge and Southwark Bridge.

To realise his metal Prototypes, Gallacher works with expert makers in the north of England. “Steelworks are really good up there,” he said. “You have got to find good people to make things for you. They have got to know your sensibilities, because I don’t make things.”

A taste for collaboration also extends to his Lant Street set-up. Here, he gives space to the work of artists and creators. Among them are Joe Armitage and Tom Atton Moore. An orange and black lampshade has been painted by hand and is the work of Viola Lanari; there are bright ceramics by Miranda Keyes and metal furniture by Barnaby Lewis. The latter has long been among Gallacher’s key collaborators, as is Lukas Gschwandtner.

With Gschwandtner, an Austrian designer known for his chairs and work with leather, Gallacher is currently fine-tuning a series of metal stools. At the showroom today, one is fitted with a red ostrich leather seat, the other instead features soft lambskin dyed bright orange. “I like a mix of things, really,” he said. “Otherwise, you just end up with you, selfish old you. I just select what I think looks good, really. That’s it. There is no science to it.”

And perhaps in the manner of his signature zigzag, Gallacher, when listing what he has been up to the last few months, also darts from one project to another. There are interior design commissions: about a year ago, he was commissioned to imagine the office of a London barrister. Shortly after, he set about furnishing the Soho home of newly opened restaurant Bar Crispin. The site includes The Green Room, a private dining room seating 12 guests, detailed with an emerald green wall (hand-painted by Viola Lanari) framing a backlit wine rack with metal filigree doors, created for the site by Gallacher. Following the barrister’s office and the restaurant is a sculptural door in Brooklyn and “a really exciting, huge, huge residential project”, Gallacher enthused. “This just glorious apartment in Notting Hill that has not been touched since the 1970s. I am really excited about it.”

Gallacher, who firmly believes that houses become homes gradually and over time, rallies against one-stage, one-theme renovations. “This is a really nice thing about this client,” he said of the Notting Hill commission. “They just want first fits. They want me to choose the flooring, the walls, the fittings, the bathroom. They want me to design the kitchen, and it’s really grand. But, they don’t want me to fully furnish it, which I think is really cool because I think people should grow into their house.”

One way to do so is to do like Gallacher and stalk markets for rare finds. Alternatively, there is a pre-selected group of objects available to buy via Gallacher. On his website at the moment, a duo of ceramic cats modelled mid-dance and a campaign chair in wrought iron and cognac-coloured leather. Or, how about a hallway mirror, its frame finessed with velvet? Each one awaits a new home. Gallacher said: “I think there is far too much trend-led stuff and not enough people buying things because they love it.”

jermainegallacher.com

A crane looms over the hilltop village of Casoli in the Abruzzion province of Chieti. Below, work is underway to restore a historic noble palace with a fresh take on its former glory. Locals, far from being perturbed by the towering machine’s presence in the eighth-century village, see it as a promising sign of what’s ahead.

The palace, originally built for the Ricci family, has held court on the Piazza del Popolo since 1799. It hosted creatives including Francesco Paolo Michetti and Gabbielle D’Annunzio in its time, and soon will house 14 fully-renovated luxury private residences that 126 owners from across the globe will call home.

Acquired by Viaggio Resorts in 2020, the Palazzo is set to become the first private residence club of its kind in the region. Businessman Mike Brosnan, who spotted a gap in the market for holiday homes without the hassle of ongoing upkeep, spearheads the Palazzo Ricci project which is set to be completed by spring 2023. In the meantime, prospective investors visiting the charming town can get a flavour for the style of the property in the nearby showroom.

The Palazzo’s owners will benefit from “all the features of a five-star hotel” while residing in the “fully self-sustainaing” spaces, Brosnan explains. Onsite staff will be on hand to make guests comfortable, while ensuring any maintenance work is taken care of in their absence. Brosnan hopes that all the guests will need to think about “is when they’ll be coming back”.

Distinguished design

Each residence within Palazzo Ricci will be distinct in character. From one- and two-bedroom units to the fifth-floor three-bedroom penthouse or the seperate cottage complete with a private garden, the apartments will be uniquely designed, blending modern amenities with the classical splendor of the building’s original features.

Specialist painter and project partner Spencer Power will lead the decorative conservation work, which includes the restoration of the Ricci family chapel. And the natural landscape will provide guests with ample wonder too, with views over the terracotta rooftops of Casoli’s streets and the Apennine mountain range beyond.

Residents will benefit from an outdoor pool situated in a 930 square metre garden, as well as a Roman bath, fitness centre, bar and social areas. Should they feel the need to drag themselves away from their not-so-humble abodes, then Casoli has plenty to offer too.

A quick climb up to Castello Masciantonio rewards visitors with a lesson in the region’s varied history, while a stroll down into the town on a Friday morning will present abundant shopping opportunities at the local market. From groceries to garments to pasta-making tools, leaving empty-handed is no easy feat.

New eateries and businesses are expected to spring up by the time the Palazzo’s doors officially open, with estimates indicating that the private residence club could boost the local economy by €2.55m-€3.37m (£2.2m-£2.9m) annually. One beneficiary will be Fiore, a spot Brosnan tips as an eatery to watch - so much so that a window between the restaurant and the palace gardens will allow residents to sample its menu from the comfort of their poolside lounger.

Another is the local cooperative which will provide traditional, handwoven products for use throughout the Palazzo’s residences. The collaboration is testament to the project’s commitment to provide a sustainable source of income - and outsider interest - in the region.

Investment incentive

The Palazzo Ricci Private Residence Club offers a unique investment opportunity in the form of fractional ownership, touted by some as the future of investing in overseas real estate. Each of the residences will have nine owners, who in turn will be able to access the Club for a minimum of five-and-a-half weeks per year, with no maximum limit to the length of time they can stay at the Palazzo.

Unit fractions are available from €89,000 (£76,000) up to €289,000 (£247,000). Ownership also includes membership to Elite Alliance, a residence club with a portfolio of 135 luxury properties across the world, so investors can travel the world for a fractional fee.

Brosnan and co are keen for the owners to find their favourites of the Palazzo’s various residences, and guests will not be limited to staying in the unit that they invest directly in. Instead, the company’s internal management system will take care of owners’ requests to upgrade to the penthouse or opt for a cosier stay in a one-bedroom apartment, for example. The team has already seen significant interest from potential buyers in northern Europe, as well as the US and Canada.

So, why Abruzzo?

Mention Tuscany and the Palazzo project’s partner, interior designer Bimbi Bellhouse, shudders. You can’t compare the two regions, she says. With the former now a “Disneyland” overrun with tourists, Abruzzo instead offers a quiet, unshowy authenticity - with a rich history, landscape and culture to boot. It’s little surprise then to find it was named by Forbes as one of the top ten places to retire in the world.

A stay in the region is nothing short of a gourmet smorgasburg. Truffles are abundant in Abruzzo, and are generously flaked over freshly-made chiatara pasta. Anellini pasta is also a regional speciality, a small ring-shaped pasta that is a very distant and far removed relative of spaghetti hoops - though you wouldn’t guess it to see, and taste, the handcrafted version.

Saffron and olive oil are also local delicacies, and a pitstop at Gourment Abruzzo in the nearby town of Lanciano will delight feasters with a true taste of the local flavours in tapas-style servings. Montepulciano d’Abruzzo is a must-try too, and the renowned Masciarelli varities are best sampled at Castello di Semivicoli, a popular venue for Italians tying the knot, with views over the region’s varied hilltop landscape.

Abruzzo offers thrill-seekers an abundance of activities too. Skiers can traverse the Apennine’s slopes in the cooler months and in the summer, visitors will find themselves at the Costa dei Trabocchi in less than an hour’s drive.

This 70-kilometre stretch of the Adriatic coast is characterised by trabucco - traditional fishing piers built into the sea. Nowadays, a number of these have been transformed into restaurants, with the evening’s menu determined by whatever is caught that day. Walk, swim or cycle the unspoilt coastline without the unrelenting crowds that many other equally Instagrammable spots suffer from.

And for those looking for a real escape into nature, the trails through Abruzzo National Park could well reward walkers with sightings of wild boar, hundreds of bird species, and possibly even the Marsican brown bear. Less easy to spot are the park’s wolves, but keep an eye out for their paw prints…

With Abruzzo less than a three-hour drive from Rome and Naples, and the international airport in Pescara just 40 minutes away, it seems unlikely this lesser known corner of Italy will remain quite so secret for long.

Plans to build a gigantic glowing orb, as wide as the London Eye and almost as tall as Big Ben, in Stratford, east London, has divided critics and residents in the city.

New York entertainment giant the Madison Square Garden (MSG) Company is applying for planning permission for a 295ft-high music venue, promising “the next generation of immersive experiences” with world-class screen resolution and sound for its 21,500 concert-goers.

“As planning applications go, it’s certainly got balls,” says The Guardian’s Oliver Wainwright. “Or, to be precise, one massive ball.”

Its “most extreme, and controversial, feature is what’s on the outside: the building’s facade is a five-acre spherical TV screen, like Times Square rolled into a ball”, explains Wainwright. Using 36 million lights, it is “set to glow 24 hours a day, covered with animated adverts for half the time, flickering right outside people’s bedroom windows”.

The Madison Square Garden Sphere project has gone from “looking like an April Fools’ Day prank to now seeming quite likely to happen”, adds Wainwright.

“We’ve just got over the Marble Arch Mound,” says Time Out, referring to another of the capital’s contentious constructions. “Is it now time for the Stratford Sphere?”

This “bad boy” would be a permanent fixture on the London skyline, “next to that strange Olympic Park observation tower that looks like a toddler-drawn rollercoaster”, says the magazine.

The decision on whether it gets planning permission from the London Legacy Development Corporation is “still pending”, but the “concept has been panned by neighbours”, who are worried about the additional footfall and the advertising on the exterior of the building, “in a style not unlike the futuristic Blade Runner films”, says the Daily Mail.

One local told the newspaper “there must be another way to bring in economics into Stratford and definitely not this 90m high joke”, while another remarked that “extreme light pollution and noise, particularly at night, will cause severe harm to residents’ health and wellbeing”.

The Mail notes that MSG has said the lighting can be dimmed if needed and that its own polling found as many as 85% of people supported the sphere. It will also “support thousands of good jobs and bring £2.5 billion to the London economy in its first 20 years of operation”, the company has said.

But the Stop MSG Sphere campaign group, made up of people living in the area, says residents are “terrified” by the proposal that “will severely blight the area, cause noise and light pollution, unmanageable overcrowding and transport chaos”.

One of the group’s members, Lindsay Mace, says: “We don’t think Stratford residents should be guinea pigs for something this huge.”

With concerns that the 24-hour lights will shine into neighbouring homes, another local said: “Our friends have joked that it will at least reduce our electricity bills. We’ll never have to switch the lights on, day or night.”

Bryan Johnston, head of property litigation at the law firm Dentons, predicts a legal bun fight. “Excessive displays of Christmas lights have appeared before the courts in the past in neighbours’ disputes,” he said. “This will be one almighty Christmas display, 365 days a year.”

Writing in The Guardian, Labour MP for West Ham, Lyn Brown, says the site was originally public land that was sold to developers with the idea of creating new workspaces and homes, “a fitting vision for the positive legacy of the Games”.

Instead, she continues, “what we now face is a massive live entertainment venue”, covered with “garish” LEDs, programmed to display videos and adverts. This “monstrous glowing orb makes a mockery of east London’s Olympic legacy”, Brown concludes.

There has also been much bemusement on Twitter, where journalist Sirin Kale says the idea is “insane”, while fellow scribe Nadine Batchelor-Hunt asks of the plan: “For why?”

However, local man Jamie Ratcliff insists there is nothing to worry about. “Simply put no one will die from being close to some bright lights,” he tweets.

If the whole plan sounds a little “Las Vegas”, then that checks out: MSG is also building a Sphere in Sin City that’s set to open in 2023.

Which route through the newly opened Browns Brook Street would Emiliano Salci recommend to first-time visitors setting foot into the concept store? Far from prescribing a sequence of spaces and displays – commanding four floors, the site counts a restaurant with courtyard, a shoe room, a fragrance corner and a Parlour area, the latter a stage to numerous by-appointment-only services from styling to beauty treatments – Salci instead argues for a more congenial approach. “You have to live it,” he says on the phone from Milan. “To experience it like a home.”

It’s a sentiment that sits well with the address’ history: Grade II* listed, 39 Brook Street as it stands today was built in 1720. In past decades, it has been home to interior decoration company Colefax and Fowler, and the firm’s high society owner, Nancy Lancaster.

There are aspects of Browns Brook Street that Lancaster would recognise as familiar, chiefly among them the Yellow Room. Such was its appeal that during Lancaster’s residency, the space on the site’s first floor – nearby, there’s a resplendent ante room, where Flemish artworks can be admired – was photographed to grace the covers and pages of magazines. Today, it makes for a striking mise en scène to Browns’ womenswear offering.

It’s a selection drawn from heritage brands – say, Gucci, Fendi or Burberry – and recent discoveries. Championing emerging talent is something of a forte, ever since Joan Burstein established the business with her husband Sidney. Mrs B welcomed the work of then-little-known designers including Giorgio Armani, Calvin Klein and the Missoni family to London; today, the buying team selects from the likes of Wales Bonner, Molly Goddard and Glenn Maartens’ Y/Project. And it’s this, a harmonious interplay of past, present and the innovative that makes Browns Brook Street an address to earmark.

“I was amazed by the beauty of it,” says Salci, when asked to recall his initial reaction to visiting the building in its original state. “I really liked the idea of this house which has this history. All the stuccos, the frescoes, the decorations, the wooden floors.” Since 2003, Salci has made up one half of Dimorestudio, the architectural and design studio he co-founded with Britt Moran and which is headquartered in a 19th-century dwelling in Milan’s historic Brera area.

Here, in northern Italy, the duo – together, Salci and Moran have realised retail spaces on commission for Fendi, Dior, Diptyque and Sonia Rykiel among others – set about blueprinting their plan for Brown’s new boutique in London’s Mayfair, located a stone’s throw from the fashion retailer’s original set-up on South Molton street, where it had started trading in 1970.

In reaction to the storied townhouse’s architecture and legacy detailing, the duo decided on a multi-layered approach. Some areas have been restored to former beauty, others reinvented, some left as inherited. Naming contemporary artists Donald Judd, Carl Andre and Fausto Melotti among their muses, Salci and Moran matched modular metallic structures with floors tiled in glossy black; there are neon lamps by legendary Irish creative Eileen Gray and chairs by Italian expert Arflex. Such modern design is cleverly off-set with nods to the location’s past, such as handmade wallpapers, their custom design imagining faded Victorian floral motifs.

Nostalgic grandeur is balanced with advances in digital technology: since 2015, Browns has been part of e-commerce innovator Farfetch and in-store innovations include virtual mirrors connected to the Browns app and website. Back in real life, a central staircase frames a Dimorestudio light installation and leads the way to explore at will, as suggested by Salci.

What does “at home” mean to a fashion designer? A fashion designer who, before she eventually retired from fashion a few years ago, presented creations seasonally in Paris, formed part of a circle of creatives that made history and witnessed her eponymous business grow to among other successes count a global network of stockists? “I think that a home is like a bird’s nest,” writes Ann Demeulemeester via email. “So, I consider it as very important.”

A few geographical coordinates that chapter Demeulemeester’s biography to date: there is the 19th century countryside villa located in the small Belgian town of Kessel – a short car journey away from Antwerp – that Demeulemeester and her husband (and long-term collaborator), the photographer Patrick Robyn, call home. Then, in Antwerp there is the house the couple had lived in for 30 years and where they raised their family. She today classes this as “the space that was the most important in my life”.

Now lived in by her son, her former Antwerp address is in fact the only surviving building by seminal Swiss-French architect Le Corbusier. “We saved the house when we were very young,” Demeulemeester explains. “The house in exchange [taught] us every day what beauty is.”

Other places of note may include the Paris workshop of Antoine Bourdelle, the French sculptor who trained with August Rodin and later taught both Henri Matisse and Alberto Giacometti. It was where Bourdelle had once created that Demeulemeester, who made her Paris Fashion Week debut in 1992, unveiled her first dedicated menswear presentation in 2006. She has a thing for ateliers, calling them “the artist’s home”.

Also in Paris, she previously singled out a building with many centuries of history, an inner-city convent that partly dates to the 13th century. “For my fashion presentations, I loved most the Couvent des Cordeliers, an old convent where I could feel ‘soul’,” she says. “It became my ‘home’ showplace in Paris.”

And much like she remembers spaces for the feelings they engendered, Demeulemeester has long created with EQ - emotional intelligence. In 1978, she enrolled at Antwerp’s Royal Academy of Fine Arts to study fashion design under Linda Loppa; upon graduating in 1981, she was classed among the Antwerp Six as one of the circle’s two female members. The other is Marina Yee; Yee and Demeulemeester are joined by Walter Van Beirendonck, Dries Van Noten, Dirk Bikkembergs and Dirk Van Saene.

In 1985, Demeulemeester established her namesake fashion house. Revered for her focus on materials, which she draped, manipulated and tailored to beautiful effect, Demeulemeester drew from influences that are far-reaching and have included the music of Bob Dylan and Patti Smith (the latter a close friend), the art of Marcel Duchamp and Jackson Pollock plus the writings of William Blake and Allen Ginsberg.

All throughout, Demeulemeester dressed her models in precisely calibrated sequences of colour: a number of ensembles in sombre greys, blacks and whites (all three dominate the designer's palette) would erupt in three, four looks cut from vibrantly hued, often monochromatic fabrics. It was blues that nodded to French artist Yves Klein for spring/summer 1998, yellow and orange for SS09. “My style is the result of lots of questions I asked myself during all these years in pursuing my eternal search for beauty,” says Demeulemeester when I ask her to define her signature.

More recently, this quest has led her to ceramics. She today works from her home in Kessel, where there is “always an inspiring mess on my tables”, Demeulemeester says. “It varies from pencils and brushes, to porcelain, wood, plaster, lots of tools and sometimes a computer.”

It was here, at home, that a few years ago she began experimenting sculpting with porcelain clay. After a while, through trial and error and after taking classes with professional potters, Demeulemeester finished pieces of tableware – a plate, a cup – which she began to use during dinner parties. The idea for a line of ceramics firmed up after she met with Axel van den Bossche, one of two brothers behind Antwerp-headquartered company Serax.

In 2019, Ann Demeulemeester – Serax was premiered, starting with Dé, a collection of porcelain tableware that with hand-drawn designs in black, white and bright red tones play on notions of light and dark, paying homage to the fine art practice of chiaroscuro. “I painted shadows in order to create light,” says Demeulemeester. “I made all the first porcelain prototypes myself and loved to paint them in a way that this idea became clear.”

The product is the result of a close partnership with Serax’s teams of makers. “It was great working with Serax who found me the right craftsmen to realise all the porcelain painting by hand,” she enthuses. Since launch, she has added cylindrical candle holders, a lamp and vases to her offering.

The partnership has been a resounding success. Digital wishlists can become a vexed concept, as I experienced with Matchesfashion: the London-based retailer has stocked Ann Demeulemeester – Serax for several months now and it is via my own wishlist that I have seen duos of porcelain dessert plates, wide bowls and a dinky milk jug go in and out of stock. New on-site deliveries sell out within just a few days.

Tempting to many, the designs’ attraction may be down to Demeulemeester’s exacting standards of quality. “I follow every step of the development process until my idea comes through exactly as I imagined it,” she writes. “It is always a challenge to realise ideas, but if you can bring them into the world they become a gift to others. I think good and beautiful things enrich your life.”

“I always encourage the greatest freedom in how one organises one’s own table,” shares Benoît-Pierre Emery. He should know, he is the creative director of Hermès tableware. And, right now, the man with surely one of the best job titles going is putting tableware into context today. “The uses and habits at the table have significantly evolved in recent years. The formats and types of containers have also changed a lot,” he says. “Overall, we take a much more relaxed and informal approach to the table and this is true even in gourmet restaurants.”

It’s something that’s reflected in the luxury maison’s latest tableware endeavour, a collaboration with the Italian artist Gianpaolo Pagni, with whom the house has previously worked on other homeware categories (embroidered rugs have been a success) as well as fashion accessories and its iconic silk carrés.

A tea set titled Hippomobile features an elongated horse across plates, a cake platter, a teapot and cups and saucers alongside a sugar bowl and creamer. It’s a witty and poignant addition to the Hermès' tableware collection division, which in the past has also included collaborations with the Irish artist Nigel Peake, two years ago, for Walk in the Garden - a combination of whimsical and botanical graphics in pastel-punchy shades.

“Undoubtedly linked to the current period that we are going through now,” points out Emery, “we wanted a set that gives us back optimism, that is colourful, full of lightness and has a touch of humour.” He explains: “Gianpaolo has an aesthetic vocabulary which combines both very graphic and colourful forms mixed with fragments of old engravings.”

And a look on Pagni’s Instagram page finds you quickly drawn in by the compelling use of said lines and colour. The artist, who began showcasing his work in the early 1990s and has worked with various high-profile publications, was born in Turin and resides now in Paris.

“Gianpaolo humorously plays with the codes of the house and its history, bringing his personal sensitivity and contemporary outlook,” Emery says of Pagni’s designs, which have drawn inspiration from jockey silks. “Of course, the horse theme is very present throughout the house’s various collections. When it comes to the table, we are more used to telling stories that are not necessarily linked to this theme, but Gianpaolo’s very playful approach immediately convinced us!”

Pagni had come up with the idea of a horse - a notable Hermès leitmotif - as a “kind of limousine, with an elongated back that could hold several riders”. The artist said the visual was interpreted from an engraving from the Emile Hermès collection – a monochrome frame that he covered with graphic friezes evocative of jockey outfits. Pagni’s work starts out as stamps to create motifs; and it is the stamp technique that enables the lines of his designs to take on a sense of character and personality.

“The technical challenge of this set consisted of transcribing its textures as well as possible, and additionally its irregular aspects of stamp printing,” Emery elaborates of this graphic exuberance. “He combines these two sources through stamp work which gives a very particular texture to his creations.”

For Emery, working with artists to create new tableware sets and concepts is, he says, “a chance for a special meeting and creative exchange”. And with every new project two very specific universes – the artistic and Hermès – come together. “We wanted to develop a tea set centred around a gourmet break,” he says, “a happy and recreational teatime! Gianpaolo’s colourful, graphic and quirky spirit seemed perfectly suited to this.” Especially given that we will have all found ourselves taking a renewed interest in homeware and tableware (in lieu of going out to restaurants) these past months.

“The light spirit of this service strikes me as very appropriate for an improvised and informal table,” Emery recommends. “Its sweet and colourful side will go wonderfully with a snack, a break with friends to celebrate a good time in the afternoon or give a boost of good humour at breakfast.” And, back to his original point on tableware today, he explains how Hermès reflects this in the development of new shapes, such as salad bowls, more curved plates and small dishes, “which are very versatile”, he notes.

What is striking about this collaboration is how readily it brings a laugh to one’s lips. The horse stretched across three plates is almost customisable per your occasion. Desirable to those who may have never really thought about the appeal of nice plates. It is charming and colourful, the latter of which was something of a feat but one that with its years of know-how and rigour can’t phase Hermès.

“The development of colour is always a challenge on porcelain,” confesses Emery, who started out in graphic design and studied at the Royal College of Art. That challenge, however, is he confirms also exciting - one that requires patience. “Some pieces are entirely covered with patterns, I am thinking particularly of coffee cups and tea cups, which is a real technical achievement. We have the chance to work with craftsmen and wonderful workshops who push the limits of their know-how on each new project.”

As New York’s first skyscraper hotel, the Waldorf Astoria has been synonymous with effortless luxury and glamour for nearly a century. This Art Deco landmark now proudly takes its place in a world-renowned skyline, but its future was not always so concrete.

The first Waldorf Astoria actually began life as two hotels - The Waldorf and The Astoria - each owned by two feuding members of the fabulously wealthy Astor family. Built on half a block of prime real estate, between 5th Avenue and 33rd Street, “Mrs Astor’s’ 13-storey ‘Waldorf” opened in 1893, gaining an instant reputation for opulence. It was soon outshone, however, by her nephew William Waldorf Astor’s 17-storey “Astoria”, built right next door, in 1897. When the disgruntled Mrs Astor moved uptown the two hotels eventually merged, joined by an alley to form what was at the time the world’s largest hotel.

Playing host to Gilded Age tycoons, American high society and Hollywood stars, it became known as the spot for ladies in the latest couture to rendezvous in comfort and style. It maintained its position at the heart of New York society until the 1920s, when the city’s centre of gravity shifted north.

By the late 1920s, 33rd and 5th in Midtown was no longer a fashionable location. In 1929 the owners sold the land and the hotel was pulled down to make way for the Empire State Building. The manager, Lucius Boomer, procured the rights to the name “Waldorf-Astoria” for a single dollar and, together with a developer and a builder, purchased the site where the Waldorf-Astoria as we know it currently sits. They chose a Park Avenue location for proximity to the recently built Grand Central Station, hedging their bets that, over time, the new hotel would transform a residential area into a booming commercial hub. With 1,400 rooms to fill, this was a major gamble. In fact, they broke ground just weeks before the stock market crash that plunged America into depression.

The build took only 14 months, a major feat as the tallest and largest hotel in the world. Opening to rapturous reviews in 1931, it quickly became the place to be seen in New York, hosting major events in the society calendar and celebrity weddings. This was New York’s living room - where the city came to celebrate. Some even set up home in the Waldorf Astoria as permanent residents. Celebrities like Cole Porter, Marilyn Monroe and Frank Sinatra all moved in, Sinatra for a reported $1m a year. A piano of Porter’s, lovingly restored by its Brooklyn maker Steinway, remains in situ.

A new incarnation of an icon

After nearly a century in its current location, a $1bn (£719.4m) renovation is currently underway for reopening as a hotel with private residences in early 2023. Having rather fallen out of fashion, key to today’s project is revitalising the building and re-igniting the spirit that so rooted it to the American modern age.

Once complete, the iconic property will include 375 condominium residences and 375 rooms of the Waldorf Astoria New York hotel.

Jean-Louis Deniot, the renowned designer behind many of the world’s most luxurious private homes, has reinvigorated the Waldorf’s original Art Deco interiors with contemporary luxury, creating modern living within its historic structure, ranging from studios to two unique penthouses situated in The Towers.

The space has more than 50,000 sq ft of residential amenities, the centrepiece of which is the 25m Starlight Pool. It overlooks Park Avenue and is lit by a restored skylight, an architectural feature lost for 70 years and now returned to its glorious former purpose.

Private bars, salons and game rooms abound, a tipping of the hat to the celebrated entertaining spaces that once drew New York society to the original hotel.

As so it returns, brick by brick, to become a new incarnation of an icon; it nods to history but the Waldorf Astoria has now set its course for the future.

The Towers of the Waldorf Astoria New York will offer 375 residences starting from $1.8m (£1.26m). Occupancy is projected for early 2023. For more information see waldorftowers.nyc

If you were to list the world’s most iconic hotels then the Waldorf Astoria in New York City would no doubt feature near the top. Described as an “Art Deco masterpiece” by The Telegraph, the “ultimate Grand Dame” in midtown Manhattan first opened in 1931 and quickly became a home-away-from-home to Hollywood stars, celebrities and politicians.

The hotel’s “glittering, high-society reputation” saw Marilyn Monroe, Frank Sinatra, and presidents Herbert Hoover and Dwight D. Eisenhower make their permanent homes there, Business Insider reports. And soon investors will be able to follow in the footsteps of Marilyn and “Ol’ Blue Eyes” by buying a luxury condo in “The Towers” when the revamped hotel opens again in 2023.

Residents won’t just have luxurious spaces to live in, but also for work, rest and play. Here we take a look inside The Towers of the Waldorf Astoria and its exclusive facilities, including The Monte Carlo Gaming Room and The Cue Club.

1. Areaware concrete desk set

Magnus Pettersen for Areaware

Cast from solid concrete, this elegant desk set – consisting of a small Sellotape tape dispenser, a pencil holder and a tray – was designed by Magnus Pettersen for Areaware.

£59; scp.co.uk

2. House by John Lewis Tony Desk Lamp

John Lewis

John Lewis’s compact anglepoise-style lamp is simple but classic. It has a painted finish that comes in various muted colours – this one is “lichen” – and has a five-year guarantee.

£25; johnlewis.com

3. Aspinal of London Refillable Journal

Aspinal of London

Hand-crafted in England from Italian leather and available in various colours, Aspinal’s refillable notepads can be monogrammed at no extra cost.

£85; aspinaloflondon.com

4. Petrified log stool

Andrew Martin

These stools are made from hand-polished petrified wood, and each one is unique. They can be used as an extra place to sit, or as a side table.

£565; andrewmartin.co.uk

5. Laptop brush

Oxford Brush Company

Pocket-sized and foldable, this laptop brush can sweep away the dust and crumbs that gather in the crevices. One side has soft goat’s hair; the other, stiff boar bristle.

£14.95; oxfordbrushcompany.com

6. Curie Swivel Chair Vintage Brown Leather

Gallery Direct

Most offices have pretty ugly chairs; at home, you could have this vintage-style leather one from the British firm Gallery Direct.

£489; eclectic-niche.com

7. Kartell Componibili Storage – 3 Elements

Kartell

This classic storage unit, designed by Anna Castelli Ferrieri in 1968, comes in a range of heights, configurations and colours.

£115; madeindesign.co.uk

8. Desktop Blue Folle Classic Stapler

Folle

Designed by the Danish designer Folmer Christensen, and manufactured by Folle since 1946, this sturdy stapler comes in blue or red.

£45; choosingkeeping.com

9. Patch Plants Anna Chinese Evergreen

Patch

For a low-maintenance desk plant that only needs light watering, try a Chinese evergreen, or Aglaonema “Silver Bay”.

Plant £20, pot £40; patchplants.com

The superyacht Christina O did not start her life on the seas as a playground for the rich and famous. Constructed in 1943 by Montreal-based shipbuilder Canadian Vickers, the 99m Canadian frigate - originally called HMCS Stormont - was first used to serve in the Second World War and was present at the D-Day landings in Normandy in 1944.

Acquired in 1954 by Aristotle Onassis, it was the Greek billionaire shipping magnate that transformed the Stormont into one of the world’s most luxurious superyachts. Renamed after his daughter, Onassis spent $4m on the refurbishment of a ship that would become an elite and exclusive entertainment destination.

From John Fitzgerald Kennedy and Winston Churchill to Marilyn Monroe and Jackie Kennedy, who Onassis later married, Christina O hosted some of the world’s most influential people during her glory years. The wedding reception of Monaco’s Prince Rainier and Grace Kelly was also held on board, while legendary Hollywood couple Richard Burton and Elizabeth Taylor were regular guests.

Today the Christina O can be hired for corporate events and be chartered for private use. Charter prices start from €560,000 (£492,900) a week in low season to €630,000 (£554,700) a week in high season. See morleyyachts.com

After a number of refits, the ship has been meticulously restored. It can sleep up to 34 guests who can enjoy the same luxury experienced by the famous visitors of yesteryear. Designed to the highest standard, Onassis’s “unique taste is everywhere”, says Boat International magazine. Christina O is regarded by many as the “greatest yacht of them all”.

One of the highlights aboard the superyacht is the beautiful swimming pool. Designed with a tiled bull mosaic, the pool can turn into a dance floor at the flip of a switch.

Relaxation is the top activity on the Christina O. As well as the Jacuzzi deck (pictured) the ship also has an indoor air-conditioned gym and a spa which offers beauty treatments and massages.

The surroundings inside the yacht are as plush as the exteriors. The Callas Lounge (pictured) is named after the American-born Greek soprano Maria Callas. Regarded as one of the influential opera singers of the 20th century, it’s said that her “opera notes still play in the Callas Lounge”.

The legendary Ari’s Bar is christened in tribute to Aristotle Onassis himself as “this was one of his favourite places in which to enjoy a drink”, says Yacht Charter Fleet.

Ranked 56 in the Top 100 Largest Yachts in the World list, Christina O is the “epitome of elegance and luxury”, says Superyachts.com. “Its capacious deck can host up to 250 guests beneath extensive canopies, perfect for a special occasion or one-off corporate incentive.” Other amenities include the Galaxy Bar on the Compass deck and the large Jacuzzi on the Promenade deck.

The expansive and luxurious Onassis Suite is situated on the bridge deck and holds a spacious bathroom with Jacuzzi tub and a private en-suite lounge, says Superyachts.com.

Christina O’s elegant marble-railed spiral staircase covers three decks and at the bottom is the floor depicting Onassis’ Omega emblem.

With everyone spending most of their time at home, it’s no surprise that property upgrades and renovations are on a lot of people’s must-do list in 2021.

From extensions and refitting rooms to new furniture and household items, there’s plenty you can do with your abode to give it a makeover or upgrade.

To help keep your home up to date, Studio L, London founder Laura Marino, Albion Nord creative director Camilla Clarke, and Jouin Manku founding partner Sanjit Manku pick out the interior design trends to watch out for this year.

Candy floss colours

Interior design practice Studio L, London has designed the interiors at Westminster Fire Station in Victoria, a new development featuring 17 apartments which is set to complete this year. Studio L, London founder Laura Marino talks through her design predictions for 2021.

“We still think you’ll be seeing a lot of pastels but mixed with slightly more saturated and (in instances) acidic hues, especially when we head towards spring and summer,” says Marino. “Curved furniture will still be very big and especially attractive in colours such as mint green, acid or lemon yellows, dusty or hot pinks. Just imagine going into your favourite bakery or candy store - this trend is evocative of a simpler, more innocent time.”

Old fashioned bedding

“We predict seeing a rise in handmade items, authentic looking bedding like crocheted blankets and afghans, eiderdowns, quilts, floral patterned sheets, coverlets and in general a more ‘folksy’ type of layering, reminiscent of when bedding was made for function rather than just decoration,” says Marino.

Dried flowers and grasses

“This is already trending but it hasn’t hit the tipping point yet,” says Marino. “Again it’s a part of this whole ‘Cottagecore’, ‘granny chic’ vibe. People want their places to look homegrown and crafty to a degree - completely authentic. Natural elements and comforting textures remain very important to help people feel connected to something real but also nest in their home surroundings. It’s easy to do yourself as well which makes it particularly attractive. Don’t be surprised to see wheatsheaf, dried pampas grasses, pussywillows, craspedia, pharlaus, largarus – you name it, in people’s homes.”

Chenille

“While bouclé and coloured bouclé are still very popular, chenille is on the rise as an alternative,” says Marino. “It’s not just for your grandma’s sweater anymore. We’re seeing chenille in all sorts of textural variations and colourways to make it more modern and attractive to touch.”

Tile alternatives and sustainable surfaces

Marino says: “To get that aged, tactile and comforting look of patina, I think we’ll be seeing more with paint and plaster techniques and ones that can also be used in wet spaces and are sustainable. Things like Béton Ciré, Tadelakt and marmorino.”

Reimagining of forgotten furniture

Chelsea Barracks in London has partnered with Albion Nord to launch The Chelsea Barracks Collection. The collection of bespoke artisan crafted homeware features The Wellington desk (pictured above). It retains the portability and simplicity of the original campaign desk whilst including special details such as the lion claw feet and the Chelsea Barracks rose marking, which is featured on the desk’s key.

Camilla Clarke, creative director at Albion Nord, says: “Antique, repurposed, salvaged and vintage pieces along with old designs reimagined will re-emerge in 2021. For example, the campaign desk, once used by officers and their staff during military campaigns, with several features that made it easy to transport. In a time where a large number of us are working from home, a portable campaign desk is the perfect answer.”

Natural materials

Light timbers, rattan furniture, and muted lightweight linen fabrics all feature in The Chelsea Barracks Collection. Clarke explains: “The use of natural and sustainable materials, such as timber, stone and linens are becoming increasingly popular in interiors and furniture. Natural pippy oak, honed limestones, rattan and linen are some of the most sought after materials, displacing harmful plastics and synthetic fabrics in upholstery. Homeowners are searching for authenticity in their homes and using natural materials is a great way to achieve that.”

Organically shaped furniture

We’re starting to see the ditching of the once-popular hard lines, and sharp edges of post-modern minimalist design, and increased use of curves and softer, more feminine shapes across homewares, furniture and interiors, creating a calming ambiance that is softer on the eye.

Parisian design duo Jouin Manku have incorporated curves throughout the interiors of their latest project, Mayfair Park Residences - the first Dorchester Collection-branded residences - using a blend of custom-designed furniture such as oval marble-clad bathtubs, curved open hearths and cocoon-like headboards.

“The best way to create a space that is comfortable and induces calm is to create a setting with elements that reflect the natural environment, that is sculpted by forces of nature to create soft, organic, curved formations,” says Sanjit Manku, founding partner of Jouin Manku.

“In the design of Clivedale London’s Mayfair Park Residences we emulated this to create a space that has a natural sense of flow, without interruption from bold corners and harsh lines, drawing you into the residence. Features such as oval marble-clad bathtubs, curved open hearths and cocoon-like headboards in the apartments have worked to create a consoling and comforting atmosphere in the middle of central London.”

Exterior design

With a big focus on outdoor socialising, it is predicted there will be a rise in the investment of outdoor areas - be it gardens, balconies, terraces or even courtyards. There was an increasing interest in outdoor furnishings, rugs and lighting last year, and according to Technavio, the global outdoor furniture market size is expected to grow by $8.27bn (£6bn) from 2020 to 2024.

With so many options for materials and accessories, your bathroom can look as stylish as any room in the house.

George Holland, bathroom design expert at Victorian Plumbing, shares his thoughts on 2021’s top bathroom trends and reveals how they can be achieved at home, whether you’re looking to splash the cash or build on a budget.

Colourful basins

Neutral shades continue to be a popular option for bathrooms, but that doesn’t mean that adding colour needs to be ruled out completely. Colourful basins (like the one pictured above) can make a powerful statement, without painting your walls or adding wallpaper. These basins bring elements of 70s retro back into the bathroom, a trend expected to grow in popularity in 2021. Holland says: “Compliment your basins with matching towel sets or other soft accents to highlight your colour schemes. These basins can bring a space to life and work well with neutral tones and backdrops. Adding matte black taps will bring the whole look together, giving a sophisticated feel to the space.”

Copper effect baths

A cheaper alternative to the copper trend sweeping through Instagram, copper effect baths give your home the same trendy aesthetic without breaking the bank. Celebs such as Kendall Jenner and also Harry and Meghan have influenced the bathroom trend that erupted in 2020, and it looks set to continue to be a favourite moving into 2021. The finish provides the same warm effect as actual copper but for a fraction of the price. “These freestanding baths come in a variety of shapes and sizes so can easily be added into smaller spaces or even ensuites,” says Holland. “Be wary of strong detergents or cleaning products as these can cause damage to the material, and make sure to use a soft cloth rather than a brush for cleaning to avoid scratches.”

Industrial-style showers and taps

Give your bathroom an industrial feel with a matching industrial shower and tap set. Influenced by metalwork and equipment found in traditional factories, these sets can transform your bathroom by offering a stylish edge. This versatile trend works well for both modern bathrooms and more traditional suites. “These taps look really impressive when paired with modern freestanding baths,” says Holland. “The contrast provided will make a statement in any bathroom. Despite being tall and imposing, their freestanding designs allow them to be fitted alongside baths of any size.”

Bluetooth ceiling lighting

A modern trend expected to rise in 2021 is Bluetooth lighting. A speaker, combined with LED lighting, means you can control all your senses around you, creating a whole new level of ambience. This modern invention allows you to set the tone of your bathroom space. Holland says: “Bluetooth ceiling lights can help bring a bit of smart home functionality to your bathroom. The ability to stream audio from your phone makes showers and long soaks more enjoyable, while the powerful LED lighting works well in both light and dark bathrooms.”

With more time than ever spent at home due to Covid-19, increasing numbers of people are searching for ways to upgrade their properties in order to improve their personal and working lives.

Since lockdown, the UK property market has seen an uptick in demand for both bigger houses and more outdoor space. But many homeowners are improving their living conditions without moving, by transforming the design of their current abode.

Indeed, the impact of the pandemic on how people want to live and work at home has been “significant”, with UK homeowners increasingly demanding properties that “better support their new ways of living, as well as their mental health, happiness and family cohesion”, according to the findings of a new survey commissioned by the Royal Institute of British Architects (Riba).

How design affects us

The survey of 1,500 UK homeowners found that the majority (70%) believe the design of their home has affected their mental well-being during the coronavirus crisis. Some respondents said that spending more time at home had made them more stressed (11%), anxious (10%) and depressed (10%), and that they had found it harder to relax (9%) and be productive (6%).

But 23% believed that a better-designed home would increase their happiness, with other benefits cited including being able to relax more (31%), sleep better (17%) and live more harmoniously with fellow inhabitants (11%).

Commenting on the findings, Eleanor Ratcliffe, an environmental psychologist and lecturer at University of Surrey, said: “For many of us, our home is our favourite place and an important part of our identity. Over recent months, our homes have had to become the workplace, school and gym, and yet still be a place to relax and recover from all the everyday stresses and strains - impacting entire households.

“The research demonstrates that many people realise that their home in its current form does not cater for all these different uses and users.”

Duncan Cottage in Bath by James Grayley Architects (Image: Riba)

Goals for happier homes

Eight out of ten respondents (79%) in the Riba survey identified one or more changes that they’d now like to make to the design of their home. The research found that:

- nearly a quarter of homeowners (23%) would reconfigure their existing spaces- a fifth want to create more space by extending their home- nearly one in ten (9%) would change their open-plan design to create separate rooms, while 14% would make their home more open plan- 40% want more environmental-design features, including increasing the amount of natural daylight, improving the energy-efficiency of their home and adding more sound-proofing - 8% would like more flexible living, such as rooms that can easily be divided- 17% would create an office space to support working from home- 7% want to be able to accommodate an extended family including parents, grandparents and grown-up children- 12% need more personal space.

Riba president Alan Jones said: “It’s clear that the impact of Covid-19 will affect how and where we choose to live for years to come. For many of us, our homes are our sanctuaries, and this research clearly indicates that many people are keener than ever to adapt and improve their homes.”

Main image: this house in Manchester was designed by Martin Gibson of GA Studio Architects. It was the Riba North West Award winner and longlisted for Riba House of the Year in 2016

Growing up in 1980s Liverpool, we used to hang out at the house of a school friend whose father was an architect.

To us, he seemed the epitome of bohemian, being the only one of my friends’ fathers who (a) had a beard, (b) decanted wine into a carafe to drink with his dinner and, crucially (c) let us have some.

A PH 5 lamp illuminated the dinner table as he told us the story behind it over a glass of Beaujolais nouveau. Since then, I’ve always thought the best designs have the best stories.

Here we look at the stories behind seven perennial mid-century design classics that you can still buy today.

PH 5 Lamp

‘Correct illumination doesn’t require money, but insight’

Danish designer, journalist and author Poul Henningsen’s childhood was illuminated by the gentle glow of oil lamps. When electric light bulbs came in, their overhead glare offended him. Riding on trams through the dark Copenhagen evenings, he gazed into homes and was appalled. “One shudders to see how gloomy they are,” he wrote. “Furniture, style, carpets – everything in a home is secondary to the importance of lighting.” In 1958, he designed the classic PH 5, which emits downward and lateral light – in effect, the shade illuminates itself. As he wrote later: “The correct illumination of a home does not require money, but insight.” Today, you’ll need quite a bit of money to buy Henningsen’s insight, but the classic PH 5 is still available at Louis Poulsen.

PH 5, £685; louispoulsen.com

Alvar Aalto Vase

‘I’m filming the waves in my head. I might need them one day’

Finnish designer Alvar Aalto’s work is best defined as exemplifying a harmonious relationship with nature. Architect Veli Paatela remembers swimming with Aalto off Cape Cod when the designer suddenly stopped, stood up, and looked at the waves. “I’m filming it in my head,” he said. “I might need this shape some day.” Waves played a major part in Aalto’s success - indeed, “aalto” means “wave” in Finnish. In 1930, his Savoy Vase caused a sensation at the New York World’s Fair, with a dynamic wave-inspired design as fluid as the Finnish lakes that inspired it. Today, they are still available from Iittala in Finland, still blown by mouth by humans, and still shorthand for classic Scandinavian design.

Alvar Aalto Collection, from £61; iittala.com

LC4 Chaise Longue

‘The extension of the art of dwelling is the art of living’

If anyone harnessed the power that design can have in elevating our mood, it’s Charlotte Perriand. “The extension of the art of dwelling,” she said, “is the art of living.” In 1927, the then 24-year-old French designer applied to work with Le Corbusier. His misogynistic reply: “We don’t embroider cushions here.” Yet within a year Perriand, Le Corbusier and Pierre Jeanneret had teamed up to produce the definitive chaise longue, the LC4. As she said in a 1984 interview in Architectural Review: “I think the reason Le Corbusier took me on was because I was familiar with current technology, I knew how to use it and, what is more, I had ideas about the uses it could be put to.” Her designs are still among producer Cassina’s biggest sellers.

LC4 by Cassina, from £3,925; conranshop.co.uk

Ball Clock

‘I still don’t know to this day who cooked it up’

This staple of 1950s American kitchens is attributed to George Nelson, but may not have been all his work. The design was the result of an alcohol-fuelled sketching session in 1947 involving Nelson and some friends – architect and futurist Buckminster “Bucky” Fuller, industrial designer Irving Harper and the Japanese artist Isamu Noguchi. In his excellent book George Nelson: The Design of Modern Design, Stanley Abercrombie relates how a hungover Nelson returned to his office the morning after: “Next morning I came back, and here was this roll of drafting paper and somewhere in this roll there was the ball clock. I still don’t know to this day who cooked it up… It might have been Irving, but he didn’t think so... We both guessed that Isamu had probably done it because he has a genius for doing two stupid things and making something extraordinary. But we never knew.”

Ball Clock, from £250; vitra.com

Anglepoise Original 1227 (giant version)

An engineer went into his shed in 1929 and emerged in 1932 with the Angelpoise

The Anglepoise wasn’t designed by a product designer but rather an automotive engineer. George Carwardine specialised in vehicle suspension systems and springs. When the car company he worked for went bankrupt in 1929, in classic English fashion he rolled up his sleeves, disappeared into his shed in Bath and emerged in 1932 with the Anglepoise Lamp. It wasn’t universally loved though – in 1949, the head of the BBC’s Variety Department, Michael Standing, banned BBC employees from writing at desks illuminated by an Anglepoise unless an overhead light was also lit. Standing believed that a man writing at a desk in a confined space illuminated by a single light source would produce “furtive and degenerate ideas”. The Anglepoise was loved by children’s author Roald Dahl, however – so much so that the Roald Dahl Museum in Great Missenden, Buckinghamshire, commissioned this giant version, which is still in production today.

Original 1227 Giant Floor Lamp, £2,950; anglepoise.com

Ultima Thule

‘Lapland is a place to recharge my batteries’

It’s tempting to cast the bearded, pipe-smoking Tapio Wirkkala as a backwoods lone wolf, at home in the seclusion of the wastes of northern Lapland. But he was also a sophisticated world traveller who worked with American product designer Raymond Loewy and Italian designer Gio Ponti. Wirkkala’s three-decade run of designs for the Finlandia vodka bottle (1970-2000) hints at his commercial acumen. But he’s most famous for his Ultima Thule collection – inspired by Lapland’s melting ice and the result of thousands of hours experimenting with glassblowing techniques to perfect its unique texture.

Ultima Thule pitcher (£114) and two glasses (£32); iittala.com

Wall Mirror

‘American design has the look and feel of belonging in our homes’

Imagine Mad Men character Don Draper as a product designer and you’ll get Paul McCobb. As Julie Lasky wrote last year in The New York Times: “In his time he was as famous as Charles and Ray Eames. Maybe more so. In 1957, Bloomingdale’s showed 15 McCobb room settings, stocked with 348 designs.” McCobb was sharp-suited, charismatic, irascible and hard drinking, with an “America first” approach to design that Donald Trump would applaud. “Contemporary American design is not the Chinese influence, the Swedish or the Italian influence,” he once said. “It is an American influence that has an American look about it and has the feeling of belonging in our homes.”

Wall Mirror, reissued from the 1950s design for Bryce Originals, €644 (£583); fritzhansen.com

Nagasaki Chair

Being a prisoner of war enabled him to learn his craft

Few Frenchmen would have had much to thank the Germans for in the early 1940s, but the former occupying forces indirectly boosted Mathieu Matégot’s career. The French-Hungarian designer volunteered for the army but was captured and forced as a prisoner of war to work in a factory making metal accessories. The metal-working skills he picked up there would rise to their zenith with his 1954 design, the Nagasaki Chair. The three-legged classic design combines metal tubing and perforated sheet metal – a unique formula that he named Rigitulle – and characterises much of Matégot’s work.

Nagasaki Dining Chair, €449 (£407); shop.gubi.com

Main image: louispoulsen.com

Artist David Landy arguably became the world’s ultimate minimalist when he destroyed every single thing he owned. Landy staged his drastic measure in a former C&A shop on London’s Oxford Street in 2001, in a piece of living art called Break Down. Each of the total 7,227 possessions that he had accumulated over his then 38 years were placed on a conveyor belt to be shredded, crushed and dismantled. Irreplaceable items including old love letters, his father’s old sheepskin coat, even his Saab 900 Turbo 16S – all went into the ravening maw to end up as part of a six-ton pile of landfill. “It was the happiest two weeks of my life,” Landy remembers.

Most of us aren’t so brave, but may still wish we could live by William Morris’s famous maxim: “Have nothing in your house that you do not know to be useful, or believe to be beautiful.” We’re taught consumption from childhood, and encouraged to live by it. US publisher Malcolm Forbes, for example, had a plaque in his family kitchen bearing the message: “He who dies with the most toys, wins.”

The Telegraph reported in 2010 that the average ten-year-old British child owned 238 toys but played with just 12 daily. And it gets worse as we grow up. According to the Los Angeles Times, the average American household contains around 300,000 things.

Back in the Noughties, Americans Joshua Fields Millburn and Ryan Nicodemus owned much more than the average. The duo were, as they recall, “successful young professionals from Dayton, Ohio. People saw our six-figure jobs, our luxury cars, our new gadgets, our lives of opulence… but we weren’t happy.” So they became minimalists – literally owning the term by calling themselves The Minimalists – and jettisoning 90% of their possessions. They explain that “as a minimalist, everything you own serves a purpose or brings joy… which allows you to focus on what’s truly important: health, relationships, passions, growth, and contribution”. If you’re brave enough to try it, you can follow their 21-step day-by-day schedule to becoming more minimal.

Both The Minimalists and the queen of minimalism, Marie Kondo, have successful Netflix programmes, podcasts and, in Kondo’s case, an online shop of stuff you can buy. The irony of this is not lost on millennial writer Kyle Chayaka, who in The Guardian argues that for younger people forced into crowded cities for their work, minimalism is an irrelevant luxury, because living in small flats they can barely afford forces them to be minimalists by default. “Unless you are wealthy or creative enough to afford a lot of space, there are two responses to living in New York: one is overstuffing a tiny space that eventually becomes unbearable, the other is living like a minimalist,” Chayaka writes.

Even in the most spartan homes, our physical health is being threatened by hundreds of toxins from man-made objects. The problem peaked in the 1970s and 1980s, when the energy crunch led to the first generation of energy-efficient buildings with poorly-designed super insulation and reduced air exchange. People began to get headaches, rashes and respiratory congestion – known as “sick building syndrome”. Nasa was quick to catch on, figuring that if people were getting this ill in offices on Earth, how much sicker were they going to get in the confinement of a Space Station?

This led the US space agency to undertake a seminal study, 1989’s “Interior Landscape Plants for Indoor Air Pollution Abatement”, which concluded that “if man is to move into closed environments, on Earth or in space, he must take along nature’s life support system”. They were talking about plants. Nasa tested 12 indoor varieties and found that - aside from lapping up the 500 litres of carbon dioxide the average human breathes out in a day - they were also very efficient at absorbing benzene, trichloroethylene and formaldehyde, which are found in a large number of household products. The winners were the humble green spider plant (chlorophytum elatum) and English Ivy (hedera helix).

But the surprising star at sucking up benzene wasn’t a plant at all, but the potting soil the plants were growing in. Both plants are inexpensive and readily available, which is good news, because you’re going to need a lot: Nasa recommends one plant every nine square metres for optimal air filtration.

Being around plants is good for our mental health, too. If you need proof, consider a Korean/Japanese study from 2015 published in the Journal of Physiological Anthropology, which got 12 young men to do some indoor plant transplanting and 12 to do some computer tasks. The former reported “positive feelings”, while those doing the computer task had “increased diastolic blood pressure and sympathetic nervous system activity” - in short, they were stressed.

Indoor gardening worked for stressed millennial Alice Vincent. “I followed a path that I thought my life should have taken,” she says in her bestselling book Rootbound: Rewilding a Life, “to work really hard, get a good job, find a relationship and get somewhere to live. When all of that fell apart, gardening kept me sane.”

Viaplant

Budapest-based landscape architect Barnabás Szakács has created a new design material called Viaplant. It’s a plant-based composite material that can be used in furniture, lighting, tiles and fashion. Even better, it utilises the parts of plants discarded during the maintenance of green spaces, and turns even aggressively invasive spreading species into objects of beauty.

Or to put it another way, it’s like bringing a memory of the outdoors inside with you.

Hedron lamps, €149-€324 (£135-£295); viaplant.com

Sustainability is back on the agenda for 2021 with many people looking to reduce their waste and help save the planet.

According to a report by E-On Energy, nine in ten Brits say being more environmentally friendly is on their list of priorities for the next year.

Recycling more household waste and donating unwanted items to charity shops are two ways of reducing what is sent to landfill. Repurposing and upcycling furniture is another trend for increasing sustainability around the home.

An innovative way to add a touch of individuality to your household is “furniture flipping”. What looks likely to be a top trend in 2021, furniture flipping can be done by taking pre-owned, vintage, or even damaged furniture and giving it a complete makeover.

Here, designers at Essential Living and vintage expert Kate Beavis give their top tips for “flipping” your furniture.

Repurpose and upcycle

Repurposing furniture is more than just a trend, it is a practical way of using an item in a way that differs from its original use, or altering how the item initially looked. If you feel like your furniture is a bit outdated, doesn’t fit with your new wall colour or won’t match that new decor scheme you’ve been lusting after on Pinterest, then maybe it’s time for a rethink.

Old Victorian bookcases are aesthetic favourites, with curved lines and a highly crafted finish. Typically used to hold books, they can sometimes be forgotten about in the corner as they gather dust. So why not put it to good use and create a perfect storage place for your spirits, wine, and glasses?

“Firstly do your research to find out what it should look like, as you don’t want to make a mistake,” said vintage expert Beavis. “If the item is made from a thin veneer wood, you cannot sand it that much as the actual wood part is very thin. We once made this mistake and sanded through to the cheap base wood. If this was to happen, the only thing you can do to fix it is to paint it.”

Simple fixes

Dodgy drawer, shaky chair leg? Don’t let this put you off. Many basic furniture fixes don’t require a professional. Instead, they likely just need their screws tightening or replacing, and Lockdown 3.0 gives us the perfect opportunity to learn a new DIY skill.

A bedside table can easily suffer from wear and tear over the years, but there are some simple ways you can give it a DIY makeover. Start by using a screwdriver to remove any hardware or handles from the drawers which are either faulty or outdated and fill in any holes or chips with some wood filler.

Another home trick many people swear by is using some clear nail polish. Place a small amount of polish into the spot and once set, sand it gently with fine sandpaper. “Liquid gold or teak oil is great to remove scratches on dark wood especially mid century furniture,” Beavis says. “The scratches are still there but they get filled in with the oil. Tin foil is great for getting rust off chrome - scrunch it up into a ball and gently rub on the rust.”

A new lick of paint

Wooden furniture is likely to have been treated with paint or varnish and will have collected dirt and grease over the years. Therefore one of the most popular (and easiest) methods of furniture flipping is giving the piece a brand new coat of paint.

“If you are painting a piece of furniture; finish is key,” Beavis says. “Make sure you take time to sand the item, clean it fully to remove all dust, then prime it before you paint. Patience is what you need.”

Before applying your paint, you will need to properly prepare the surface by either washing and scraping the surface using wet and dry sandpaper with a mild detergent - you’ll really have to put your back into it though. Alternatively, sponge down the surface and follow with an appropriate primer.

Wood primer should only be used on bare wood furniture - and if it has previously been painted or varnished before, use a multi-surface primer. For the decorative coat, keep an eye out for paints labelled for wood and metal, or you might end up with a dodgy coat of paint.

Any furniture with finer details like doors, you must start with these edges first, followed by the mouldings and inlay panels. Then continue to the main surface, by covering with paint and then using your brush to spread evenly, with motions left and right followed by up and down to ensure it is painted evenly.

“The whole shabby chic off white or muted tones are still popular in the right homes, however, to be really on trend choose dark colours,” says Beavis. “Dark navy and green, or dark grey are very popular and look fabulous against the ochre or blush pink accessories that are everywhere right now.”

Replacing handles and legs

If you’re handy with a screwdriver, another way of transforming drawers, shelves and cabinets are replacing the handles or legs. Fortunately, many DIY stores which sell essential items are still operating home deliveries during the lockdown, so you can order any additional parts easily.

Angular legs made out of a veneer can peel over time or completely fall off, but the solution is easy. All you need is wood glue and a few clamps. Remove the leg from the furniture and set on a flat surface.

First, clean out whatever may be lurking underneath the veneer, such as debris or muck and apply the wood glue. Next, use books, bodyweight, or clamps to bear down and force the wood glue to begin its work.

“Replacing handles can lift an item but make sure you replace all of them and choose a style that is fitting with the piece or on trend,” Beavis says.

Transform a room with interior accessories

Some items of furniture can be beyond the lengths of repair, but don’t give up at the sight of a missing drawer or filthy chair cushions, this is where accessories come into play.

For the top of a side-table which has peeled away past repair, find some patterned cloth of your choice, lightweight batting and an electric staple gun. Next, measure a piece to fit over the top and staple it on. To finish off, you can add nailheads and decorate around the edges for a neat, embroidered finish.

“Adding a few cushions, vases, fresh flowers or a plant and a rug on the floor will also help,” Beavis says. “It basically needs to be styled but keep it simple as you want people to notice the furniture first and not get distracted by the fluffy cushion.”

Alternatively, a new throw for your sofa to cover any rips or a wall hanging to hide stains will make all the difference - what people can’t see, won’t hurt them.

Like most things, furniture flipping is a learning process, but by following these handy tips you will give your home a sustainable refresh in no time.

The magical world of Disney has transcended from the small screen to many walks of life.

It’s not just film, music, fashion and pop culture where Disney’s iconic characters are playing a starring role, but also in home interior design.

Bedrooms - for kids and adults - which feature Mickey Mouse and Co have become a popular trend on Instagram with the #disneybedroom hashtag racking up more than 4,000 posts.

Design experts at OTTY have handpicked ten of the best bedrooms inspired by classic Disney films and characters.

1. Mickey Mouse

Whilst the Disney universe has grown since his first appearance, the iconic Mickey Mouse has remained a firm favourite. This chic room showcases a grey embossed throw, white bedding and cream walls. Accompanied with a Mickey Mouse dream catcher hanging from the wooden headboard, this fits perfectly with the quaint plaque above “dream is a wish your heart makes”.

@disneymom_jayme

2. Minnie Mouse

Mickey’s sweetheart, Minnie, is well known for her iconic polka-dotted bow and dress. This pastel pink room screams “Minnie” - decorated with an elegant pink bed canopy, netted curtains and pink beanbag, it’s completed with Minnie-themed soft toys, pillows and duvet cover.

@perfectpinkhouse

3. Peter Pan

A classic story about a free-spirited and mischievous boy who can fly. Every day is an adventure with Peter Pan living his never-ending childhood flying around Neverland. This bedroom captures the story of Peter Pan perfectly, with wooden toys and lanterns. If you’ve ever read or watched Peter Pan you would know that this room is like a replica of The Darling children’s bedroom.

@davidsons_homes

4. Cinderella

One of the most famous Disney princesses, Cinderella remained kind-hearted, graceful and elegant whatever her evil step-mother and step-sisters threw her way. This glamorous master bedroom is no doubt fit for a princess. Whilst it features limited Cinderella merchandise, the beautiful, grand bedframe alongside the pastel pinks and blues that run throughout makes this room perfect for anybody that wants to follow in Cinderella’s footsteps.

@kelseymichelle85

5. Toy Story

Toy Story is undoubtedly one of Disney’s biggest franchises - spanning more than 20 years. The films tell the story of friendship, adventure and of course, talking toys. It’s impossible to pick your favourite Toy Story character, so why not celebrate them all? This room is tastefully decorated head to toe with merch! From Toy Story toy boxes to a plush Mr Potato Head pillow with removable parts.

@disney_at_home

6. The Lion King

The Lion King is a Disney animated favourite following the story of lion cub Simba. The film is both heartwarming and heart wrenching all at the same time. This bedroom is a perfect example of incorporating Disney into your home in a minimal, toned-down way - with adorable pastel Lion King bedding, and accompanying Timon mug.

@disney__time

7. 101 Dalmatians

An old-school Disney classic, 101 Dalmatians has been a family favourite since its release in 1961. This bedroom is for all Disney, dog and dalmation lovers everywhere. Alongside the 101 Dalmations pillows and duvets, this setup is made for those looking to add a hint of Disney magic to their bedroom.

@disneykayuk

8. Alice In Wonderland

Based on the classic novel Alice’s Adventures in Wonderland by Lewis Carroll, Disney’s adaptation follows a young girl who falls into an unusual, and wacky world completely different from our own. You could drift off into Wonderland yourself, in this Alice-inspired room - complete with the classic tea party scene and pocket watch clock hanging from a chic bed frame.

@Bellwayhomes

9. Aladdin

One of Disney’s 90s classics, Aladdin is the original rags-to-riches story - and who can forget Robin Williams as the Genie? This bedroom is decorated to make you feel right at home in Princess Jasmine’s palace, with blue and purple jewel tones throughout, Aladdin-themed bedding and a huge Raja pillow (Jasmine’s pet tiger).

@disneylifestylers

10. Winnie The Pooh

Winnie The Pooh tells the stories of several adorable woodland creatures and their everyday adventures in Hundred Acre Wood, featuring Piglet, Tigger and of course, Pooh Bear himself. This room takes Disney inspiration to a completely new level, with a bed made to look like the Winnie The Pooh books, traditional wallpaper and even an Pooh Bear lamp.

@disneylifestylers

Characterised by quaint countryside homes, billowy dresses and freshly baked sourdough, cottagecore has taken the digital world by storm.

With more than one million #cottagecore hashtagged posts on Instagram alone it was described by Vox as the “standout aesthetic of 2020”. “Cottagecore culture” has attracted influencers, designers and landscapers alike, who have transformed their surroundings into what “could be the beginning of a Hans Christian Anderson fairy tale”, said Isabel Slone in The New York Times.

The pastoral trend has not only gained traction from its whimsical aesthetic, but also its relation to wellness, sustainability and the idea of social consciousness, Architectural Digest reports.

Cottagecore in the home

You don’t need to be nestled in a fairy tale cottage in the woods to realise cottagecore in your own home. This rural aesthetic is easily achievable in any room of the house.

Adding wooden furniture and accessories is one of the basics to the trend. A stool, shelves or wood-fronted cabinets are perfect additions, with the material’s natural ability to let homes “breathe”.

To encapsulate the cosy, fireplace vibe, placing a few choice accents such as a cable-knitted blanket, a tall vase of flowers on a coffee table or a soft-glowing lamp brings rusticity and friendliness to a living room or bedroom while keeping in touch with nature.

To really achieve the cottagecore aesthetic, a patterned wallpaper does wonders for any room. A print of foliage or flowers can provide an escape for those wishing to be outdoors and matches perfectly with wooden furniture.

Cottagecore in fashion

Cottagecore has not only inspired interior designers. The trend “embraces everything from fashion to gardening” says Kate Reggev in Architectural Digest.

Long skirts, frills and floaty dresses perfectly encapsulate the bohemian, whimsical aesthetic. You can also be on-trend in the winter months, by wrapping up in a heavy shearling jacket or donning dark corduroy trousers. Think Taylor Swift on the cover of her recent album Folklore...

Cottagecore as a lifestyle

One of the reasons that cottagecore has so clearly captured the imagination of those stuck inside during lockdown this year, is its return to self-sufficiency.

As we’re all looking for a break from screens, cottagecore is the perfect way to step away from the desk and to stretch our legs.

“Cottagecore is all about the outdoors and slow living. It’s growing your own foods, spending time with pets, picnicking in the garden,” said the BBC’s Anita Rao Kashi.

Join the trend by nursing your own sourdough bread starter in a mason jar. This is a fun and easy way to embrace cottagecore and with the bonus of a delicious result.

Indoor and container gardening brings a breath of fresh air into the smallest of city apartments. The terrarium trend has returned in full swing, allowing urbanites to cultivate wildlife and to combine decoration with small pockets of nature.

It's not just about baking your own food - cottagecore encourages growing it, too. No need for a greenhouse or a vegetable patch: lemon trees are happy in pots in the living room and tomato plants flourish on the kitchen windowsill.

In a society hemmed in by the restrictions of a pandemic, it’s no wonder that cottagecore, as a visionary movement, a break from technology and a short trip into a fairy tale, has become so popular.

Glasgow’s princes of print Timorous Beasties are celebrating the 30th anniversary of the brand, which has brought the world vibrantly patterned wallpaper and textiles that have been compared to William Morris on acid, or Damien Hirst on Ovaltine.

The duo behind Timorous Beasties, Alistair McAuley and Paul Simmons (pictured below), first met at the Glasgow School of Art and quickly discovered that they shared a love of printed pattern. “We realised quite early on that we wanted to produce our own fabrics,” says Simmons, “but to do anything your way, you have to do it yourself. Physically, it takes two people to print a fabric – one to push and one to pull the squeegee.”

In 1994, they made headlines with their best-known design, the Glasgow Toile, which looks like a traditional French toile de Jouy until closer inspection reveals scenes of Glaswegian debauchery. Their less edgy designs have been commissioned by the likes of Nike, and also feature in the St Pancras Eurostar business class lounge, on The Royal Conservatoire of Scotland’s theatre curtain, and at the refurbished Hyatt Andaz hotel in Liverpool Street, London.

The punks of print have retained their dour wit throughout their career. A question posed by we-heart.com back in 2014 - “what’s the most important thing to know about Timorous Beasties?” - received the deadpan answer: “That we’re not a veterinary practice.”

When we asked about their career highlights from the last three decades, Simmons said “not winning Designer of the Year 2005”. McAuley was in more reflective mood, however, replying: “Everything. I’m proud of it all. We have built a business that has great staff, a substantial website, a lovely studio, two showrooms – and we get to utilise the skills that we trained for.”

timorousbeasties.com

How to use pattern: experts give their advice

Clever clashing

Lucy Barlow, design director of Barlow & Barlow, says: “Growing up in the 1980s, pattern was huge – people used one print on six things in a room! In the 1990s and noughties, it all went beige and minimalist. Now I’m using pattern again, but it’s not Eighties-style – it’s ‘clever clashing’.

“Pattern’s in our DNA. As an English designer, I grew up in an old-fashioned house in the countryside and I love that layering of history, furniture and fabrics from all over the world. I’m not keen on minimalism, I like stuff!

“There’s always a grounding element from colours in a painting, or a rug, or wallpaper – and the scheme starts to build organically around that. The trick is to throw in some seemingly random colours to add an unexpected feel. Strong clashing colours I adore are green and pink, and purple and red – they look fantastic.

“If you’re experimenting with pattern, my tips are to be brave, and don’t try to finish a room in a week. People try to rush things and buy from one place, matching things to the last cushion. The house ends up looking like a showroom.

“If you exercise a bit of patience and collect things over time (and if you’re not working to a deadline like me) then as long as you love it, I’d call it a success.”

barlowandbarlow.com

The upcycler

Lynn Watt of Ribbonreal makes beautiful and unique cushions from vintage Japanese kimono silk. “I felt it was my mission to preserve the art of the kimono even if it meant re-purposing the silk into something else to be loved and appreciated,” she says. “Up-cycling the silk into articles of desire has become a near addiction for me – I have never come across the same design twice.”

Unique vintage kimono cushions start from £40; etsy.com

Budapest select

Paris’s annual design show, Maison&Objet, this year featured work by 11 Hungarian designers – aka “Budapest Select”. Anna Regős was one of them. Her geometric patterned fabric, inspired by the work of Hungarian-born op-art painter Victor Vasarely, really caught our eye. Regős is also inspired by the environmental need to create long-lasting materials, made in her native Hungary. “I don’t keep up with trends, I just express my life and style,” she says. Her Lattice textile collection is pictured above.

regos.co.hu

Do you like your design slow or fast? Traditional techniques or cutting-edge technology? Both are equally relevant today, as these two very different masters of their craft reveal.

‘I’d probably be fired from a commercial workshop. Everything I do takes hours’

Rory Stride grew up surrounded by beautiful pieces of furniture due to his parents’ family business, Stride & Son, a Chichester auction house. After an apprenticeship with local furniture maker Ted Jefferis of TedWood, he began Stride & Co in 2017 making handmade furniture from an old grain barn in Sussex. His furniture has been bought by private clients, interior designers like Christopher Howe and organisations like Soho House.

“I’ve always made things by hand - I started making speaker cabinets when I was 15. I like the pace of it – working with wood is slow and considered. Nothing can be rushed. You’re working to fine tolerances and finesses. You have to think of the right joints, using the right cut of wood.

“The responsibility of working with wood is something I take very seriously. It’s a contradiction because I really really love trees – and if something has that much beauty when it’s standing in a field, you really have to think about what you’re going to make – is it beautiful, is it functional, and will it last? You owe it to a 250-year-old oak tree to try to do your best by it.

“I’m trying to make something that will last. There’s a lot of fast fashion in the interiors world. When I come to London, I see perfectly good kitchens being ripped out and burnt after five years’ use – I don’t want to be part of that. My furniture is neither in fashion nor out of it, and it’s freestanding so it can be treasured and passed down.

“I don’t draw designs. I have an idea in my head, and you need to see and feel the piece come together in front of your eyes. It’s a process of discovery. You might miss a trick and stifle the end product if you’re too committed to a particular design.

“I’d probably be fired from most commercial workshops – everything I do takes so many hours. I live one minute from my workshop. I get in, have a cup of tea, light the woodburner, have another cup of tea… I have perhaps four pieces on the go at any one time. I’ll work the morning on one, then when I reach a natural break such as waiting for glue to dry, I’ll hop onto another.”

strideandco.co.uk

‘Designing at faster speeds will force us to become more economical with materials’

Manuel Jiménez García is the co-founder of madMdesign, a computational design practice based in London, and co-founder of robotic manufacturing startup Nagami, based in Avila, Spain. His work has been exhibited in Paris’s Centre Pompidou, London’s Victoria & Albert Museum, the Royal Academy of Arts and the Zaha Hadid Design Gallery. He’s also professor at UCL’s Bartlett School of Architecture in London.

“I’ve always been a bit against tradition, but that’s not the only reason I was attracted to robotic 3D printing. Technology can really help in making things faster and cleaner to produce, reduce waste, be better for the environment and safer – I mean, we’re still hanging people off great heights to build skyscrapers!

“We made a small robot first which could only do a chair. But it was useful for investigating how we’d make bigger pieces for architectural projects. Now we can build a house just using three pieces of 3D-printed material. There’s always been a link between furniture and architectural design – think of Gaudi or Le Corbusier.

“It’s basically a robot holding a tube of toothpaste and squeezing it, depositing the material in layers. The Voxel chair (commissioned by Paris’s Pompidou Centre) was made out of a 2.4km continuous line of plastic. It led us to start our design company Nagami and use the tech for commercial applications like The Nobu chair and the Nital vase.

“This technology has been around for a long time – most people have seen a desktop 3D printer. But working on a larger scale is what makes our technology unique. Most large 3D printed objects are a slow process – but we’ve optimised it so we can make a chair in 31/2 hours and charge €940 for it, where previously it would have taken days and cost €20,000.

“Designing and building at faster speeds will force us to be more economical with the use of materials and resources, while still being efficient. I strongly believe that these processes will not only allow us to design differently, but also to materialise schemes which we thought were out of our reach as an industry.”

nagami.design

While buying a home can be complicated, building a new property or restoring one presents a whole different raft of challenges.

Here, three experts share their tips for choosing an architect for your housing project.

‘My dream client is one who listens and is open to ideas’

Jillian Mitchell, director at Lomas + Mitchell Architects, specialising in low-energy housing

One of the best ways to choose an architect is word of mouth – family and friends who’ve had good experiences with their architects. Look on the internet for practices in your area and make sure they specialise in residential work.

The single most important thing is to find an architect you get on with. Face-to-face meetings are invaluable. See two or three before you choose.

And don’t write a detailed brief. The architect writes the brief based on your needs, and this process is a good way of getting to know each other. If you come with a fixed brief, it can be quite detrimental. Bring an open mind and your requirements: you may want to future-proof your home for retirement, you might want more space for a growing family. Decide on your budget and your timescale – all the high-level issues. You may want to build a scrapbook or moodboard of visual ideas.

The dream client is one who listens, is open to ideas and engaged with the whole process. You’ll be asked to make endless decisions and you have to be on hand. If you choose to go on holiday for six weeks during the build, you can expect to come back to a few surprises!

It’s a paradox – we ask clients to trust us from day one, but we won’t have earned that trust until the end of the project.

People see projects on Grand Designs where the costs are spiralling and the timescale is going out of control – TV thrives on jeopardy. But remember, they’re usually building something cutting-edge using unconventional materials. A programme about a standard build would actually be pretty boring.

Communication is key. People use email to keep a record, but sometimes the tone of voice can be misconstrued. A good conversation is always best.

My heart sinks when I hear, “We want to be in by Christmas” – especially if it’s September.

lomasandmitchell.co.uk

‘We’ll help you find the right architect for your dream home’

Professor Alan M. Jones, president of the Royal Institute of British Architects (RIBA)

Architects are uniquely skilled experts and creative problem solvers who will guide you through the entire design, decision-making and construction process. They will ensure that you make the most of your investment and help you to create a living environment that meets your needs.

RIBA-accredited Chartered Practices are the very best in the profession – and we will help you find the right one for your own dream home. Find a RIBA-accredited Chartered Practice by using the free online RIBA “Find an Architect” tool.

architecture.com/find-an-architect

‘Ensure they have a skill set compatible with your aspirations’

Adrian Dobson, RIBA executive director of professional services

When you work with an architect, it’s not the same as your relationship with your doctor or dentist, who you see periodically over the years. You’ll be working with this person intensively for quite a long period of time.

Most people only go through this process once or twice in their lives. It can be a stressful time, and you need a professional hand to guide you through.

You can change your mind at any time but be aware that the later you change things, the greater the cost implications are going to be.

There’s a lot of red tape to get through, such as CDM (Construction, Design and Management) regulations on site safety, and party wall acts, especially in cities with high-value, tight sites.

How hands-on your architect will be depends on the scale of your build. For a simple extension, they’ll probably work with you as far as getting the planning permission and building regulations. For a more complex job, you may want to retain the architect’s services all the way through the construction phase.

Speak to at least three or four architects and compare their fees. And make sure they each have a skill set that is compatible with your aspirations.

architecture.com

Older properties can offer oodles of character but often need sensitive treatment.

To learn how to bring out the best in period properties, we asked four experts to share their tips for buying, renovating and improving older properties.

Marianne Suhr, The Old House Consultancy

I’d never live in anything but an old house. I love the idea that people have come before me; that it’s an accumulation of layers and history. I like old floors that bear the imprint of many generations of footprints – but all this can be lost if you’re not careful when you’re restoring.

Know what you’re getting yourself into before buying a property. Visit at different times of the day, take lots of photographs. And get the right survey. Very few surveyors understand older properties, but you can get a conservation accredited surveyor through the Royal Institution of Chartered Surveyors (Rics). It’s far better to spend a bit more on a good survey before committing to a purchase, rather than regretting your buy later.

A good surveyor should turn up in old clothes and overalls, and get up into the roof space. A mortage valuation survey – where they just look at the property from the outside – will tell you very little.

Next, live in the house before you do anything. Get a good understanding of how you use the space, where the sun comes in, and how it functions for everyday living.

Thermally upgrade elements for energy efficiency. If you’re reroofing, take guidance from an impartial professional, rather than relying on the roofer’s advice (who may put their own interests first).

One of the worst things for an old house is to spray the underside of roof tiles with insulating foam. It traps damp in the roof space and will render the tiles unreusable.

Windows are often the beauty of an old house but also a major source of heat loss. There are all sorts of secondary glazing systems that you can install, and magnetic lift out systems are ideal. Try Storm Windows or Selectaglaze for toughened glass, or MagneGlaze for a cheaper DIY option. They’re also a good way of combating noise pollution.

Suspended timber ground floors can be a major source of heat loss, equivalent to leaving a small window open 24/7. The simplest solution is thermal underlay and carpet, but if you’re set on exposed floorboards, get an expert to lift them gently and insulate from beneath. It’s important to keep an airflow in the sub-floor void (through well maintained air bricks, for example) to avoid rot.

Damp is an absolute priority to fix. Make sure the gutters work properly and discharge into the drains. The best way to do this is to stand outside with an umbrella in a heavy rainstorm. If you see rainwater running down the walls, you’ll get penetrating damp. It’s easily fixed with either repairs or new gutters.

Low-level damp is usually caused by cracked drains near the house or high external ground levels. Both can be fixed with common sense and a good builder. A drainage survey costs less than £200.

There are just four questions to ask a builder that will tell you if they are qualified to work on older properties:

- Do you use pure lime mixes with no cement?- Are you happy to repair an old window, rather than replace it? - Do you think an old wall will work without the installation of a damp proof course?- Do you get on with conservation officers?

Letting an old house breathe is incredibly important. Stick with lime mortar and plaster. Modern cement is completely incompatible and can trap moisture. In a worst-case scenario, it can lead to dry rot, woodworm and deathwatch beetle.

Never resort to an injected damp proof course – houses built before the mid-19th century never had damp proof courses. Injected damp proof courses are a modern invention, they rarely have any effect, and can cause an irreversible scar on the building. They’re a complete rip-off.

Make sure you can live with the house even if you’re refused permission to extend. Generally, conservation officers are open to applications as long as they don’t destroy the history of the property or the understanding of its original form.

If you’re considering making changes, ask the conservation officer for a pre-application meeting to discuss what’s feasible. It’s about £200 but worth it, rather than spending thousands on architect’s plans only for them to be rejected.

The Society for the Protection of Ancient Buildings (SPAB) has a great technical advice line (020 7456 0916) offering free impartial guidance.

For more information, visit oldhouseconsultancy.co.uk or read The Old House Handbook and The Old House Eco Handbook

Ben Addy, Moxon Architects

When reusing old buildings, the basics don’t really change – keep the weather out, heat in and provide delight. Modern life brings a plethora of technical and lifestyle demands that were never a consideration. This is where challenges tend to arise, and it can lead to the old building fabric being considered in the way that a hermit crab might contemplate an empty shell – or alternatively, it is possible to tightly integrate new construction with the old in such a way that the boundary between the two is visible as a change in material.

There is a balancing act between historic reconstruction and creative reinterpretation. It is important to consider the decision-making that originally went into the construction and to look at why certain materials were selected. The historic construction method was almost always borne out of what skills and building materials were locally available.

Applying the same logic today results in new adaptations or additions that follow the same principle but can look radically different. For example, the steel insertion at our temporary studio is a reflection of the skill base of our construction company and the fact that mild steel sheet is readily available, whereas a good stock of local granite and the skilled masons to work it are somewhat harder to come by.

Response to landscape is crucial when working in a rural or open setting. We pay close attention to how the design either follows the landscape or acts as a counterpoint. We did just this with Coldrach, an 18th century “but and ben” farmhouse set near the foot of Lochnagar at Crathie that is typical of the Scottish Highlands. The property is compact and robust with clipped eaves and modest windows. These buildings often sit resolutely in the landscape in much the same way as a large boulder sits in a field.

Our extension to this building trebles the useable area of the home, but in this landscape, we decided that the new part would tag onto the old, using it like an anchor. Material colour and texture is also important – the farmhouse has a modesty to it and the new part follows from this, albeit in untreated timber and red oxide corrugated metal rather than granite and slate.

In beautiful landscapes, the preference is to be out in it, but the second-best option would be a room with a good view. How that view is incorporated into the design is a bigger question and something we spend a lot of time considering and discussing with our clients during the initial design stages.

Ben Addy is managing director of moxonarchitects.com

Merlin Wright, Plain English

Location aside, I wait till I feel a pulse of attraction for a new project. The period or style of the building is of secondary importance after its potential: it’s like meeting an interesting new person and trying to discover as much as possible about them. It’s exciting to find a building that has been obscured by poor conversions or layers of decorating horrors, as all these can be unpeeled to reveal the beauty beneath.

My father was an architect and I grew up with an appreciation of both old and new buildings. Since joining Plain English 17 years ago, I’ve absorbed their sensibility and appreciation for traditional detailing, and also their approach to integrating old with new and working with existing structures and features.

I’ve worked on countless projects for clients where budgets and timescale allow for dramatic, wonderful results. My personal projects have been more modest – always Victorian or Georgian terraced houses – although my first personal project was a huge Victorian pub in south London which I converted into flats as well as a studio for myself. Money was tight, so I lived on site, in a tent pitched on the swirly-carpeted stage where they used to have the strippers.

The key is to get the floorplan right. We have clients who spend £4m on a townhouse and the kitchen’s typically in the basement – the smallest, darkest part of the house. We usually suggest we move the kitchen up to a more central location so the whole house can come alive again.

Poor quality workmen drive me bananas. It’s always tempting to accept the cheapest quote, but noisy pipes and wonky walls are depressing. Prior planning and a thorough specification are essential as it’s expensive to change or add to the works once a project has started. A project of any size has to be properly managed and supervised, either by an architect or a project manager. They are responsible for standards, timing and payment to the contractors. Most homeowners are not qualified to do this.

I hate it when so-called damp experts come in and drill lots of holes and pump loads of chemicals into walls. Old houses just don’t need it, provided there’s plenty of sub-floor ventilation.

A terraced house structure is amazingly strong. Often you get structural engineers coming in and saying you need a steel column right in the middle of the floor when you don’t. Old brick walls are quite robust things.

Homeowners’ lifestyles should also be considered. Children are like little drunks, for example, so remember that pristine white walls look great until you get a tidemark of handprints like a Richard Long artwork. If you’ve got kids, I’d go for a self-finished lime plaster on the walls. It never needs painting, doesn’t show the marks and just gets better with age.

Merlin Wright is design director at plainenglishdesign.co.uk

Richard Parr, Richard Parr Associates

I’ve developed a forensic ability to see through buildings, mentally pulling them apart in order to drill down to their true essence. An old building is like a diary, with layer upon layer of history etched into its skin. The skill is in knowing which layers to strip back, which to keep, and which to build upon. This is a great responsibility, and it takes both bravery and restraint.

Contrast and definition are key – it’s important to be clear where the old fabric ends and the new work begins; to respect the history of the building whilst simultaneously giving it a future. This kind of work is a great privilege; an opportunity to leave a legacy for decades or even centuries to come.

Old buildings come with secrets. We scratch beneath the surface and we’re never quite sure what will lie beneath. The challenge is in dealing with the unknown; revealing the failures in the fabric of the building, and finding solutions to them.

My fascination for old buildings lies in the opportunity to revisit another person’s work. As William Morris said: “Quality is never an accident; it is always the result of intelligent effort.”

Luxury used to be synonymous with size, opulence and perception of wealth. Fortunately, our 21st-century clients do not think like this. Our clients often prefer their homes to be understated. They are interested in things that supplement their enjoyment of life - technology, culture, and creativity. Convenience and comfort override the ostentatious.

In the 17th and 18th centuries, houses were built for function. Social structures and accepted formulas for living meant each room was rigidly compartmentalised to serve a particular activity. Today, technology has allowed us to diffuse boundaries and give us amazing opportunities. One thing that is unchanged in the British is the aspiration to create ownership and a haven.

See more at richardparr.com

Norbert Singer is regarded as a legend in the world of cars and motorsport.

After graduating in both aerospace engineering and automotive engineering, he joined Porsche in 1970 and went on to work in many positions for the German auto giant.

But what makes Singer one of the most revered names in engineering is the instrumental role he played in all 16 overall victories won by both the Porsche works and customer teams at the iconic 24 Hours of Le Mans.

Now 80 years old, Singer retired in 2004 but continued to work for several more years as an adviser for Porsche customer motorsport.

An inspirational figure

Singer’s work with Porsche has inspired many designers and products over the years.

One example is the classic Singer Porsche 911, a “sought-after collectors’ item among car aficionados”, says Mansion Global.

Another is a luxury property in London that also bears his name. Called “The Singer Suite”, the interiors of this five-bedroom apartment at Chelsea Barracks are a tribute to “Mister Le Mans” and his all-encompassing approach to design.

‘Everything is important’

Located adjacent to both Chelsea and Belgravia in west London, Chelsea Barracks is described as the “most coveted 12.8 acres in the world”.

The residential development, which features apartments, penthouses and townhouses, was purchased for £1bn in 2007 by Qatari Diar, a subsidiary of the Qatar Investment Authority.

One of the project’s most recent launches, The Singer Suite spans the entire fifth floor of 1 Mulberry Square and has a listing price of £33.5m.

Created by interior design house Lawson Robb, the 6,050 sq ft residence offers five en-suite bedrooms, a study, open living spaces, access to balconies and 360° views across London.

The interior architecture firm embraced Singer’s belief that “everything is important” in each aspect of the design.

Lawson Robb studio director Eva Leone said: “The client’s brief was to transform a show apartment into a home. With this in mind, we designed the apartment with a sense of personality and warmth.

“The accessories and styling played an important role for creating a liveable and personable apartment as it made it feel alive.

“Some of the key features were inspired by a Porsche’s design. The formal dining chandelier was selected because it reminded us of the vertical brass piston’s in the car engine.

“In the family dining and lounge room, the bronze metal insert in the coffee table top was designed with the car’s fascia that cross the roof of the car in mind.”

Celebration of craftsmanship

With a focus on mental and physical well-being through impeccable design, Lawson Robb used earthy tones - including petrol blue, burgundy and bronze - along with a bespoke woody scent throughout the residence, to create a serene and calm environment.

Combined with custom-built joinery, modern pendant lighting and abstract rugs, this colour palette pays homage to British and European mid-century design and the retro-modern features of vintage Porsche cars.

Leone added: “The pieces we selected are a celebration of craftsmanship and luxurious comfort living. We have used Minotti in the dining area, an iconic ‘genius’ chair from Giorgetti and lighting that varies from notable designers such as Lee Broom, Henge and Ochre.

“For soft furnishings, we used the likes of Rubelli, Pierre Frey, Jim Thompson and Altfield. We have spent a lot of time on the different design stages, adding layers of textures and colour to make it more personal.

“I believe the best part of the scheme is its use of colour, by combining multiple colours in a way that evokes harmony rather than jarring. It was a very enjoyable challenge that worked really well for this scheme.

“My favourite area is the open plan kitchen/dining/informal living area as it marries clean architecture and joinery with a feeling of comfort and a mix of mid-century and contemporary design.”

In pictures: The Singer Suite

Amid the financial chaos caused by the coronavirus pandemic, one area of the UK economy is booming: the property market.

Recently published Rightmove data shows that home sales in Britain hit £37bn in July, in the sector’s busiest month in a decade, while property portal Zoopla reports that demand is continuing to outpace supply.

If you’re putting your home on the market, you can further boost your odds of selling success by make sure the property is dressed to impress - because first impressions count.

Here, interior design experts from Vesta London give their top tips on how to make your home stand out from the rest.

Make room to move

Set out furniture in a way that allows for maximum space in the room. Shift each piece away from the walls slightly, to create more space to move around, and remove what furniture you can to make rooms look bigger - anything from those extra side tables that you rarely use to large children’s toys.

Potential buyers also like to see practical positionings, such as a sofa opposite the TV.

Clean and tidy

Perhaps an obvious one but be sure to tidy, clean and declutter all spaces. Put away excess decorative items such as ornaments, tableware and books, so that viewers can get a true sense of how much space is on offer. It’s probably worth putting your collection of holiday fridge magnets away for a short while too…

Indeed, the kitchen is a key room for many buyers, so declutter the worktops and store any large appliances out of sight. You want viewers to imagine themselves cooking and relaxing in your kitchen, not trying to see past your cereal boxes and toaster.

A lick of paint

We’re not talking total redecorating, but if your home includes an eclectic mix of colours or a particularly bold room, it can be beneficial to add some neutral tones in order to speak to the masses.

Make the colour palette as pleasing and neutral as possible: add colour through a few scatter cushions, throws and accessories, and try to keep key rooms neutral to allow viewers to better imagine their own style and decor taking shape.

In addition, if any rooms are looking a little scraped and scuffed then it may be worth refreshing the paintwork.

Let there be light

Viewings will always, where possible, be booked for the daytime in order to let viewers see the property in good light.

But you can add a little extra through statement lighting in key rooms. The glow created by table or floor lamps, for example, can create a warm atmosphere that helps to make people feel more relaxed.

A top tip for smaller or tricky areas such as tight hallways or small living rooms is to hang a large mirror there to add more light and create the illusion of more space.

Show off storage

Buyers will be making a mental note of where they would keep their own things, so show off storage as much as possible.

From space for cabinets and dressers to built-in storage, showcase whatever is available. Even if storage areas are at a minimum, you can add more through the clever use of wall-mounted shelves, baskets and boxes, and dual-purpose furniture.

Focus on detail

Have a think about the styling of your home. Although the aim is to cut down on clutter, little touches such as a few books stacked neatly on a coffee table along with a candle and some fresh flowers add instant appeal. And you can’t go wrong with a few new house plants!

Smell can be used as a selling tool too: retailers have been doing it for years. Add scents with diffusers, candles and room sprays to create a welcoming atmosphere, plus mask any less pleasant odours. The sense of smell is also closely linked with memory, so subtle but pleasant scents should help ensure buyers remember your home as well.

It’s not just what’s inside that counts...

Don’t neglect the outside of your home either. Since lockdown, many home buyers have been keen to get more outdoor space, so making the most of any garden or patio areas is important.

To improve kerb appeal, make sure any front garden or driveway is neat and tidy too. Adding a few potted plants, if possible, and keeping bins out of sight, is an easy way to make your property look more appealing.

When the One&Only Desaru Coast opens its doors this weekend it will mark the unveiling of Malaysia’s newest ultra-luxury tourism offering.

Located on the south-eastern shoreline of the country, One&Only’s first resort in Asia is a spectacular tropical retreat positioned between lush rainforests and a private 1.5km white sand beach.

Facing the ocean or wrapped by the jungle, the resort has a collection of 42 junior suites and two expansive two-bedroom grand suites. Each boasts private plunge pools, abundant indoor and outdoor living spaces, decadent bathrooms and Malaysian-inspired design features.

However, if it’s exclusivity and privacy that you’re after at One&Only Desaru Coast then there’s only one place you should book: Villa One.

Here we look at what Villa One has to offer and the resort’s design story.

Luxury and relaxation

The secluded Villa One takes luxury and privacy to another level. Interiors are large, spacious and deftly finished with Malaysian details.

Offering 1,500m2 of space and set apart from the main resort, the two-storey residence has four bedrooms, a home office and a central courtyard garden.

Its master bedroom features generous dressing space and en-suite bathroom with shower and stand-alone bath, Traveller Made reports, while the three guest rooms have en-suites and terraces.

Guests seeking ultimate relaxation can enjoy their own private spa treatment room, a private 27m swimming pool and direct access to the beach.

At one with nature

Designed by the award-winning Kerry Hill Architects, One&Only Desaru Coast showcases the region’s architectural heritage with a modern interpretation of the traditional Malaysian “kampung” or village.

Malay traditions and the local landscapes - beach and jungle - played a huge part in the resort’s planning. Design Anthology reports it is “vast, rigorously slick and features an abundance of arrow-straight walkways, sand-hued stone walls, and terraces”.

The team at Kerry Hill Architects were keen to preserve as much of the original vegetation as they could at One&Only Desaru Coast.

Justin Hill, director at Kerry Hill Architects, said: “From an environmental standpoint, we wanted to be as respectful to nature as we could. This was a priority in our master planning, from minimising tree loss to keeping the site as clean as possible during construction.”

Project co-leader Angelo Kriziotis says the team “resolved to retain as much of the strip of natural beach foliage as possible and to create a sheltered zone between the resort and the coastline”.

He added: “When walking on the beach, the resort is almost entirely hidden by the canopy of coastal vegetation. There’s a real sense of being at one with nature.”

Bookings for Villa One at One&Only Desaru Coast start from £7,940 per night (based on four people sharing); see oneandonlyresorts.com

In pictures: Villa One at One&Only Desaru Coast

Lamborghini and yacht maker Italian Sea Group probably have many customers in common: “Both cater to people who have millions to spend on high-horsepower, limited-production luxury vehicles”, says Ezra Dyer on Car and Driver. So it made sense for them to collaborate on a limited edition superyacht, Lamborghini’s first venture into the sea and Tecnomar’s fastest vessel to date.

Billed as the “Tecnomar for Lamborghini 63”, the yacht “combines a sporty silhouette with a nautical appearance”, says Miranda Blazeby on Boat International. “Other details include a hardtop inspired by Lamborghini’s sports cars, which provides protection from the elements while contributing to the yacht’s aerodynamic performance.”

The 63 in the model name refers to the carmaker’s founding year, the boat’s 63-foot length and to the fact that only 63 will be made, selling for around £2.7m each. They are expected to be delivered in 2021 and clients will be able to choose from an extensive range of exterior colours and livery options, and from two interiors.

Inspiration for the design came from the Lamborghini Sian FKP 37, the first Lamborghini destined for production that is powered by a hybrid engine, says Jeff Parsons in Metro.

Like the car, the yacht is made from carbon fibre, making it extremely light, and the steering wheel and gauges in the cockpit are designed to look like the inside of a Lamborghini supercar – “even the starter button is identical”.

Look closely and you will notice features taken from other models of Lamborghini’s past, including nods to its original supercar, the classic Miura.

The performance is unmistakably Lamborghini too, says Rob Hull on This Is Money. The twin 24.2-litre V12 engines, which produce 2,000 horsepower and 4,794 lb ft of torque apiece, propel the boat to a top speed of 60 knots, or around 70mph – “enough to get you to your second home in Monaco in about the time it takes to mix a really good Martini”, says Parsons.

This article was originally published in MoneyWeek

With summer now in full swing, it’s the ideal time to make a few changes and freshen up your living space for the rest of the year.

You might be planning to renovate, or maybe you’re keen to invest in new furniture or artwork to make life a little more stylish and comfortable. Here is where to begin with upgrading your home and garden.

Build a sustainable home

With self-builds revitalising the construction industry, adding an annexe, pool house or entirely new second home is easier than you may think. Caber House has developed and delivered some of the greenest houses in the UK, all based on flexibility, energy-efficiency and clever design. The houses are modern, robust and elegant, with turnkey costs to suit most budgets.

Your home will be unique, as Caber House doesn’t take a ‘one size fits all’ approach. The design of each building is optimised using site-specific data, and each one is devised specifically for the UK climate by architects who specialise in sustainability. What’s more, Passivhaus detailing ensures the houses meet low-energy standards.caberhouse.co.uk

Add value while increasing security

This year has seen record-breaking temperatures and sunshine, allowing us all to spend much more time outdoors – and with a simple upgrade to your home, the summer atmosphere need never end.

A bespoke sun awning lets you relax outdoors in the heat, while a glass veranda lets you enjoy the outdoor experience all year round.

Crocodile offers a range of options to ensure you can make use of your garden in all seasons, from privacy screens and awnings to glass canopies and winter gardens – with the bonus of adding value to your property.

Alternatively, installing shutters can increase your property value, save energy and add insulation. Shutters also provide weather protection, increased security and, most importantly, provide extra peace of mind.crocodile.co.uk

Make life more comfortable

Perfect posture is rare, so your back will undoubtedly thank you for investing in bespoke furniture that provides support and complements your body’s natural positions. For those with mobility restrictions and conditions such as poor circulation, arthritis or osteoporosis, such products can bring relief.

New Life Mobility specialises in the design and manufacture of rise and recline chairs and adjustable beds, all of which can be upgraded with indulgent heat and massage options to soothe daily aches and pains.

Personal comfort at home is important – particularly when travel and movement are limited. New Life Mobility makes every effort to ensure that each item of furniture is specifically designed to suit individual needs. This extra level of support and relief could well improve your standard of life.newlifemobility.co.uk

Upgrade your garage kit

Rather than making multiple journeys to the nearby garage or petrol station, invest in equipment to keep your car in tip-top condition at home. There’s plenty of DIY that can be easily carried out on your vehicle, whether it’s a family car or a prized motorbike.

Tyres can be swiftly inflated at home with Ring’s award-winning range of tyre inflators (from less than £40), and its tyre sealant is ideal for quickly patching up small punctures.

You could also look into getting an LED inspection light – get under your bonnet, get to know your vehicle and learn a bit more about the basics of mechanics.With it, you can stop exhaust smoke, reduce emissions, flush a radiator, clean out the fuel system and improve engine performance. Everything you need is easy to use and affordable with Ring.speeding.co.uk

Deep clean your garden

It may seem like an odd suggestion, but patios are often overlooked or unnecessarily replaced. It’s only when you deep-clean them that you realise how much a refresh was required – and how simple a task it can be.

A finalist in the RHS Chelsea Garden Product of the Year 2020 competition, the Patio Black Spot Removal System has turned the idea of DIY exterior cleaning on its head. This complete restoration solution gently lifts layers of organic growth without damaging either the stone beneath or surrounding plants. It restores your patio to how it looked when it was first laid and helps to permanently prevent the return of black spot and other organic growth.

To use, remove loose surface dirt, apply the solution suitable for your paving as instructed, and watch the transformation take place before your eyes. It’ll save you the expense of replacing your patio and let you concentrate on making the most of summer in a setting as good as new.patioblackspotremoval.com

Save yourself time and money

Installing a water filtration system, or a boiling tap, can be costly. But instant filtered boiling and chilled water on demand is available at an affordable price with BIBO.

The system’s handsome design means it will sit proudly on any countertop. It simply connects to a cold-water supply and transforms tap water into an unlimited source of filtered water.

You won’t have to wait for the kettle to boil again, and if you’re from a household that buys bottled water (which one in ten of us are), then you’ll save money and reduce your impact on the environment at the same time. Set it to the temperature you want it, with boiling water as high as 98C and cold set as low as 4C.

Use offer code ‘WATERWEEK’ at checkout to receive £50 off your rental or purchase.bibowater.co.uk

Be the host with the most interesting glassware

Whether you’re planning for a garden gathering in keeping with lockdown regulations or looking a little further ahead to the return of dinner parties, luxury glassware will elevate your event. Legacy Antiques specialises in glass and crystal dating all the way back to 1750.

It stocks both stemware and tableware from British makers like Dartington and Royal Doulton, curating a collection of classics from all over the UK as well as Europe, Scandinavia and worldwide — you can tailor your search accordingly, depending on your interest.

You can even choose from pharmaceutical glassware from the 19th and 20th centuries, making for a wonderful conversation starter. Whether you’re looking for an investment or just feeding your nostalgia, antiques are often more affordable and better quality than their modern-day equivalents, with green credentials to boot.legacyantiques.co.uk

Interior pet decor

Beds, toys and other pet accessories can complement your home and fit in with your décor with a little thought and research.

Wolfybeds makes designer dog beds and luxury pet accessories for discerning pets (and their owners). Selling internationally, it offers stylish, comfortable and supportive beds, all available in a wide range of colours to complement your home.

If you’re hoping to get away this year and take your dog with you, there’s even crate and travel beds with waterproof mattresses for multipurpose use.

All bed covers are machine washable at 30C, so they always look and smell as good as new. You can even have them personalised with their own names — or whatever you fancy — in a range of fonts and thread colours.

Get 10% off with the exclusive discount code ‘THEWEEK10’. Offer ends 10 August 2020.wolfybeds.co.uk

Create the restaurant experience at home

If you’ve grown tired of the same old dishes – or your own home cooking – and you are looking for new ideas in the kitchen, a little inspiration will go a long way. We Brits may be partial to Italian cuisine, and while a dab hand in the kitchen will be able to whip up a worthy pasta dish, an authentically Italian pizza isn’t so easy to create at home.

Upgrading your outdoor cooking kit to include a gas- or wood-fired pizza oven won’t just solve the monotony of cooking at home, it’ll also ensure you’re geared up to host garden parties as soon as we get the green light for large gatherings. With an oven from The Pizza Oven Shop, priced from £229 to £10,000, you can cook amazing, restaurant-quality stone-baked pizza in just 60 seconds.thepizzaovenshop.com

Invest in artwork

Add a little ‘je ne sais quoi’ to your home and garden without embarking on a total design overhaul by picking up a sculpture.

Bronze lasts a lifetime and, with more than 500 designs from Avant Garden Bronze Collection to choose from, there’s a style to suit every taste. The range includes life-sized animals, birds and figurines, as well as water features, armillary sphere sundials, abstract modern creations and memorial urns.

The solid bronze sculptures are water- and weather-resistant, meaning they won’t rust, and each is entirely handcrafted.

Display your chosen piece inside or outside on a Chinese Limestone Pedestal, currently half price with every bronze sculpture or statue.avantgardenguernsey.com

Yeti SB130: great fun, whatever the terrain

Mountain bikes are great all-rounders that can handle any terrain, says Jacqueline Neber in New York magazine. They are perfectly happy on the commute, but, should the biking bug bite and you want to head for faster or rougher terrain for fun, then you’ll have a machine that can cope. The Yeti SB130 is a great option and its unique “switch infinity” suspension system can handle the wildest terrain. It’s a bike that “makes you want to ride harder just to see how far it can be pushed”. It feels as good as anything else on the market for everyday use, but when you “ride aggressively it really comes alive and makes for a fun ride”. £7,199, biketart.com

VanMoof S3: a helping hand with the hills

If you could do with a hand on the hills, consider an electric bike. The VanMoof S3 may not be the most agile cycle in the world, but the cushioned seat and well-positioned handlebars make for “an ache-free experience, even on a long commute”, says Paul Davies in The Daily Telegraph. It looks like something Batman would ride on an Amsterdam mini-break and has a range of between 37 and 91 miles, depending on what you demand of it. But the bike’s “most thrilling” feature is a discreet boost button on its handlebar, which provides an “extra blast of torque” for pulling away at junctions or steep hills. A “kick lock” on the rear wheel activates the security system – an alarm goes off if “some joker starts manhandling it”. The bike unlocks automatically via Bluetooth once your phone is in range. £1,800, vanmoof.com

Mosaic’s made-to-measure machine

You can buy a bike off the shelf for a fraction of what a custom-made cycle will cost you. But what you won’t get is a Mosaic, says Matt Phillips on Bicycling, meaning you will miss out on the “transcendent ride” such a machine provides, of a kind that “I’ve experienced only a handful of times during my long career testing bikes”. Mosaic stands apart from other bespoke builders as it can deliver a custom-made frame to your doorstep in only six weeks – other builders can take over a year. “That quick turnaround doesn’t translate to an inferior product… What you get is a carefully designed and beautifully constructed bike.” The titanium frame of the RT-1 option makes the end product light and fast, and the frame is customised to your specifications. Price on application, prestige-cycles.co.uk

This article was originally published in MoneyWeek

The TiiPii hanging daybed makes for luxury lounging at its finest, says Louise Whitbread in The Independent. The large Deluxe Sunbrella version is made with Sunbrella performance fabric (a weather-resistant acrylic), supports up to 250kg, and is easily assembled in ten minutes. It folds down into a compact bag for easy storage and includes a sheer white ambient net to avoid pesky mosquitoes. “Hang it from a weight-carrying branch, or team it with its own sturdy triangular frame, and you have an idyllic relaxation spot.” £1,797, uk.tiipiibed.com

Putting up some outdoor garden lights is a simple and easy way to create a relaxing atmosphere and ensure you can enjoy your space well into the evening, says Charley Ward in Good Housekeeping. The Squirrel Festoon Lights can be hung from trees or above a dining table and you can connect sets together for larger spaces. Each string comes with 20 bulbs and a standard UK plug, and is designed to “hang effortlessly on pergolas, fences and gazebos”. £70, gardentrading.co.uk

Toasting marshmallows around a firepit is fun and hotter summers and technical advances have helped make alfresco cooking popular, even in the UK. So why not go the whole hog and get a full outdoor kitchen, the ultimate in “garden one-upmanship”, says Jessica Doyle in The Daily Telegraph. Luxury brand Kitchen Architecture teamed up with Swedish company Röshults last year to produce this new free-standing outdoor kitchen system. It features customisable, streamlined units for those after a Modernist aesthetic and “options include a wok burner, grill, teppanyaki plate and outdoor fridge”. From around £20,000 for an island, kitchenarchitecture.co.uk, gardentrading.co.uk

The Peaktop Outdoor Round Stone Propane Gas Firepit is a sleek, concrete-look firepit, perfect for a modern patio, says Cristina Sanza on Bustle. It’s made from lightweight resin, making it easy to move around, and the pit has a “toasty output of 50,000 BTU, an adjustable flame knob, and an easy-to-start electronic ignition”. It comes with lava rocks and a gas regulator. You might want to consider a propane tank cover, which doubles as an extra space for drinks and food. £499, amazon.co.uk

This article was originally published in MoneyWeek

Scientific research says that time spent in a natural environment can have great benefits for your health and wellbeing.

According to a report published last year by science journal Nature, spending at least two hours a week outdoors is good for both body and soul.

Meanwhile, in a separate study in The Journal of Positive Psychology, researchers from the University of Regina in Canada found that just five minutes in nature can improve your mood.

So what does this mean now for millions of people who are spending hours and hours stuck indoors on lockdown?

It may not be the best time to suggest venturing into the wilderness, but there could be a simple alternative… get some houseplants.

Green fingers and healthy: the benefits of gardening

–––––––––––––––––––––––––––––––For a round-up of the most important stories from around the world - and a concise, refreshing and balanced take on the week’s news agenda - try The Week magazine. Start your trial subscription today –––––––––––––––––––––––––––––––

Plan your indoor oasis

Introducing more greenery will enhance any room in your home - as well as bringing the great outdoors, indoors.

Catharina Björkman, lifestyle expert at Swedish wood burning stove brand Contura, says: “Now is the perfect time to think about how you can add greenery and plants to your home in creative and interesting ways.

“Time spent indoors needn’t be wasted; instead plan your own indoor oasis and consider how plants can enhance the space and improve the overall layout.

“As a design element plants are incredibly versatile. Whether your home is minimal and clean, or eclectic and busy, plants do so much to soften and add texture. Think about them as you would a piece of art or an ornament, lifting and adding an extra dimension to the space.”

Björkman has put together her tips and advice on which houseplants to get and how to look after them.

A guide to houseplants

Go green

The benefits of house plants and greenery indoors is twofold. Firstly, plants have air-purifying qualities, absorb CO2 and release oxygen back into their surroundings, while also filtering harmful chemicals. Secondly, plants have calming effects, helping to lower stress and boost wellbeing.

Which plants?

If you’re a green-fingered beginner, start with a fern, cactus, or the tall and thin-leafed mother-in-law’s tongue. Fig trees and dwarf olive trees thrive in sunny spots, whereas for dark corners, the likes of the prayer plant, Baltic ivy (a hardy type of English ivy) and asparagus fern (with soft leaves) are the best choice.

Other easy to care for plant varieties include bamboo, spider plant, aloe vera, succulents, snake plant and peace lily. For areas with little natural daylight, you can also opt for faux plants. Of course, while you get the visual perks, you don’t get the air-purifying benefits.

How to style plants

Grouping plants together gives a greater impact on a space. Stick with the odd number rule and group plants in threes or fives. Mix up how you style plants too, using a combination of hanging plants, wicker, wooden and stone pots to add texture and interest.

For a minimal uniform look, pick the same variety of plant. But if you want to group together along a mantelpiece, go for a mix of different heights and styles of plants - mixing up leafy with spikes and hanging plants.

Zone the space

A “plant wall” can effectively divide up the space to help create zoned areas, such as splitting the kitchen from the living room - this is particularly useful for studio or loft apartments. Keep in mind that a plant wall works best in uniform order, so use the same plant type with similar heights as this will also give the illusion of a more defined zone.

Similarly, for “living walls” use panels of plants grown vertically, either free-standing or attached to walls or trellises. This can provide a much-needed greenery boost into a home and create a clever dividing point. In rooms with poor or little natural light, faux foliage can still create an interesting look.

Natural materials

Bringing nature indoors doesn’t only apply to plants. Use materials normally found outdoors and make them a part of your home’s interior décor. Wood, wicker, rattan and stone all work well to bring an outdoor theme inside. A wooden, rustic style ladder can provide a great alternative to polished wood shelving, for example.

Add natural elements throughout the décor; seashells, jars of sand and bunches of branches can all make interesting focal points. Imitate nature by adding outdoor cues such as woody incense and fresh flowers for a floral smell. The same feeling of being relaxed and free in nature can be brought into your home by stimulating the senses.

Outdoor colours

Embrace a natural colour scheme for an understated, calming look. This can apply to the wall and floor colours, curtains and furniture. Use green to evoke the earth, grass and plants, blue for the sky and ocean, and yellow for the sun and flowers.

Neutral tones such as white, cream and beige will all make your interiors feel more natural, clean and fresh. Avoid cold, man-made materials and embrace wood, cork and bamboo flooring. These feel warmer underfoot and are a more natural, organic choice.

How to care for houseplants

Dust the leaves

We all know that plants need water and sunlight to flourish, but did you know that dusting the leaves is also important? Dust build-up prevents leaves from taking in optimal sunlight, which then impacts the photosynthesis process and lessens the plant’s ability to thrive.

To shine the leaves, you can use a cloth and combination of milk and water, or even the inside of a banana skin. Dust plants every few days for optimal sunshine intake and make sure to clean both the topside and bottom side of each leaf.

Rotate your plants

You may notice plants in dark places or positioned against a wall have duller coloured leaves and are not as strong as those facing the sun, so rotate plants between sunny patches so they each benefit from a dose of sunshine. Match your plant to where you have sunshine and/or shade.

Ivy, cactus, ferns and conifers all grow well in shaded areas, whereas flowering plants do better in sunny places. Resist the urge to place plants in direct sunlight as this can be too hot for some plant types. Instead rotate between lighter and shadier areas.

Troubleshoot any issues

The good thing about houseplants is that it’s easy to tell if they are struggling. Discoloured leaves, a drooping stem, no longer standing tall; there are plenty of signs to spot. However, there is no one solution when a plant isn’t doing well so it’s worth trying a few different things to try and restore it.

Sometimes it can be too much or too little water, so hold back on watering if you’ve been giving a plant a lot of water lately. Similarly, soak the plant and ensure it has drained well if you haven’t watered it for a while. The moisture content of the soil should indicate if a plant is due a water or not.

If they aren’t getting enough light, leaves will turn yellow or brown and be far slower to develop. Move the plant to a sunnier spot and give it a feed for an added boost. Check the soil surface and leaves for any bugs or mites and spray these with pest killer.

Cutting back and pruning

To help renew houseplants, particularly if they’re looking a bit tired, is to give them a haircut. Pruning helps with shaping, removes any dead leaves and flowers and results in new, stronger growth. The plant will be healthier if well-trimmed and maintained. It’s a bit like cutting split ends from our hair to allow new, healthier hair to grow.

For flowering plants, de-head dead flowers frequently as this will encourage new flowers to grow during each blossom cycle. Slow-growing or tree-type houseplants do not do well with major cutting back – avoid pruning palms, pines and orchids.

Gardening tools

All plant connoisseurs need a few items to hand to make caring for houseplants easy. A small pair of scissors for deadheading [removing dead leaves, stalks and flowers], plant feed to boost any sad looking plants and a water spritzer/sprayer are a few essential items. It’s best to wear a protective apron or clothes you don’t mind getting potentially dirty.

–––––––––––––––––––––––––––––––For a round-up of the most important stories from around the world - and a concise, refreshing and balanced take on the week’s news agenda - try The Week magazine. Start your trial subscription today –––––––––––––––––––––––––––––––

It’s fair to say that the 9 to 5 grind has taken an unusual turn recently with millions of people now working full-time from home.

Routines may have changed dramatically but the demands of the working life continue with new “issues” such as keeping the kids entertained while juggling a full schedule of online video meetings.

As more time is now spent at home, our personal space has become more important than ever. Homes are not just for living in - it’s also a place for work, school and relaxation.

That’s why it’s vital to have an area where you can escape and wind down after a long day or week at the “office”.

–––––––––––––––––––––––––––––––For a round-up of the most important stories from around the world - and a concise, refreshing and balanced take on the week’s news agenda - try The Week magazine. Start your trial subscription today –––––––––––––––––––––––––––––––

Less is more: Japandi-style Zen living spaces

The creation of a Zen living space is essential to enjoying time indoors and to continue being productive at work.

This has seen the rise of Japandi - a fusion of Japanese and Scandinavian interior design styles - in creating clean, calm and harmonious indoor spaces.

According to smart furniture and interior design online platform Pepper Sq, each detail of Japandi style is filled with Zen philosophy and the look is minimal, functional, warm and calming; with touches of Wabi-Sabi enthused imperfection.

“Less is more” is the key concept of Japandi style with a major focus on simple shapes, light colours, and natural elements such as wood and plants.

How to create your own sanctuary

Pepper Sq has introduced a furniture range aimed to inspire the creation of a balanced space to bring calmness, joy and happiness to your home.

The collection combines lights, rugs and natural wooden furniture - spiced up with contrasting darker tones.

“Creating Japandic style, we have to focus on the natural materials as a key feature,” the design team at Pepper Sq explain.

“Walls, doors, screen grids and frames are all made of natural wood. In order to maintain the light and colour balance, it’s recommended to use light woods such as beech, ash, pine, and light oak.

“These woods help to make not only hygge vibe [Scandinavian designation of cosiness and feeling of contentment], but also will be a material, which will keep your home warm during cold winters.

“Warmth and comfort will be complemented also by adding to the interior such natural fabrics, as cotton and wool, which could be used as curtains, blankets or decorative pillows.

“Another Japandic trend is the usage of sustainable materials, such as bamboo. Bamboo furnishings are lightweight, durable, compact in size and allow to create unique elegant shapes.”

Get the Japandi style

Sculptured wooden lamps can be used as a room divider or screen for bedrooms. Jute and Sisal rug collections are a perfect addition to complete the look. This will not overload the eye but make the space light and warm.

The Fraser Desk produced from sustainable bamboo is designed for confined spaces and transforms even small areas into both elegant and functional workplaces.

In combination with a beautifully crafted Copen Folding chair, it will pair perfectly to create a comfortable and harmonious working area.

–––––––––––––––––––––––––––––––For a round-up of the most important stories from around the world - and a concise, refreshing and balanced take on the week’s news agenda - try The Week magazine. Start your trial subscription today –––––––––––––––––––––––––––––––

The team behind Wattbike set out in 2000 to redefine the world of indoor cycling with what they envisaged would be the ultimate exercise bike - one that would replicate the sensation of riding on the road while also providing accurate and detailed data on every pedal stroke.

Eight years later, the very first Wattbike was showcased. The groundbreaking machine was - and remains - the only exercise bike ever endorsed by British Cycling.

Since then, the Wattbike has been embraced by other performance-focused athletes and sports, including international rugby and Premiership football teams and competitors in the worlds of F1 and NFL, as well as being a regular fixture in top-class gyms.

Fast-forward to 2017 and Wattbike launched the Atom, their first smart bike made specifically for the home user. It is more affordable than the brand’s gym models, has a slicker design, is quieter and simpler to use, and has greater connectivity to third-party training apps.

Keen to see what the hype was about, a little over 90 days ago, I took delivery of an Atom, which now lives in my sitting room alongside the sofa facing the TV. Since then I’ve ridden for 41 hours and covered a distance of 1,290km (800 miles). I’ve done it all: taking part in races, enduring rigorous training programmes, enjoying virtual rides with friends, improving my technique, beating personal bests - and feeling great in mind and body as a result.

But how is it as a product? Futuristic in aesthetic, the eye-catching and compact aluminium frame is pleasantly stark, with a refreshing absence of plastic compared with most other options. Pretty much every part can be adjusted to ensure the bike fits perfectly for riders of all shapes and sizes, and there’s no bulky, integrated screen.

Instead, the interface can be sent to nearby smart devices such as iPads, laptops or even TVs via Bluetooth. Herein lies one of the bike’s huge strengths - its connectability to a wealth of high-tech training and racing apps.

Choose from Wattbike’s very own Wattbike Hub - an app packed with workouts, climbs, HIIT sessions, sprints, endurance rides and replicas of real climbs, such as the iconic Alpe d’Huez. But the ace in the pack is the so-called Pedalling Effectiveness Score (PES) feature, which draws a diagram for each individual pedal stroke, helping you understand the balance of power applied between your left and right leg, and how efficient each revolution is. This is for the real geeks.

However, much of the Wattbike Hub is also a rather dry experience, comprising wave after wave of black, white and red graphs and an endless stream of data. Should you prefer a richer, more interactive experience, the best option is to connect to external virtual-world avatar style apps such as Zwift, TrainerRoad or The Sufferfest for limitless ride options.

These third-party apps allow you to ride with friends or against thousands of other cyclists using the app live at that very moment - it’s a fantastic motivator and the main reason for my addition-like level of use. The apps tap into the Atom’s ERG mode, which adjusts the resistance you need to apply to the pedal automatically.

But what’s it like to ride? Clip in with your cycling shoes and, true to the hype, it feels just like riding a bike on the road, with drop handlebars and fluid, smooth pedalling action. The feel is flawless, using magnetic resistance which also keeps the bike quiet - vital for me as the father of a newborn.

With 22 gears, finding a level you’re comfortable at is easy, with a very smooth transition through each. The one issue here is a noticeable lag of around a second from when you change gear to when the shift takes place.

Since taking delivery of the Atom, my exercise regime has been transformed. Sure, since having had my first baby a few weeks ago, time to train has suddenly become in short supply, and trips out to the Surrey Hills for a Sunday morning ride have mostly been off the agenda. This makes having a piece of exercise kit in my own home hugely time efficient and ideal to maximise a half hour or hour when the opportunity arises.

Also, the winter months mean heading outdoors sometimes just doesn’t appeal. Combine these with the Wattbike’s realistic ride feel and integration into Zwift, and this bike is just the job.

With a £1,599 price tag, it is certainly a considered purchase. It’s worth noting that there is also a 0% finance option of £276.50 per month over six months - a nice option to ease the cash flow.

So, yes, the Atom isn’t cheap, but this bike has transformed my winter training and fitness - and what value do you put on that? For me, it’s definitely worth it.

Pangaean Zoology, by Steffen Dam, above, and a detail from Flowerblock, top

Collect 2020 features more than 400 artists. Do you see trends or shared characteristics in the work they are exhibiting?

The range of artists at the fair is huge - they span art jewellery, ceramic, fibre, furniture, glass, lacquer, gold/silversmithing, stone, textile, leather, paper, wood and a number of other newer/experimental materials. Where we will always have artists that work tirelessly to perfect their chosen material there seems to be an increasing body of artists and designers collaborating and experimenting with materials - learning from one another. Previewing at Collect 2020 is a collaboration between a master glass artist Edmond Byrne, who has been working with the celebrated metalsmith Adi Toch. Together they will present a series of metal sculptural forms containing molten glass.

There will be a strong international presence at Somerset House too. How does the approach to craft vary around the world? Are there distinct cultural traditions?

At this year’s fair we have artists from more than 25 nations from Sweden to Uganda to Japan. For many artists at the fair the traditions of their chosen material are a source of inspiration and reference. For example Ting Ying gallery (China/UK) presents Chinese and International artists that use the 14th-century porcelain Blanc de Chine as their starting point. You’ll also see distinct (ancient) forms such as the Korean moon jar kept alive and celebrated by contemporary potters.

Contemporary works in lacquer traditions from South Korea, China and Japan have been something we have seen more of in recent years. The 50 Golborne gallery, which focuses on works from Africa and its diaspora, will present tapestries by Sanaa Gatej in recycled paper that are produced by specially trained groups of Ugandan women (see Mutation, below left and Keeper of the Lake (Nalubaale), below right). And the Czech cast glass tradition is being reinterpreted by artists showing with Kuzebauch Gallery from Prague.

For those who are interested in investing in craft works, what factors should be considered, apart from the buyer’s personal taste? What questions would you ask before buying a piece?

The confidence in buying comes from the specialist expertise from our exhibiting galleries. Collectors or new buyers at Collect can expect our galleries to have in-depth knowledge about their artists, their ideas and their practice. Most of the artists showing at the fair will have works already in museum collections as well as an impressive list of exhibitions in their home country and abroad. But we also ask our galleries to introduce new talent and that’s exciting to see what they consider the next generation of collectable works.

Have some media performed better than others, in investment terms, or is value more a product of an individual artist’s reputation?

The market for contemporary ceramics particularly has boomed over the last decade, with Sotheby’s, Christie’s and Phillips presenting contemporary ceramics. Six-figure prices for works by key figures, like Hans Coper and Lucie Rie, have helped to establish the studio pottery movement in the UK. At Collect we have seen an increase in the variety and ambition of works in clay. We now see more works with a complex narrative or really unusual surfaces as buyers are getting braver. At Collect people are interested in the artist’s reputation but they are also keen to be introduced to new artists just starting out or those from an international gallery they might not get a chance to visit.

Are many of the exhibiting artists open to producing work on commission? How does the commissioning process usually work?

The commissioning process varies hugely depending on the artist, how they work, what medium and scale. But the great thing about Collect is that we are dealing with artists working today and you get a chance to have a detailed dialogue. At Collect you could commission anything from a ring from a specialist jewellery gallery to a huge installation in glass for a corporate building.

What is your own experience of commissioning art?

The Crafts Council does not commission especially at the Fair but will often purchase for its own collection. With regard to special pieces at Collect itself, I have worked with galleries over the past couple of years to bring together special installations of work that has particularly stood out during the application process. These conversations develop and have produced some wonderful results. For this year we are working with UK-based gallery Cavaliero Finn to showcase a new hanging sculpture by Daniel Reynolds within the West Wing at Somerset House.

Incorporating the largest elements Reynolds has ever worked with, the artist’s dramatic, organic sculpture will be executed in his signature glass and ceramic. Rooted in his love of concrete architecture and inspired by mid-century British artists and architects such as Victor Pasmore, Reynolds’ installation will be created especially for the fair. The impressive piece – measuring 2.25x2.50m and weighing 18kg – will react to the breeze and changing light in the space for which it is designed.

From left: Zansetsu (Packsnow), Hayashi (Woodland) and Sekka (Snowflake), by Kazuhito Takadoi

Collect 2020 runs from 27 February to 1 March at Somerset House, London. For more information, see the Collect 2020 website

Jeff Bezos has broken property price records in Los Angeles by buying a $165m Beverly Hills mansion.

The Amazon founder’s purchase is “the largest amount paid for a single-family Los Angeles-area home”, says The Guardian.

What’s the history of the house?

The nine-acre estate originally belonged to Jack Warner, the late president of Warner Bros Studios.

Warner built the estate’s 13,600-sq-ft Georgian-style mansion in the 1930s, with materials reportedly including the wooden floor that Napoleon stood on when he proposed to Josephine in 1796.

The estate was a popular hangout for stars in the golden age of Hollywood. As Olivia de Havilland said in Architectural Digest: “I remember one New Year’s Eve party in 1939 or 1940, all the men were glorious in white tie. Errol Flynn was behind the bar, Howard Hughes was my date, and Jimmy Stewart was seated on a stool.”

Ann Warner, Jack’s widow, declined a $25m offer for the estate after his death in 1978, saying she would live there until her death.

Media mogul David Geffen broke national records when he purchased the estate for $47.5m in 1990. He auctioned off around $11m of the mansion’s furnishings but kept the famous wooden floor. The ongoing work he did on the estate made it one of the city’s longest-running construction projects of the 1990s, says the Guardian.

“This is really an act of grandiosity on my part, but the fact of the matter is that I own it,” Geffen told the Los Angeles Times in 1993. “And it’s a privilege to be able to live there.”

What’s features does the estate have?

It is “the archetypal studio mogul’s estate”, says Architectural Digest, with its “expansive terraces and gardens, two guesthouses, nursery and three hothouses, tennis court, swimming pool, nine-hole golf course and motor court complete with its own service garage and gas pumps”.

“Outside, the property holds a golf course, a series of fern gardens, fountains and sculptures. A 300-foot, tree-lined drive ends at a circular motor court. Elsewhere on the grounds are a pool and tennis court,” says the Los Angeles Times.

“It looks like Versailles,” Geffen said when he bought the estate and its mansion, which at the time featured eight bedrooms, a card room, a screening room and a domed bar.

The mansion was originally designed in Spanish Colonial Revival style, says the LA Times, before Warner had it reimagined as a grand Georgian mansion by architect Roland Coate in the 1930s.

Why Bezos?

Bezos is one of the few people rich enough to afford the estate, thanks to his $131bn net worth.

“David has the best taste of anybody, so you have the richest guy in the world buying the best of the best,” Stephen Shapiro, of Westside Estate Agency, told the LA Times. “Why would he settle for anything less?”

Bezos had been house-hunting in Bel Air and Beverly Hills with his girlfriend Lauren Sanchez, with “price no object”, says the New York Post.

Another property the couple visited was Chartwell, a Bel Air estate that set the previous record when it was bought by Lachlan Murdoch, son of Rupert Murdoch, for $150m last year, reports the Guardian.

The 2019 Land Report, which lists the country’s 100 largest landowners, ranked Bezos in 25th place.

Bezos’s purchase comes amid concern from leading US Democrats over how Amazon treats its employees.

In a recent letter to Bezos, the senators wrote: “Amazon’s dismal safety record indicates a greater concern for profit than for your own workers.”

Presidential hopeful Bernie Sanders tweeted about Bezos’s purchase on Wednesday, noting the billionaire had added $13bn to his wealth in 15 minutes two weeks earlier.

“$13 billion in 15 minutes,” Sanders wrote. “Think about that compared to the pain and struggle of millions of Americans who are living paycheck to paycheck. We have a rigged economy and that has got to change.”

“When they make the film about your life – the one where you win the billion-dollar lottery after finding the winning ticket in the gutter – how will you arrive in the opening credits?”, asks James Gilboy in The Drive.

If you’re thinking of a limited-edition Porsche, you’re not thinking big enough. Those who find themselves in such a situation can now be catered for by French aircraft maker Airbus and luxury British car brand Aston Martin, who have teamed up for 12 months “to build branded VIP helicopters for ballers and Bond villains”.

That means the standard Airbus ACH130 helicopter is getting a luxury Aston makeover, including an exterior Aston-branded paint job and a luxury leather interior with suede trim. “If you spend so much time in luxury helicopters that they all become a blur, embossed Aston Martin wings on this chopper’s headrests and a plaque on the instrument panel serve to remind you that you’re in the nicer-er version.”

The Airbus engine delivers 952shp (or “specific horsepower”, a measure that offsets power with how much the engine weighs) and can cruise at 134 knots, which is 154mph “if you don’t speak aircraft”, says Ollie Kew for Top Gear magazine. But the “tech spec” is irrelevant. For this chopper, it’s all about style. “A British Racing Green helicopter with a tan leather interior? There must be few more tasteful ways to arrive at your plastic surgeon’s dog walker’s accountant’s summer retreat.”

What can you expect to pay for such exclusivity? Prices are strictly on application, but a standard Airbus ACH130 helicopter will set you back around £2.4m, says Luke Wilkinson for Auto Express.

Aston Martin’s chief creative officer, Marek Reichman, doesn’t think the final price tag, whatever it is, will deter the helicopter’s target market. In other words, if you have to ask, you probably can’t afford it. Deliveries are to start in the first quarter of this year.

This article was originally published in MoneyWeek

From across the corridor, Christof Metzger and Klaus Albrecht Schröder lock eyes as they begin the countdown.

“One, two, three.”

They move in unison, cards unlocking the first of three high-security doors. One of our group jokes about lasers and retinal scanning, which is met with laughter until Schröder admits that the retinal scanner is in a different vault. We're hurried onto the next security gauntlet as the doors are on timed alarms and I have to stop myself from humming the opening bars of Mission Impossible out loud.

We’re actually on our way to vaults of The Albertina Museum, set on the cusp of Vienna’s historic heart and the Museumsquartier. These cool, temperature-controlled concrete boxes are currently home to The Albertina’s most prized collection, the works of one particular artist whose upcoming exhibition is highly-anticipated by visitors, critics and staff alike.

Albrecht Dürer (1471-1528) may not be such a household name on UK shores anymore – 500 years have a way of somewhat waning one’s renown – but he was once on the tip of every Renaissance tongue. The most famous artist of his generation, Dürer is still considered Germany’s greatest ever artist and his global fanbase (including at least three Holy Roman Emperors) is a remarkably devoted one.

–––––––––––––––––––––––––––––––For more culture features - and a concise, refreshing and balanced take on what really matters - try The Week magazine. Get your first six issues for £6–––––––––––––––––––––––––––––––

It’s thanks to his enduring popularity that The Albertina’s Dürer collection has remained intact and well-documented for centuries, despite passing through multiple hands.

“Many other artists, Mathias Grünewald for example, had to be recovered,” Metzger explains, “but Dürer from the beginning was famous, famous, famous.”

Metzger is the Chief Curator of The Albertina’s drawings and prints collection and the resident Dürer expert. Under the watchful eye of Director Schröder, Metzger has devoted five years to planning and curating the September–January exhibit, which will include some 200 objects.

His team have had help though: from the master himself. The collection – which includes family portraits and plant and animal studies – retains the original structure Dürer had in his workshop, where these drawings formed his portfolio. “You could say,” Metzger proudly states as he begins to pull out and line up masterpiece after masterpiece, “that Dürer is the first curator of our Dürer collection.”

With almost 140 works to choose from, you might imagine narrowing down favourites is a difficult task. Not so; I know it the moment I see it lifted from the stacks and propped up amongst the other paintings. The bright Wing of the Blue Roller, a marvellous study of detail and colour, stands out like sunlight in the drab, grey underbelly of the vaults. Its vividness is reminiscent of oils rather than its actual watercolour and the fineness of the feathers is a remarkable feat. I’ll admit, even my modernist heart is moved.

As the artworks are revealed so too is Dürer’s journey, from his first self-portrait aged 13 through to his appointment as official court artist to Holy Roman Emperors Maximilian I and Charles V. Two of the most important works narratively are the views of Innsbruck Castle’s courtyard, both painted c.1495. Typical of the late Gothic manner, the foregrounds look like unearthly, rather lifeless theatre scenes – but while one’s sky is a blank stretch of white paper, the other’s is a swirl of cerulean snatches and deep grey clouds. This attention to atmosphere, so far removed from the blank Gothic form found in its partner, was groundbreaking.

“Works like these” Schröder explains, “really indicate the transition between the late Gothic artist to the modern Renaissance artist, observing atmosphere – air, water, surface… One of these solidifies him as the great German Renaissance master, the other is Gothic, and there’s a synthesis of these two sides ten years later.”

That synthesis is realised in Dürer’s best-loved masterpiece, Young Hare: the painting we’ve been waiting for. Young Hare is one of Vienna’s most important artworks – alongside Klimt’s cult classic The Kiss – and there’s a definite buzz in the vault as it’s finally lifted from its long-closed, high-security hutch and placed centre stage.

At first glance, I’ll admit, it’s hard to see what the long-eared fuss is about. It’s a relatively small watercolour painting, a mere 25 x 22.5cm, with a curious amount of blank space. No gold leaf, eye-catching patterns, resplendent colours or cult status – just a rabbit and its shadow. Yet at the time of its creation in 1502, Young Hare was revolutionary and the echoes from its perfectly-painted paws have sounded through art ever since.

Technically, it’s a true masterpiece. Dürer’s grasp of light is unparalleled: there’s not a highlight out of place and the light source hops consistently across the hare’s frame – a skill that even today’s CGI artists struggle with. To achieve this light play, Dürer used his finest brush to round out and structure individual hairs and whiskers and had to do so without a static model to work from. Unlike the hare, most animals depicted at the time (such as Dürer’s own blue roller) were dead. Young Hare predates taxidermy, making the portrait a real feat of photographic memory.

The subject is no less ground-breaking. Dürer was one of the first artists to paint realistic animal portraits – a genre that wouldn’t be recognised until the 17th century – and to remove symbolism from his art. It’s evident from his writings that Dürer intended Young Hare to be exactly as we see it: an ordinary animal made extraordinary by nature, without added adornment or background noise.

“Nature holds the beautiful for the artist who has the insight to extract it,” he wrote. “Thus, beauty lies even in humble, perhaps ugly things, and the ideal, which bypasses or improves on nature, may not be truly beautiful in the end.”

Looking at Young Hare in the intimate light of the vaults, humble is exactly right. The hare itself seems entirely unimpressed with its renown, like a grumpier version of the Mona Lisa (which didn’t yet exist), but it’s this lack of pretension that makes it so striking. The longer the hare holds your gaze, the more undeniable its modest mastery.

At its creation, Young Hare was so admired and radical that it was immediately copied. Every arthouse in Germany had its own version, though Dürer’s contemporaries struggled with the painting’s unconventional mix of realism and blank space: all of them added in fields, flowers and habitat

Dürer’s incredible understanding of branding certainly fuelled his well-earned acclaim. Today the social media world is quickly learning the value of self-promotion but Dürer was honing modern-day entrepreneurial skills in the mid-1490s.

Dürer originally planned his workshop for print-making – he was first and foremost an unparalleled printmaker – and so had his own printer’s monogram. Even his paintings were branded with this telltale symbol, a D enclosed in the legs of a large A, which Metzger calls his “corporate identity”. Dürer’s monogram was notorious and so often used on forgeries that the master actually went to court to protect it – the first copyright action in art history.

The protection of Dürer’s legacy has since passed onto the capable hands of Metzger, Schröder and The Albertina. If these vaults are anything to go by, it’s a duty they take seriously. These paintings haven’t been displayed since 2003, when half a million visitors came to see them. Schröder has no doubt that the 2019 exhibit will surpass that and having seen a glimpse of its treasures for myself, I wholeheartedly agree. While 500 years may have passed, Dürer’s magnetism and mastery still shine as bright as the blue roller’s wing.

Exhibition at The Albertina runs until 6 January 2020. More information at albertina.at

For more on Vienna’s art offerings, visit vienna.info

September is a busy month in London - and no more so than at the London Design Festival (LDF), which has record 400 events taking place across the capital this year, in Brompton, Bankside, Clerkenwell, Paddington, Chelsea, Marylebone, Mayfair, Pimlico, Shoreditch, Victoria and West Kensington. Information on events in each district can be accessed on the LDF website.

To make life easier, here are some the highlights of the festival, which runs from now until 22 September:

Design at the V&A

Always a hotspot during the festival, the museum (which works in partnership with LDF) has focussed its attention on design solutions to the challenges of sustainability and climate change. Head to the Sackler Centre to see Lucy Hardcastle's new work 'Kalostatis', an interactive installation inspired by the heart’s anatomy and flow simulations, that utilises scientific data and fuses it together with the heart’s organic motion and rhythm. In the V&A’s British Gallery, Canadian designer Matthew McCormick's experiential exhibit, 'Avalanche', (above), offers visitors an emotive and multi-sensory experience. Prepare to feel a little confined however: the clue is in the name, though thankfully, no snow is involved.

Elsewhere, fashion photographer Tim Walker, who has an exhibition on at the museum, has created a series of installations that spill out into the galleries.

To close the festival on the 22 September, the V&A and its neighbouring cultural institutions will be throwing a street party along Exhibition Road. This year's theme carries on the eco-conscious cause by celebrating 'design solutions to the climate emergency'. Students from the Royal College of Art will be making furniture fashioned from the V&A's exhibition packing crates, and these innovative tables, chairs and banquettes will later be donated to community gardens and charities. Food which would otherwise be wasted will be magicked into all manner of international delicacies thanks to top chefs, while visitors can enjoy free talks and seminars throughout the day.

A final tip: be sure to look up as you enter the V&A lobby - artist Sam Jacob has done something quite mesmerising to the Cromwell Road entrance, but we won't spoil the surprise.

Camille Walala: South Molton Street

Oxford Street may not be the most peaceful place to enjoy the aesthetics of our city, but French artist and self-appointed Queen of Colourful Street Art, Camile Walala, has given pedestrianised South Molton Street a kaleidoscopic makeover with benches, awnings and flower pots decorated in her signature style, which will stay in place long after the festival closes (at least two years, reportedly). Speaking about the project, the artist told Portfolio: "I still love the idea of a big temporary art work on a wall, the surprise it gives you and then it's gone, but it's so nice to work on something more permanent which also permits me to work with new materials, ones that are both sustainable and hard wearing."

100% design at London Olympia

A ticketed event, but one which promises to illuminate: expect thousands of new innovations in the world of architecture and interior design under one roof from aerodynamic fireplaces to cool three-legged Rock Chairs by Italian brand Da A Italia. Highlights include A Sense of Finland, a purpose built eco-log house showcasing the very best of Finnish furniture.

Highlights at the King's Cross Design District

Granby Workshop is proving that stylish accessories can be made using sustainable practices: the shop has launched a range of ceramic tableware made from 100% waste materials which are showcased at an installation and pop-up shop at Kiosk N1C in Coal Drops Yard. You can order what you like exclusively on Kickstarter.

A series of guided tours will offer one-of-a-kind tours of the Gasholders, a trio of Grade II Victorian gasholder frames that have been coverted into luxury appartments. London-based fashion designer Roksanda Ilinicic has lent her design eye to a very pink and plush penthouse there which she has filled with furniture, art, ceramics, books and objet from artists and designers including Lina Bo Bardi, Alanna Wilson, Charlotte Perriand and Caroline Denervaud.

Saatchi Gallery

The gallery is hosting I-Made, London's first exhibition solely dedicated to Italian design and manufacturing, curated by renowned Italian designer Giulio Cappellini, famous for his Capo chair, Mill sofa and, more recently, ultra-simple Bong table and Gong side table (below) aimed especially at millennials.

When I was a Kid I Dreamed of Being an Astronaut

It's not as crazy as it sounds. In fact, this one-night charity auction on 17 September at Superunion, Farringdon, will raise funds for I Can Be, a London-based organisation which supports disadvantaged inner-city primary school children. The live auction will feature posters designed and signed by renowned artists and iconic figures.

Bankside melodies

Musicity x Low Line has invited sound artists to compose tracks in response to buildings and spaces along the mighty Victorian railway viaducts which form the Low Line, spanning Bankside, London Bridge and Bermondsey. Listen to 15 site-specific geotagged tracks in the spaces which inspired them. And while you are in the neighbourhood, head to the Oxo Tower Wharf, where 20 MA graduates from the University for the Creative Arts, Farnham are showcasing selected works spanning textiles, Ceramics, Jewellery, Metalwork and Product Design.

Anthropologie, Chelsea: Kaffe Fasset

If you loved Coach's AW19/20 collection head to this store which is showcasing some unique works by Kaffe Fasset. The renowned American textile artist collaborated with the fashion brand's creative director Stuart Vevers to create a truly bold and dynamic collection this season. Coach isn't stocked at Anthropologie but this event is an ideal opportunity to immerse yourself in the colourful delights of this seminal artist.

And if you miss the festival altogether?

We asked London Design Festival Director Ben Evans CBE about his favourite London hotspots:

"An obvious tip is to visit the Sir John Soane's Museum. It's such a unique and wonderful place.

"I would also go to Jasper Morrison's shop on Kingsland Road which has no presence on the street whatsoever - I think just a buzzer and an unprepossessing door! It is a little room, and annexe of his studio, which he operates as a shop. It just him selling things that he likes, some which he has made and others which he hasn't. Sometimes he'll pick a very niche subject, like 'tea trays' or 'sticky tape.' It really is wonderfully esoteric.

"Don't forget to look underground too, there are some incredible vaults that you can explore. Under Smithfields Market there is a complex maze of what was originally meat stores. These are cathedral-like spaces! There are limited tours you can currently take to explore them."

Even from the street, Lanserhof at The Arts Club looks like no ordinary gym - the Georgian brickwork and sash windows are enough of a giveaway, but step inside and you enter a whole new world.

First there's the plush lounge, serving a lip-smacking light lunch menu, and then the futuristic changing rooms (below), each one like a tunnel carved from light, but the piece de resistance descends from the ceiling, between the high-tech treadmills and weight machines: an ornate crystal chandelier.

A new arrival, it's the first city-centre outpost of Lanserhof, the Austro-German company renowned for medical spas secluded in acres of middle-European forest. This time they've gone for the opposite extreme: a prime slice of Mayfair, just across the road from The Arts Club, their partner in the project.

It comes at a price, of course: full membership costs £6,500 per year (plus a joining fee of £1,500, waived for existing members of The Arts Club). Non-members, however, can also make use of an extensive range of medical treatments, including osteopathy, vitamin infusions, MRI scans and cryotherapy.

Those who do join up will benefit from an unusually rigorous approach to personal training. Styku scans, which measure body fat, muscle size and posture, are used to keep track of progress, and ensure that training programmes are optimised. An array of ultrahigh-speed cameras provides full gait analysis, while a spine lab measures core strength and assesses recovery from injuries, using machines more usually employed in astronaut training.

The gym equipment is suitably high-tech too: several of the machines can be linked to a member's smart card, automatically loading the programme and weights prescribed by the personal trainer. Information flows in the other direction too, letting trainers know whether exercises have been carried out safely and correctly.

There's room for fun too alongside all the exertion. A virtual-reality Icarus machine allows you to swoop through the Alps as you build core strength, controlling your flight by clenching your abs and tilting your body in one direction or another.

The illusion is utterly convincing, and distracts from the effort involved in maintaining the pose. You’ll flinch as you clip the treeline on a treacherous mountain ridge, but as you soar through the Alpine valleys you could almost believe that you’ve left London entirely and transported yourself to one of Lanserhof’s original rural retreats.

Lanserhof at The Arts Club, lanserhof.com/en/london, 17-18 Dover Street, London W1

Before buying a yacht, you need to consider a number of things that may well take some soul searching. First and foremost, what do you want to use your yacht for? Do you want to swan around the azure waters of the Bahamas and through the Med up to St Tropez, or are you planning long transatlantic crossings and adventures up to the Arctic Circle to reach icy, untouched destinations?

Perhaps you want both. Anything is possible, but different types of hull design and the amount of space inside (often referred to as gross tonnage or GT) will be preferable for different types of voyages. This is probably the first question you’ll be asked by any broker or shipyard. Second, how many people are you envisaging on board?

You’ll need to think about the size of your family and friends, how many people you want to be able to stay overnight and how many you want to be able to entertain. This will impact the size of the layout of your boat, in addition to the size of outdoor decks and dining spaces.

Taking the plunge – who to contact

If it’s your first boat, I would strongly recommend that the first thing you do is find a good sales broker to guide you through what can be a long, although extremely rewarding process.

More than 70% of my company Heesen’s boats are sold through brokers and we work closely with all the top brokerage houses. Your broker will have a good understanding of the market and will be able to connect you to the right designers to suit your requirements. Brokers are also key in keeping all parties happy and managing deadlines. For example, it may seem absurd and mildly irritating that you are required to choose the size and brand of your TV two years in advance. However, for the ship builders it is crucial to know, as this affects everything from the layout of the room, to technical space required.

During the process, other than the shipyard and broker you’ll need a number of key players who you will want to include in the process: notably your lawyer, but also your future captain and family, who will be using the boat. When it comes to choosing a captain, the best way to do this is via reference from your friends or broker; brokerage houses often run crew agencies too.

Supersize vs. agility – why bigger isn’t always better

When yachts are spoken about, they are typically prefaced by their size – for example 55m Vida or 50m Home. That being said, when it comes to being nimble or fast, having a big yacht isn’t always preferable.

If you want to be fast and nip into tiny beautiful ports along say the Italian coast, a smaller yacht (up to 50m) typically gives more freedom as you don’t need a pilot for operations and you can access more places. A bigger yacht however gives more space for entertaining guests – home cinemas, bars and party areas, bigger pools and a helipad (or two). At Heesen, we’ve found the sweet spot is between 50-60m.

Real-talk – the reality of superyacht building and running costs

So how long will it take to build your yacht? Well, that is entirely dependent on how much you want to customise your yacht. For full-custom, that’s building from the ground up including design time, it can take anything from three years up.

However, in this world of instant gratification, no one really wants to wait that long, which is why we operate with an on-spec business model. On-spec means we’ve already started building a yacht without a client – meaning you can swoop in half way through the process and pretty much reduce your delivery time to one-to-two years by choosing to just customise the interior decor.

In terms of cost, all of our yachts are valued upwards of 30 million euros – the price is hugely dependent on the size, specifications, and materials used. Something most people may not realise is that running costs of a yacht are approximately 8-10% of the total cost upon purchase – that’s your fuel, crew, ports, maintenance, insurance, food and services on board.

Diving into design – how do I pick my designers?

I’d recommend chartering a number of yachts to figure out which type of yacht you like, which style and which designers you like. Test the waters, so to speak. Head to a trade show such as Monaco Yacht Show or Fort Lauderdale International Boat Show and have a look around, try a few things and see what fits. Meet the designers in person.

The safest option is to choose a superyacht designer who knows about the tricks of building on a boat, rather than external. Heesen can make recommendations as we work closely with many internationally acclaimed designers including British Winch Design and Harrison Eidsgaard, Espen Oeino, Clifford Denn, Cristiano Gatto from Venice and our home-grown Dutch talents, such as Omega Architects and Sinot.

Trends to be aware of

• Hybrid technology and Fast Displacement Hulls – more fuel efficient and ecologically friendly with the option for a silent mode
• Indoor-outdoor spaces – people are looking for winter gardens, swim platforms and any spaces that give them direct access to nature and the ocean
• Explorer yachts – these are perfect for adventure
• Toys and toy carriers: submarines, helicopters, jeeps, jet skis, seabobs, fly boards among more
• Special features: nemo rooms, snow rooms, spas, gym

Sea trials and delivery – a superyacht delivered to your doorstep

Your involvement is key to designing your yacht. Once the design is confirmed, the life cycle of yacht construction is as follows: the keel laying, the joining of the hull and superstructure, the launch (when your boat is complete and leaves the shipyard for the first time), the sea trials (Heesen take your boat to the angry North Sea for some rigorous tests) and then delivery to the owner, wherever you choose. The world is your oyster.

Charter a 51m Irisha here or a 50m Home here.

For more information, visit heesenyachts.com.

“A water toy on steroids” is how Chris Caswell describes the Custom Line 120 in Yachting magazine. This state-of-the-art superyacht provides a new benchmark for design and performance. A 35-metre-plus yacht with a top speed of 25 knots or more has been the “holy grail” for yachtmakers for many years, but, because of the trade-offs between weight, power and the size of the fuel tanks, it has proved elusive. “However much power becomes available, customers have an uncanny knack of ticking the heaviest things on the extras list, such as folding balconies and acres of marble,” says Alan Harper in the FT’s How To Spend It. That puts a lid on potential performance.

The CL120, unveiled at this year’s Cannes yachting festival, is the result of Milan-based yacht designer Francesco Paszkowski’s first collaboration with multinational shipbuilders the Ferretti Group. The high-tech engines from German manufacturer MTU speed the yacht – just – to the “magical” 25 knots benchmark; the boat is equipped with a pair of MTU 2000-series V16 diesels, with a combined horsepower of 5,276hp. “The CL120 is a clever amalgam of space, style, luxury and performance that should appeal to owners looking to make the mega-yacht move,” says Caswell.

As you would expect when spending in excess of £13.2m, every aspect of the vessel’s interior can be customised. “The owner’s personality is reflected in the tailor-made décor and top-quality finishes,” says YachtWorld. “Elegance takes shape in a personalised space where every detail is a declaration of aesthetic intent.” The boat also has a smoother and less boisterous ride than you might expect and, if you’re not in any rush – or don’t feel the need to show off your pride and joy’s top speed to awe-struck passengers – you can cover more than 1,000 nautical miles at 11 knots without needing to refuel.

Custom Line 120 Top speed: 25 knots; length: 38.1m; guest cabin: 10 people; crew: 7; price: from £13.2m + VAT

This article was originally published in MoneyWeek