The Professional Interior

Design Course
Tutorial Four

Copyright 2002. J Morris. Revised 2023. Licensed in Britain to International News Syndicate.
 INDEX

Page

The British Interior Design Style – what makes it so varied? 3

Design for the Colder Climate 7
Design For Small Space Living 10
Self Exercise #1 12
Client Relations 12
Styling A Property For Sale 16
Case Study – Country Cottage 22
Current Trends 23
Glossary of Timber & Building Terms 27
Assignment Three 41
Assignment Examples & Submission Details 43

Please note: To enhance your learning experience, the course material contains many links to
external sites and documents. While every effort is made to ensure links are active and up to date,
there may be occasions when you find a link is broken or has changed/been redirected,
either legitimately or due to poor domain management by the site owner.
If you see any broken or misdirected links in your tutorial, please contact us at
questions@britishcollegeofinteriordesign.com and we will happily assist you.
Incorrect links will be promptly updated.
A further reminder: self-exercises are for your personal benefit and
are not required for submission to the College.
2
The British Interior Design Style – what makes it so varied?

A globalised economy, coupled with the communications possibilities afforded by the internet, means
that, to some extent, interior design has developed an international aesthetic. The same interior can
be fairly easily recreated anywhere in the world, and designers often work across several continents.
However, wherever they work, most designers pride themselves on retaining the intrinsic character of
the building as well as reflecting its social, cultural and geographical context – from an Alpine chalet
to a Midwestern ranch. Within this ideal, however, British designers have a reputation for innovation,
eclecticism and mixing the best of the past with forward-thinking ideas.

As the business centre of the world, London found itself at the centre of an explosion of wealth in the late
1990s until the banking bubble burst in late 2008. The city attracted some of the wealthiest people on the
planet to its impeccable stuccoed houses in Mayfair, Kensington and Chelsea and Holland Park, and with
this came a growth in the high-end interior design market. These clients were incredibly well-travelled and
particularly well-informed about the aesthetic of the world’s luxury hotels. It meant a demand for a style
that was international in flavour, with a heavy emphasis on bespoke furnishings that could not be seen
anywhere else, and incorporating five-star hotel-like facilities including bathrooms, pools, gyms and offices.
Nonetheless, these homes look recognisably ‘British’ – so what characterises British design?

If anything unites British interiors, it is an eclecticism and freedom to bend the rules to create spaces that are
classic in their own way, but also quirky and full of personality. A long-standing distaste for showiness and
decadence also means a certain modesty prevails, with emphasis given to quiet but brilliant workmanship
and excellence that comes not from a single object but the relationship between many objects. These general
principles will work no matter what the style of the interior.

The continual reinvention of the historic interior

is a recurring theme in British interior design.
Revival is nothing new – wave after wave of
design in action
revival, from Greek to Gothic, pepper the history
of the British interior – and with such a long
history of great houses, there is much from
which to plunder. Nowhere is there such a long
history of relatively ‘ordinary’ people being
able to access the best interiors: visiting country
houses as a tourist has been fashionable since
at least the 18th century. A strong publishing
tradition granted virtual access: the founding of
both Country Life and the Architectural Review
in the 1890s promoted an academic interest in
historic interiors, while British Vogue and House
& Garden brought the latest fashionable homes
to the masses. Today, with National Trust and
English Heritage membership, it’s possible to see
every style of architecture and interior for very
little cost, and it means that a broad section of For the main hallway on the entrance
the population has a basic understanding of the level, Lynette de la Vega designed a moving
nuances of historic interiors. sculpture using timber slats that can be
changed to create different patterns and
For all the above reasons, it is the country-house light reflections. Incorporating site-specific
style that most people think of when they imagine artwork such as this into an interior gives
a typical British interior. This style doesn’t signify
individuality and life to a design project.
a single historical era trapped in time, but a loose
Photo by Simon Kenny
assemblage of styles and objects from all eras that
3
reflect a house that has been in the same family for generations: an evolved interior. It was pioneered not
by a Brit but an American: society heiress Nancy Lancaster, whose post-second world war partnership with
John Fowler at Colefax and Fowler effected a sea-change in British interiors. Rooms that were shrouded
in a heavy velvet and damask gloom, stifled by formality, were lifted into light, useable spaces. For Nancy,
comfort was all, and colour was king. She would leave a sofa out in the rain, or dip fabric in tea, to achieve
the patina of age; humble objects set off the beauty of expensive, ornate ones. Sixty years later, her ideas
still have real resonance, with many designers taking the approach that ordinary, and even ugly, objects can
sit alongside beautiful ones, and mass-produced objects have a place next to handcrafted ones. It is this idea
that makes British interiors so eclectic today. The immutable twin values of comfort and practicality no
matter what the style (which seems so obvious to us today but were not always the ideal) are another legacy,
as is the use of over-scaled rather than under-scaled furniture to give an illusion of sumptuous plenty.

Britain’s long interiors tradition – and ready access to that tradition – also
means that designers have more freedom to subvert the rules, knowing
that the original meaning will be understood. It lends an eccentric touch
to many schemes that injects wit and personality and lifts them above
the homogenous and mundane: city-gent pinstripe used to upholster
Napoleonic armchairs; classical motifs picked out in brightly coloured
mosaic tiles in a bathroom; a Perspex coffee table in a traditional panelled
room. The spirit of reinvention, now with an injection of free-form fun, is
still very much with us – in fact, you will barely find a designer working
A Regency Style Oak Colonade in a strictly ‘traditional’ style in the UK, although there is still demand for
Benches by Soane Britain it in the US and the Middle East.

Despite all this subversion and rule-breaking, however, some ideals remain true. A commitment to excellent
craftsmanship, especially in furniture design, is almost universal. British cabinetry and joinery is world-
beating, and firms such as Soane Britain, Gosling and Jonathan Baring are making furniture that has the
quality and longevity of the best antiques. Timber
is such a versatile material that it can support and
enhance every style of interior from cutting-edge design comment

“
contemporary to ultra-traditional. It also has a certain
humbleness to it, a quality that fits in well with the
modesty of many British interiors.
People should feel comfortable
in a space. It should be uplifting.
In addition, designers are also rightly attached to the
elegant proportions of the best period homes, often
retaining or reinstating fireplaces, high skirting boards
You want people to feel absolutely
and architraves, even when the rest of the look is comfortable
solidly modern. If there is such a thing as a typical - and when
home, it is the urban Victorian or Edwardian terrace,
people are
and this presents its own set of issues, including lack
of light and storage, which over the years designers
have become expert at resolving. These houses also
make excellent blank canvases to carry the boldest
comfortable
they are
“
to the mellowest scheme, one more reason why the
beautiful.
British style can be so eclectic.

Centuries of international trade and tourism mean

that the British are very adept at understanding
and assimilating elements of overseas styles. Delft
pottery, Venetian glass, French antiques and primitive George Freedman
sculpture can all have their place – and the most www.georgefreedman.com
skilled designers can combine all of them to look as if
4
they have been gradually assembled over the years. Designers that trade off a style with exotic international
elements, such as Katherine Pooley, are in great demand, and they spend a great deal of time sourcing
interesting objects from around the world to build up schemes with a feel of artless elegance.

Finally, on an ordinary level, home is an

important place for the British, and an outward
manifestation of prosperity. We have a deep Design insight
attachment to property and an equally deep
desire to express ourselves within it. Nostalgia
still has a strong grip on us, and yet we want
to be forward-thinking and modern, too – this
Claire Rendall
What do you do? Interior Stylist
combination means that we can straddle old and
new, bringing everything together in a natural What do you wish someone had told you at the
way. Houses should be practical and liveable, but start of your career... That a big part of my job
above all, they should look loved. seems to be as a counsellor! If you’re not careful,
you can become an emotional crutch as well as the
designer. I think it’s because you’re dealing with
The Traits You Need To Cultivate people’s homes and sometimes if they haven’t
been involved in business, they don’t understand
In 1987, I left a glamorous job as Feature boundaries.
Writer for Cosmopolitan magazine, travelled
The best thing about my job is ... The people
overseas for six months and, on my return,
was offered a job at Vogue Living magazine. I work with. Cabinet makers, curtain makers
Mmmm, I thought before accepting the offer, etc. There is also always the thrill of seeing the
houses will probably bore me to distraction job through from complete mess into something
in six months compared to interviewing wonderful.
Hollywood stars and sporting heroes. Not so. This is what sometimes makes my work hard
… Some clients not understanding that you get
Surprise, surprise – interior designers turned out what you pay for. I have sacked clients when they
to be fascinating people to talk to. And being start to try to screw you down on everything. A fair
invited into the most beautiful homes in around
price for a fair piece of work and clients should not
– some lavish, some done creatively on a low
budget – was a true privilege and a firsthand expect people to give their all for nothing.
experience of how good design can enhance This is what makes my work easier ... People that
our lives in so many ways. Within weeks I was I work with who share my values and standards. It
hooked and devouring every book I could get is then a total joy.
my hands on devoted to interior design and You know me as an interior designer but earlier
decoration. Over the years since I have been in life, I was ... A graphic designer. I still do
fortunate to meet many leading interior designers packaging design – I think designers should be able
– in both the residential and corporate fields – to design anything from
and they are invariably:
shoes to trains. Graphic
design trained my eye for
• Sociable, articulate and good communicators
balance and detail.
• Lateral thinkers and problem solvers – they In a nutshell, my work
think outside the square philosophy is ... If you
• Have a great eye for detail love what you do, you’ll
• Stylish without snobbery or label put the hours in and
consciousness enjoy it. That’s the key to
• Intensely passionate about their work and all being a success.
aspects of good design
• Fun to be with, inspiring and committed
• Love a party
5
Cultivate these traits in yourself!

Starting Out

Eventually, I decided that doing interior design might be more fun than talking about it and writing
about it. So I went to night school and got my training in Interior Design – just like you are doing by
completing this course! Now I still love writing about design (and passing on my knowledge to you), but
I also get enormous satisfaction from seeing spaces transformed by my own ideas and efforts.

As each space you work on is completed and transformed into a wonderful space to be in, so you too will be
transformed by your pride in the results, the happiness of your clients and your growing confidence in your
abilities as a designer.

I started out by buying a derelict cottage (known locally as ‘the condemned house’!) in a small village with a
good tourist trade and converted it into a store selling natural homewares and handcrafted wooden furniture.
The design of the shop used found natural materials such as lichen-covered branches to support the display
shelves and as curtain rods, and discarded old, weathered fence palings for the counter.

A hot tip here: I picked up a lot of the ideas for the design of the shop from local and overseas design
magazines – reading magazines such as Elle Decoration, Wallpaper and The World of Interiors from the UK
and Maison & Jardin from France (just look at the pictures if you can’t read French) is a great way to pick
up ideas and keep ahead of decorating trends. The design of the shop was so unusual it was featured in Belle
magazine and on the Our House television program and gradually my customers also became my interior
design clients.

Good design attracts good publicity and custom –

an important point to reiterate if you are dealing design in action
with a retail or commercial client.

Good Design Is Good Business

I sold the shop four years later for a good return

– nothing improves the value of a property like
good design. I then had to sell my 10-hectare
property on the river nearby and did up the
neglected little stone cottage on the property with
an eye to attracting buyers looking for a country
retreat and thereby achieving the best possible
price.

I was inspired by the simple but very beautiful Earthly Goods, a natural homewares
and charming little summer houses I had visited in store, was one of my first interior design
Denmark as a teenager (and more ideas snitched projects. The bedhead is made
from overseas magazines!). It worked so well and I from old fence palings given a coat of
loved being there so much it was heartbreaking to limewash. Glass display shelving was
sell it. (You can see the results in the case study at supported on lichen-covered
the end of this tutorial.) But the time and effort I had
tree branches. The simple muslin
put into making it fresh, functional and comfortable
ensured a good return. Working on a minute budget, curtains were also hung from branches.
as I was in this case, really hones your design skills. Photo by Justine Kerrigan

6
I then bought a beach house down the coast and did
that up too as a holiday letting (so I could enjoy going
there when there were no tenants!). Because the house
design in action
is now light-filled, cheery and has a real beach house,
laid back, ‘yippee’ we’re on holidays feel (polished
timber floors and soft wall colours accented with bright
striped fabrics and bold Aboriginal artworks). I get a
good rental return for it, especially over summer, and
– even better – it more than doubled in market value in
just two years!

In essence, I earned more in two years from applying

my design skills to the house than I did from my
salary as Editor of a leading interior design magazine
over the same time. Your own home is the very best
advertisement you can have for your design skills
when you are starting out.

That’s my story and I hope it will inspire you to feel

confident that you too can benefit and build a healthy
business from the knowledge this course will give
you. In later tutorials, other interior designers will
be sharing their stories with you and their ‘inside’
business knowledge. An arrangement of natural
homewares made from driftwood and
vines in Earthly Goods.
Back To Basics
Photo by Justine Kerrigan

This tutorial again contains lots of information on

materials that you need to know about. Knowing
what is available to you and where it is appropriate to use it is your ‘toolbox’ as a designer. Don’t be
daunted by the amount of information or the more technical bits. You don’t need to memorise it but
do read through it all carefully then file it for future reference.

Also, start collecting brochures on different materials, window treatments and furnishings and file them. It’s
important information you need to know before you can start on the practical aspects of design work.

One Last Tip

To really learn about interior design, you need to experience the best first hand. One way to do this is
to go to open inspections of houses that are on the market and show apartments in upmarket areas of
your town or city. Also visit high-end restaurants (just have a drink at the bar if you can’t afford to
eat there), retail stores and boutique hotels. If you have friends who work for a major financial firm,
advertising agency or legal firm (they generally have the most innovatively designed workplaces) see if
you can visit their offices to see how the workplace is designed.

Design for the Colder Climate

There are differences to be observed when working in different regions of the world. Simply speaking
the world can be loosely divided into two different regions, hot and cold. The further away you get
from the equator, the colder it gets.
7
The colder area typically experiences the following:

• Shorter days (meaning less natural daylight than

design comment

“
their warm counterparts) in the winter months.
• Longer days (meaning more daylight than their
Stick to clear factual
warm counterparts) in the summer months. communication with clients.
• Often cool winters followed by hot summers. Never over promise, always state very
• Dusk. clearly the terms of engagement, don’t
• It is now accepted that ‘Seasonal Affective operate without full comprehensive
Disorder (SAD)’ results from the weather outside terms and conditions and set clear
having a direct impact on our mood and
behaviours, yet certain colours can counteract boundaries and make certain the
this, particularly in people who are easily affected client is very clear about what
by climate. services you will and won’t provide
With these five points, the following can be taken before starting on the project. Lack
into consideration. of clear communication is where
1. Whether existing or proposed, building
structures vary across the world. For instance, a
“
most problems arise, when clients’
expectations are not realistic from the
typical house in the UK is made from double brick. outset.
In Australia, it is typical to have timber-framed
houses. Anouska Anquetil, Interior Design Consultant at
Gilt&Gloss Design Ltd, www.giltandgloss.com
2. The construction, therefore, has a bearing on the
feasibility of the interior designer specifying (with
council approval) minor alterations - for instance, the relocating of a window to let in better light.

3. The location of (or relocation of) central heating. This consists of the installation of radiators throughout
a property. Typically, such radiators were installed, where possible, below opening windows. The reason
for this is that it was rare to install a permanent piece of furniture below a window, and (surprisingly) it was
thought that cool air from the open window would be warmed when entering the property by the radiator.
This is less common now, due to the popularity of vertical radiators.

4. Natural light. As mentioned above, natural light differs. In winter the light is lower and shorter and in
summer longer.

From these observations, the interior designer can create an environment that suits both client and
conditions. To do this, the interior designer must first understand the property’s aspect. ‘Aspect’ means
which way it faces. For instance, do the French windows face south? If so, then in the northern hemisphere it
will attract the heat of the sun, and if in the southern hemisphere, it will be the opposite.

For cold climates, colour is as important as the warm counterpart, and of course commissions vary from, for
instance, country rustic to the International style. But regardless of style specified, some simple colour and
texture rules can apply for paint, wallpaper and furnishings.

It is traditional for such climates that soothing understated colours are specified in order to create the feel of
escaping the cold.

The most popular colour range requested by clients is the Neutrals. This scheme consists of the following:
• ‘Off whites’ from pale sandy hues to soft taupes.
• Greys, especially the chromatic greys that have elements of blue, green, yellow and violet added in
small quantities. 8
• Black, but especially blacks that have green, blue and brown hues added.
• Brown. Though often considered as not a neutral, brown when a red or orange is added can be considered
as a ‘near-neutral’ and if not make an excellent accent colour for the cold climate.

For individual colours:

• Interestingly, soft blues are popular as accent colours as they supposedly have soothing attributes and
connection with water. Associated with such feelings as serenity, harmony and peace, soft blues create a
calming environment.
• Reds. Its warmth and energy can enliven a room. Again very good for accessories or an accent wall and
even the dullest room could come alive.
• Greens. Like nature, the colour green
particularly muted green (and close to the
above chromatic greys) through to sage design story
greens is known for its regenerating and
calming qualities.
• Yellows. Mellow yellows such as deep
mustard colours are known to promote
memory, clear thinking and good judgment.
Mid-century
modern
They also infuse a healthy dose of optimism.
c.1930s-1970s
Colours relate as mentioned to soft furnishings, Organic shapes and clean lines typify this architectural
including window coverings, which have just style utilising current day industrial applications for
as much relevance in cool or cold climates as manufacturing in the ‘machine age’ with its roots
they do for their hot counterparts. However, in the German Bauhaus School of Architecture and
instead of keeping the heat and strong sun out Scandinavian design. Think Ikea. Materials including
of a space, such blinds and/or curtains serve in bent plywood, veneers, fibreglass, steel, aluminium,
the cold climate to keep the cold out, usually
brass along with plastics and vinyl were used to
with the assistance of double glazed window
create sleek, colourful, abstract geometric shapes in
systems. The above accent colours, as well as
the more muted hues, work equally well here. furnishings and artistic applications in lighting.

Lastly, light is an essential element when

addressing cold climate commissions. By light,
we mean natural as well as artificial lighting.

It is often out of a client’s budget to specify

building work such as enlarging windows, and
if that is the case, then the addition of a mirror
to reflect and therefore increase the natural light
is a traditional specification.

This is why traditionally a mirror was placed

opposite a window, often over a mantelpiece.
Also in this situation, candles are placed on the
mantel in front of the mirror. This doubles the
candlelight in the evening resulting in a cosy,
intimate environment.

9
Therefore, do not hesitate to replicate this. Even if there is no mantle a simple shelf below the mirror could
well aid a similar result, (remembering that candles are a potential fire hazard and positioning must be
considered!).

Artificial lighting is an important element for the cool climate interior, but care should be taken as to the
direction of such installations, and it is well worth testing working samples that a retailer can provide to see
what shadowing occurs.

On the one hand, shadows can serve to add extra dimension creating depth and texture to the space, but on
the other hand, badly placed lighting can create dark areas that do not serve the space at all.

• C
 onsider wall washer, wall mounted lamps or ‘sconces’ to light the upper part of the wall making the
space more intimate and ‘cosy’. Standard or floor mounted lamps can illuminate areas for reading, but
remember that the base of the shade should be shoulder height to the sitter. The classic table lamp can
illuminate far corners and less obvious areas.
• Downlights (in moderation) serve the ceiling well for the wash of light for the whole room, but the classic
ceiling hung pendant lamp further creates a comforting environment for the cold climate!

To conclude, never be scared of asking your client questions about the relevant space; this would not be seen
as being ‘clueless’ but having a keen eye for detail!

Design For Small Space Living

Whether by choice or due to skyrocketing city property prices, many British people are now living in
spaces the size of a postage stamp in comparison to the roomy A4 envelope of the traditional suburban
family home, with a potted agave on the balcony replacing the lawns and flowerbeds of the quarter-
acre block.

In our inner suburbs and CBDs, a plethora of new developments – from hip studio apartment blocks to
compact townhouses – are springing up to suit those in need of convenience of location and minimal
mucking around with maintenance on the weekend. This trend is even spreading to leafy outer suburbs,
with retirees moving out of the large family home and into a low-maintenance apartment while staying in a
familiar area.

Leonardo da Vinci must have been ahead of his time when, rather than advocating the joys of a sprawling
palazzo, he wrote: ‘Small rooms or dwellings set the mind in the right path, large ones cause it to go astray.’

To stay on the right path, however, a small living space needs exceptionally careful thought in its planning
and furnishing – which is where the skills of the interior
designer come in. Older people, especially, who are
downsizing from a large house to an apartment or
townhouse, may require your assistance to sift through
their current possessions to determine what can be kept
for their new home and what should be discarded, passed
on to the children or shipped off to their second home in
the country.

In small spaces, storage is vital to keep visual clutter to an

absolute minimum. In very small spaces, such as a studio
or one-bedroom apartments, as much furniture as possible
should be custom-designed and built-in: for example, the A bed that folds down from a wall or unit is an
bed and side tables, wardrobes, an entertainment unit in effective space-saving device
10
the living area and even the dining table (which could be designed to fold away into the kitchen benchtop
when not in use). Living room seating, also, could be a low built-in platform with drawers beneath and
comfortable foam cushions on top and propped against the wall.

A bed will be the largest piece of furniture, so needs careful thought. A low futon or platform bed will look
visually less imposing and can be placed against a wall with cushions at the back to double as a laid-back
lounging place instead of a sofa in an open studio space. Higher beds, however, offer valuable storage space
beneath.

Other options are a sofa bed, a bed which folds into the wall such as those made by Wallbed (www.wallbed.
co.uk) or Hideaway Beds Ltd (www.wallbeds.co.uk) or if the space has high ceilings, a loft bed with space
beneath for a walk-in robe or home office. If the bedroom area is open to the living area, sliding wall panels
or curtains may be introduced to close off this area when the client is entertaining.

Apart from including as much built-in storage as possible, use every other alternative you can come up with:
make a feature of sports equipment such as a bike or surfboard by hanging it on a wall, and choose side
tables or extra seating for guests that have lift tops with concealed storage space beneath. Above all, keep the
space clean, simple and uncluttered.

• Look for flexible, multi-use furnishings.

Many furniture retailers, from upmarket to design story
mass market, are delivering adaptable, multi-
function furnishings and storage solutions
specifically for compact modern dwellings,
from beds that fold into the wall to coffee
tables that lift up to dining height.
White on white
An all white colour scheme is a good way to give a
space a serene and clean feeling. To avoid white-on-
• Keep the floor space as clear as possible white being bland, clinical or even too bright it is
– make the walls work hard with carefully
vital to choose the right white for the space. Warm
arranged shelving for books, CDs etc. and
a swivel-arm wall mounted stand for the whites usually have a red or yellow base, which
television. can make a space feel cosier. Cool whites generally
• Select lightweight, visually ‘light’ furniture have a blue or grey undertone and can lend a
– all the better if it’s on castors so it’s easy modern, cool feel to a space.
to move around.
• Look for transparent and translucent materials
to give an impression of space, such as glass-
topped tables and Perspex® shelving or dining
chairs.
• Look for any opportunity to maximise storage
space: under the bed, behind doors, inside
ottomans that also act as additional seating,
under stairs.
• A dining table takes up a lot of space, so look
for fold-down gateleg tables, wall hung tables
or an extendable table. If the clients do not
entertain at home, then stools at the kitchen
bench may be sufficient.
• Generally, wall colours, finishes and flooring
should be light in colour to give a feeling of
space, though darker colours in a small space
can be cocooning and may be suitable,
especially if the client is rarely there during
the day. 11
• Don’t place a large piece of furniture, such as a sofa, opposite the door where it will visually dominate the
room.

Self Exercise #1

Using the internet, brochures or actual retailer visits, start a written list of suitable retailers for such
items mentioned above.

Include any possible samples (furniture retailers can send out upholstery fabric swatches for
instance), and sizes.

You may find that this will expand as you progress. If so, it is time to perhaps visit one such retailer
and purchase a suitable filing system for yourself!

Client Relations

Many people consider interior design to be one of those frivolous occupations, with people spending
other people’s money, wafting around fancy houses with swatches of organza, and charging the client
outrageous amounts for the privilege.

As discussed in Tutorial One, it is, of course, your client’s responsibility to only pay you your fee alone, so
you, of course, do not spend any of your money on commission work!

This notion comes from naivety, an array of home ‘improvement’ television programmes, and the fantasy
that there is celebrity TV chef glamour to the business. There is not.

The interior designer’s job is primarily to create a habitable environment by coordinating the dressing of a
space that satisfies the client both aesthetically and financially.

The interior designer has to source materials, arrange

quotes which are made out to the client, (which means
you have to hang around for sales reps who are nearly design comment

“
always late, chase reps up for quotes and keep the
client informed of the processes). Listen to your clients and
You will meet your client whenever there are more
read your brief.
products to discuss, changes to be made, or the client You are a Designer and not an
just feels like it. Some clients will hand you over the artist. Art is created for oneself
keys to the property. This will let you meet people
onsite when needed. If not, then you will have to
and as a result is simple to pursue.
Design is for others and therefore
arrange yet more times for the client to be in the
property to let you in, with possibly the client taking
time off work to meet you and a tiler who doesn’t
turn up. It is then your job to chase this person and
“
requires an understanding of the
human condition and a desire to
read the riot act, as the client will see you as bearing improve it.
responsibility for wasting their time.
Steve Collis
The client, if he or she lacks confidence, not in the JHP Design Consultants - www.jhp-design.com
interior designer, but in his or her own judgement
(which is one of the reasons an interior designer is
employed), will call you on a whim, usually at the most inconvenient moment. This is when the interior
designer becomes a diplomat and at times a wet nurse. 12
The interior designer will have to deal with tradesmen, from petulant plumbers to know-it-all tilers, who all
have their opinions as to what should be best done to complete the project. If it is a new or major building
overhaul, then the interior designer will also have dealings with the architect, who may have very clear ideas
as to how ‘their’ building should be finished. If that happens, remember, the client has commissioned you
and no-one else to do the interior design, but of course you should deal diplomatically with the architect,
bowing to the architect’s ideas when need be. Who knows, the architect may recommend you for further
work they have!

On a lighter note, the interior designer has the satisfaction of putting his or her own signature on someone’s
space and seeing their client enjoy it.

From the first time you meet your client, you are on show; the first impression is the one that lasts.

Dress well – have an outfit that is reserved for first client visits. For males, a shirt should always be open, i.e.
no tie. It sounds ridiculous, but ties are associated with reps and should be avoided.

The client will be sizing you up, and if the client has never employed the services of an interior designer
before, they will be especially cautious, possibly feeling that they could be spending money for nothing.

Therefore, at this first meeting, you will sit down with the client, and not only find out what the project
entails, but also introduce yourself and make eye contact! It is a bit like a two-way job interview. Do not be
pushy!

You should bring along any documentation you have

including, if possible, a portfolio of work completed. This,
of course, is somewhat hard; you being a recently finished
student. So, the trick here is to do as much work as you can
for yourself, friends, relatives etc. – get your bathroom done,
sort out your mother-in-law’s dining room, and treat them
exactly as you would a paid project. You can refer to it as
some recent work completed.

One of the worst techniques to break the ice when first

visiting a potential client is using ANY role-play activities.

A client told me this story….

A hopeful interior designer had come round, sat the clients

down at the dining table and said ‘I want to play a game with The interior designer has the satisfaction of
you’. To quote the clients, ‘alarm bells were already ringing, putting his or her own signature on someone’s
but it was hard to get rid of her’. space and seeing their client enjoy it.

This designer’s game was to deal ten or so paint swatches and the same number of fabric swatches on the
table, getting her potential clients to choose what colour they thought should go with what fabric. As they
did so, the designer stuck them to the wall, asking the client to discuss the choices made.

So what was achieved by this exercise?

Little or nothing. One can see that the interior designer was trying to appear dynamic, but the clients saw it
as an irritating and time-wasting diversion and didn’t understand why she was getting them to do what they
were potentially going to pay her to do, with no idea what the fabrics and colours would be used for. Worse
still, this ‘game’ was done before the client had explained the project, and the clients were annoyed that
she stuck objects to their wall without consulting them first.
13
She didn’t get the job.

When it comes down to it, the client wants design story

to see who you are, what you are about, and
whether you are trustworthy.

You will have to become a good judge of

Scandi Style
Over the past decade, the influence of so-called
character. Not all potential clients like to reveal
‘Scandinavian Style’ has hit the interior design world
their budget to you, and you should be able to
in a big way.
work this out without noticeably fishing. They
would prefer you to come up with ideas, then
see if they would pay up the cash. So check out Scandinavia is a region of northern Europe including
their tastes, throw in some suggestions, and see Sweden, Denmark and Norway. In these regions,
how they react – the more information you give light is a very important concept, as they experience
them, the more they will give away. extremely long days in summer and extremely short
days in winter. As such, most homes are painted
Always be upfront with the client – never entirely white, to maximise the light in each room.
makeup excuses; if you cannot make a deadline,
For furniture and accessories, white, greys and
be honest. Do not cover for anyone, and do
pastel colours are often used. Pinewood furniture is
not use others (i.e. the plumber didn’t turn up,
when in fact you booked him a day later) as common, as these trees are plentiful in the region.
scapegoats. This job is about trust as much as
anything else. Once that trust has been broken Most furniture takes modernist, rounded shapes -
then, as with any job, they will be looking at often mixed with vintage pieces. The overall style is
ways to get rid of you. quite minimal, but the organic surfaces of wood and
comfy textiles keep it feeling warm instead of cold
You must inform any interested parties of any and clinical (essential during the cold winters!)
design changes that occur, as anyone would
and should do for you. This should be done in
writing and by phone or meeting. It is more
common that mistakes happen the other way
round. Here are two examples.

1. A pre-used wood floor was to be installed

in a new house. The floor was removed from
its original home, a factory, and transported to
the site. The flooring was to be re-laid to the
interior designer’s specifications in the scope
of work – leave the original patina and seal in,
so, therefore, the floor would appear old, and an
original part of the house.

The interior designer had inspected the finished

work to find that someone had ‘assumed’ that the floor had to be sanded. The wood floor looked as if it could
have come from any timber yard. As the scope of work that the interior designer wrote specifically instructed
that the floor surface be left intact, the builder had to sort the mess out.

2. A window blind company arrived at a site to install new blinds to find that double glazing had been
installed. The client had instructed the interior designer that they wanted double glazing to be installed. The
interior designer omitted to tell the blind manufacturer that this change had been made. The blinds had to be
sent back, and altered, with the bill falling at the interior designer’s feet.

14
The Indecisive Client

You may get a client who wants a bathroom re-done, and every design you do is met with hesitation.

Scenario:

Mrs X has a 2500mm x 3500mm bathroom that hasn’t seen any changes since 1977 and now requires a
complete overhaul. Sounds like a simple job, the price is agreed, she gives you an idea of the sort of thing
she is looking for and you come up with a design concept, which you show to her at the agreed time. This is
accepted, so you start getting quotes in, designing cabinet ware etc. You have designed a custom splashback
consisting of six graduating blues; this will be made in Italy and flown over for installation. She loves the
concept, and your illustration clinches it.

As you are getting the final quotes in, you receive a letter from the client…

She has been out window shopping, and has had a few ‘ideas’. She is not sure that the basin is the right size,
and has seen one that will do, but the mosaic splashback will have to go, as she fears it is too busy. (This
would mean that the plumber will have to requote, new tiles must be sourced and a new vanity designed).
Also, she would like some storage after all, but bigger than your original design.

You meet her to sort this out, and she has hoarded her own brochure collection, and now is deliberating over
tile selection. You are equipped with drawing equipment at the ready.

You now have to keep her under some control. If you are not careful, she will start doing your job for you.

Once again, you have to use your skills of character judgement. She is insistent on the return of overhead
storage above the basin; you want to save the splashback.

You have to rid her of the choice that she had gained. Be polite but forthright, explain your concept. If she
insists on storage, start drawing, showing limitations (but don’t be rude!) Work out a way that you can
combine an overhead storage unit with your splashback. The final compromise is to have a series of pigeon
holes, the back of which are mosaic tiled.

The trick here is if you have a client who you may suspect will put a spanner in the works, you work FAST,
so if they get any ideas, it is too late: the products have been ordered and it is too late to change.

Remember, if the client is impressed with your work, an average

of 10 people will hear of it, if they are unimpressed with your
work, up to 100 people will hear.

Lastly, if you are unsure of any legalities, always check what can
be done to a property with the local council. Take your ideas plus
the property’s details to a duty planner who can advise.
An example of this would be a radical changing of colour to a
building’s façade, or changing or installation of a front fence.
You would need to know whether any certification is required.
If a development application is required, then the client has to Be firm but understanding with your
employ the services of a building designer or architect. client when putting together a
design concept

15
Styling A Property For Sale

Preparing a home for presale inspection By Sharon Davis*

Preparing a property for sale is undoubtedly one of the most popular services an interior designer can
offer. This service is otherwise known as ‘home staging or home styling’. It’s a great way to build a
client base and is often the first introduction for many to the work of an interior designer.

Ultimately the interior designer uses a technique to prepare the home for sale by creating an inviting and
spacious home that will appeal to the maximum number of buyers. The service can help home-owners sell
their homes faster for the best possible price and is particularly effective for sellers whose property has
remained unsold. Preparing the home for sale is a great way to get the best from a property and to get buyers
in the door. It also makes it more difficult for potential buyers to ask for a reduced price when a property is
presented excellently. Preparing a home for presale inspection is also a great way to impress estate agents.
They can see immediately a property with good sale potential and will price it accordingly, hopefully getting
the best price for the seller.

The key to home staging is to enhance and change the way a client’s property feels and appears by
highlighting its best features. When well done, staging draws the eye to the best features of the house while
minimising the flaws and diverting attention from the more un-pleasing features of the house. If the look of
a property appeals to a buyer, it makes it easier for
them to imagine themselves living in the property.

design story
The end result will be a quick sale.

So how does an interior designer go about

preparing a home for presale inspection?

There are several ways to go about staging a

Accessorise
Updating cushions, throws, rugs and candles are
house for sale. The important thing to remember
as an interior designer is that you will be styling an excellent – and inexpensive – method of giving
the house to sell so it appeals to a wide audience a room a quick makeover. With great ranges
as opposed to styling it with the client’s personal available in the likes of Dunnes Stores, TX Maxx
tastes in mind. Also, try to use as many of the and Au Naturel, you can create a totally new look
client’s existing belongings as possible, thus in just one shopping trip!
keeping the costs down for the client. However,
clients may want to spend as little or as much as
possible on styling their homes depending on their
circumstances.

To begin with, you need to ascertain the needs

of the client. What is their budget and how much
time will they need for preparing their home for
sale? Styling a house rarely means remodelling the
entire property. It’s more about making the best of
the key rooms in the property such as the kitchen,
lounge and main bathroom. Every property is
different. It may simply need a bit of de-cluttering,
moving the furniture around and freshening up
each room with a few well-chosen accessories,
soft furnishings and plants. It’s difficult for any
potential to see the best of a property when the
rooms are unorganized and filled with clutter.

16
Then there is the decoration to assess. Decorative tastes are very personal. Some people like to use strong,
bold colours on their walls. While this may appeal to the home-owner it can be very off-putting to a potential
buyer. Redecorating in a more neutral colour scheme is a safer option, allowing the buyer to view the room
as a blank canvas.

Take a look at the existing furniture in the property. Does it just

require a little sprucing up or is it worth recommending buying or
renting furniture? This could be particularly appropriate if the client
wants to sell a rented property that is either unfurnished or contains
furniture that has seen better days.

There’s also the outside space and front door to consider. First
impressions of a house really do count so ascertain if the client wants
changes made to the front of the house.

Initial or verbal consultation

The best way to understand what the client wants is to conduct a
verbal or initial consultation. This consists of a room-by-room walk
through a property identifying whether there is any need to improve
the presentation or decoration that might hinder a possible sale, or add
When selling a property, first
value to gain a higher price. Here you can make suggestions on what
impressions are important
could be done to improve the look of each room and provide a rough
estimate of what this would cost. The advice given at this stage is verbal so recommend your client to make
notes to enable them to decide if they want to make the changes themselves or to consider opting for further
assistance in the form of paint and fabric storyboards or a written report. The client should be charged a one-
off fee for this service.

Written report
If the client would like to carry out your recommendations themselves, the next level of assistance you can
provide is a full written report. This provides guidelines on how to achieve the best look for the property
room-by-room. As an interior designer, you may decide to incorporate photographs and a fabric and paint
storyboard with the report to give the client a clearer idea of the look they are attempting to create. The
report highlights a list of options available, suggesting colour schemes, new lighting options and what
should be done to the existing furniture and layout, i.e. repainting a cupboard, buying a designer throw for
the sofa to buying new cushions and door handles. Every detail option available to the client should be listed
with a task list and estimated costs. A written report is far more time consuming than the initial consultation
and so should be priced accordingly depending on the amount of detail the client would like you to go into
and the size and age of the property. For example, a report on a one-bedroom, modern flat would be much
simpler to write compared with a five-bedroom, detached house.

Full home styling service

If the client wants you to carry out recommended changes, this is when you
conduct a full home styling service. This may take you anything from one
day to a couple of weeks and your charge should reflect this depending on the
amount of work and time required.

Try to use as many of the client’s own belongings as possible, purchasing or

renting items where necessary to maximise the selling potential of the property.
This service may also involve de-cluttering. De-cluttering is one of the most
common elements of home staging and can be offered as an individual service
or as part of your full home styling service. Either way, de-cluttering is a great
Accessorise
way to realise a property’s true potential. Storage and space planning ideas
could also be discussed here.
17
So far, this module has talked about styling second-hand homes. However, for the interior designer, there is
also a huge market for styling show homes. In this instance, rather than liaising with home-owners, you will
be liaising with property developers. Again the type of property required to be styled could be anything from
a one-bedroom flat to a four-bedroom detached house.

Charges
What to charge clients varies greatly depending on location, the type of property and the amount of work
involved. If you are dealing with a property developer, the amount of work required and the regularity of the
work should also be considered when deciding on what to charge.

*Sharon Davies is an experience design writer and regular contributor to many high profile interior design and
property magazines and websites. Publications Sharon writes for include Period Ideas; 25 Beautiful Homes
Magazine; Kitchens, Bedrooms & Bathrooms Magazine; Real Homes; A Place in the Sun Magazine; Portugal
Magazine; and Homebuilding & Renovating Magazine.

Isobel King consulted with interior designer Leigh Holt and Harriette Rowe of Patio Landscape Design
for experienced advice on how to go about setting up a career styling properties for sale.

Lifestyle shows highlighting the startling transformations achieved by ‘before and after’ makeovers illustrate
just how effective a clever styling job can be. A dramatic new look can materialise in a matter of days in the
hands of an experienced interior designer who knows what can be achieved within the specified time frame
and budget, and where to source all the necessary elements.

Styling properties for sale is now flourishing as a specialty area for interior designers, especially in the larger
cities. This may range from offering a walk-in advisory service, providing property sellers with a checklist
of improvements to make before sale, to a full makeover carried out by the interior designer.

Interior designer Leigh Holt claims clients can add up to 20 per cent to the value of their property through
professional styling or, given the current downturn in the property market, at the very least achieve a quick
sale. Some will outlay up to £20,000 to achieve this.

‘We say every good designer has to be part-psychologist

because you have to listen to the client. Sometimes it means
talking them into a look that is right for the area and the
prospective buyers coming through, but may not necessarily be
to their taste,’ says Leigh.

Leigh has been specialising in styling properties for sale for

eight years. Having seen the potential in what was then a
fledgling area of the interior design industry, she started by
making contact with estate agents, but now largely relies on
word of mouth. An affiliation with a large Estate Agents firm,
who promotes Lee’s services on its website and in its magazine,
also helped spread the word, although she insists the real key to
success is a reputation for quality, professional work.

While most of her jobs average between £2,500 and £5,000,

some are much higher, depending on the amount of work and
cost of hiring involved. ‘Others in the industry might charge on
a percentage of budget basis – say two per cent of sale price for
properties over £1 million – it just depends on the individual.’
Leigh also offers property sellers a consultancy service for ‘Before and after’ makeovers illustrate just
around £70. how effective a clever styling job can be.
18
Getting started

When approaching any job, says Leigh, you have to start with the basics:

• Make sure the property is sparkling clean

• Remove clutter design comment
• Eliminate any nasty odours
Design Process:

“
• Fix any faults like loose handles or
dripping taps When you go for that first meeting
• Maximise light by making sure window with a client write as many notes
coverings are open as you can and listen to what he’s got
to say as you need to get a feel for what
First impressions are vital, says Holt, so the
front of the property is the next thing to look he wants. Once you have gathered all
at. It may benefit from planter boxes, new the information, put it into a briefing
plantings of flowers in the front bed or possibly document. Then send it back to him for
even returfing if the lawn is looking tired. Does
him/her to agree.
the front of the house need a repaint or would
a good scrub-down do the trick? Does the front
door need attention? Would a smart doormat At the meeting, you will need to agree on
lift the appearance? a price for the design work. You could do
With these elementary tasks out of the way,
this when you send your notes back, but
the type of property – whether it’s a federation it’s not advisable as face to face is a better
semi in a conservative, upmarket suburb or a negotiation tool!
modern apartment in a funky inner-city area –
as well as the budget, will dictate what form the
makeover will take. Often, many of the owners’
You will need to produce:
items will need to be put into storage to make Space Plans (two schemes), Materials
room for new furnishings. and finishes, 3D renderings or sketches,
PowerPoint presentations, Mood boards
Some of the things to consider in approaching
the makeover are: Once this is agreed you will need to
put forward your cost proposal for the
• Colour scheme production drawings, on-site meetings,
• Furniture – both what to use and how it Building Control & Planning, risk
should be placed
assessments - always make sure your fee
• Flooring – consider new carpet, rugs or
is agreed on before you start the job.
repolishing the floorboards
• Special features – including wall art,
sculptures and floral displays
• Lighting
“
Make sure you become good friends with
the project manager. Remember it is his
• Accessories site, not the clients!
Robin Davis
Architectural Interiors Ltd

19
Choosing The Palette

A dated colour scheme will put prospective buyers off, says Holt, who favours neutral colours, like an
architectural cream, that provides a pale canvas for furnishings and artworks. However, in the right setting,
daring paint colours can be startlingly effective, injecting life and colour into an otherwise dull space. A
vivid feature wall, for example, can almost substitute for a dramatic artwork.

‘We may want to whip some fluorescents out and put some new lighting in,
and if it’s too dark even with the curtains back, then we’d usually opt for
soft table lighting’, she says.

Furnishings

The choice of furniture is one of the most important decisions in setting the
tone. Like many in her field, Holt has a warehouse of stock to choose from,
ranging from classic through to contemporary furniture, depending on the
look required and the owners’ existing furnishings it has to blend with.
Don’t be afraid of bright
colours in the right space Furniture layout is governed by elements such as doorways, keeping access
points and through-ways free, and features such as fireplaces or alcoves.
Make sure there’s no laundry basket blocking access to the courtyard or a side table in front of French doors.
And the ‘less is more’ mantra always applies to accentuate the size of the space.

Artworks and Accessories

‘I might go for a neutral colour scheme and then add vibrant colour with cobalt blue or raspberry sofas
and a red and black artwork,’ says Holt. ‘If there’s a wall that greets visitors, then make it a feature, either
with a splash of art or a floral display.’ Rather than use flowers, try plants in pots like orchids, succulents or
cyclamens.

Holt has used £8,000 sculptures to create eye-catching displays and

the average priced artwork she uses is around £2,500, highlighting
the huge impact a well-placed artwork can have. A large wall
generally benefits from a large wall hanging, whereas a series of
small pictures may work better on a long narrow wall, like a hallway,
or in a small room.

Kitchen and Bathroom Presentation

Scrupulously clean and uncluttered, and tastefully accessorised, is

the trick when it comes to presenting kitchens and bathrooms for
sale. ‘Most people expect to be disappointed by the kitchen,’ says
Holt, so simply make the best of what is there and leave the rest to
the buyers’ imagination. Accessorise the bathroom with scented soap Try using a neutral colour scheme
and plump, quality towels in matching colours, preferably cream or with a vibrant colour artwork
white. ‘And if there’s a stain in the bath – don’t try and cover it up,’
advises Holt. ‘Otherwise, people will wonder what else you’re trying
to hide.’

20
Presenting the Guest Room

There are differing schools of thought when it design story

comes to bedroom presentation. A single bed
will, of course, make the room look bigger, but
it might also give the impression that the room
doesn’t accommodate a double bed. Likewise,
Industrial influence
converting a spare bedroom to a study or library Over the 2010s, the influence of industrial style has
demonstrates its alternative uses, but you may been growing ever stronger. Many trendy locations
run the risk of prospective buyers not realising (bars, restaurants etc.) have been eschewing a
they are getting an extra bedroom. Designer and luxurious, polished look in favour of something a bit
client should decide together on these points. more ‘down to earth’.
Stripped-back brick walls, concrete surfaces, exposed-
Aspect bulb lighting and mismatched second-hand (or look-
alike) furniture are all typical of this style.
The view outside is as important as the view The look is made to mimic makeshift spaces originally
inside, so pay attention to aspects and make created by students or artists, using creativity to make
sure all windows are gleaming. ‘If you have a
aesthetically pleasing spaces without a big budget
small window that looks straight out onto an
eyesore, a good trick is to apply some opaque behind them. Borne out of necessity and an anti-
film and place something decorative in front of establishment attitude, this industrial style has since
it. You’ll still get light through the window, but been co-opted by businesses so frequently that it has
not the brick wall or water heater behind it.’ ironically become the standard. Even big businesses
such as chain restaurants have borrowed elements of
Harriette Rowe, of Patio Landscape Design, this look to try and seem more ‘authentic’.
has another suggestion for the window-with-
dubious-view problem: ‘Make a feature of it. Try
a specimen plant against a boldly painted panel
backdrop or a mirror amongst foliage. It can
make a world of difference to the interior and
draw attention away from the old paling fence.’

Patio and Garden

‘An estate agent once advised me to spend

seven per cent of the value of the property on
the garden and expect to improve the selling
price by 20 to 30 per cent,’ says Rowe, who
says the trick is to create the illusion of the
garden – or patio – as a maintenance-free
entertaining space.

Some of her suggestions are:

• Place candles and outdoor furniture in the garden or patio to show the space is regularly used
• Plant a bowl with something flowering and scented and place it on the outdoor table
• Put tasteful cushions on the outdoor seats
• Pull out the weeds, fertilise, water and seed bare patches in the lawn as it is a seductive part of any garden
• Mulch. Makes things instantly neater and will make the soil look much healthier.

This niche area of interior design capitalises on a growing public awareness of good design and presentation,
and every seller’s dream of getting the very best price for their property.
21
Case Study – Country Cottage

The Site

Situated in a beautiful country setting beside a river, this tiny stone cottage was intended as a
weekender and temporary accommodation until the owners built a larger home on the property. Due
to personal circumstances, the cottage was never completed and became rundown and neglected.

The property was put on the market but failed to sell after many months. One of the owners, an interior
designer, realised that the cottage was a liability to potential buyers (mainly wealthy city couples looking for
the perfect country retreat) in its current state rather than an asset and she set out to give the cottage as much
charm and functionality as possible in a short time frame and on a tight budget.

The Solutions

The first step was to halt the neglect and replace the rusted wood stove and guttering and fix rotting window
sills.

As the budget was an issue, the designer looked at what she had to hand – including some tiles in a mix of
bright and pastel colours, an old stained glass window and some marble offcuts – and created the design
scheme and colour scheme around these items.

The tiles created a kitchen splashback, the stained glass went into a panel in the front door (additionally
creating lovely light effects in the interior) and the marble offcuts were placed in a jigsaw fashion to create a
unique benchtop for the central island bench.

In addition:

• T
 he ugly kitchen taps were replaced with smart
design in action
brass ones from a salvage yard
• The refrigerator front was made more attractive with
several coats of white spray paint
• T
 he placement of the fridge and stove was changed
to make the kitchen more functional
• T
 he shower recess in the corner of the kitchen was
enclosed and louvre doors added to match the
kitchen cupboards to disguise it and make it look
like a cupboard and all cupboards were painted to
match in a soft blue
• Heavy window architraves were replaced with
smarter, less dominant ones
• T
 he timber floor was treated first with fibreglass to
fill in any knotholes and cracks that collected dirt
and then painted with three coats of heavy-duty
paving paint The completed downstairs living
• The walls were plastered with cornice cement area was fresh and inviting. An extra
storage space was built in under the
• The built-in bookcase/display shelf was repaired and
repainted stairs.
Photo by Simon Kenny

22
Upstairs, the owner:

• Gyprocked the ceilings of the two sleeping areas

design in action
• Painted the bare chipboard floors with blue paving
paint
• Added a safety balustrade

Finally, heavy furniture was removed and replaced

with lightweight cane furniture for visual ‘lightness’ in
the tiny house and also for ease of movement for floor
cleaning, as easy maintenance is of vital importance in
a holiday house or weekender. The dining chairs were
‘reupholstered’ with Provencal fabric samples simply
pinned underneath. New curtain rods were installed and
instant curtains created using yellow sheets and clip-on
curtain hooks from Ikea.

The final touches were old boxes painted in bright

colours with shelves added for fun extra storage in the
kitchen, hand-embroidered Danish cushions (borrowed), Looking from the living area to the
vases of flowers and, for a touch of whimsy, a wall kitchen with bright display boxes on
decorated with fake flowers in one of the sleeping areas the wall to balance the multicoloured
and a wall sculpture created from an old sieve lying in tiles on the splashback.
the shed, lichen-covered twigs and a bird’s nest. Other Photo by Simon Kenny
artworks also reflected the beauty of the natural world
outside and the abundant birdlife with watercolours and prints of native birds framed in pastel blue frames.

The Outcome

The result was fresh, appealing and comfortable and the cottage featured in a decorating magazine and was
bought by the first couple to see it – one week after completion of the interior.

Current Trends

By Emily Brooks*

Current trends, where they are leading - the future.

It is much easier to start the topic of ‘future trends’ not by unveiling next season’s hot colour or must-have
piece of furniture, but by looking at what has stayed the same. Most of the important shifts in interiors trends
happen relatively slowly, as a response to changes in lifestyle rather than what may be seasonally unveiled
by designers.

For example, the desire for communality at home has seen a shift in the arrangement of living spaces, with
open-plan kitchen-diners or lounge-diners, often leading straight out onto the garden or other outdoor space,
replacing the traditional separation of kitchen, dining room and other reception rooms. This much more
informal arrangement is now the norm, and it’s probably the most requested brief that an interior designer or
interior architect will receive, certainly in those parts of the country with endless rows of terraced housing
stock. Other slow-burn lifestyle shifts that have led to recent change include the need for office space in an
age where flexible home-working is on the rise.
23
Despite exciting new products coming onto
the market all the time, interior designers are
design story
ever-mindful of longevity in their work. This
is both a courtesy to their client, who would
be unhappy to find that their expensive ‘new’
scheme looking like old news within a couple of
years, and a personal desire to create something
Storage
Every home needs storage, especially smaller
of real, lasting value. Longevity means the use apartments where space is at a premium. Storage
of quality materials and workmanship, and can take the form of drawers, cabinets and shelving.
creating schemes that have a quiet, enduring Shelves can also be used to display objects while
luxury. Designers will often create a neutral storing them, taking on both a practical and
‘envelope’(walls, floors, ceilings, lighting, decorative role.
joinery) that will stand the test of time, then
use soft furnishings to add layers of colour
and pattern. This middle path ensures that
schemes feel fresh, but can also be relatively
easily changed. After a period in the 90s where
neutrals dominated every aspect of an interior,
there is certainly a lot more pattern and colour
being used, although a long-touted return to
out-and-out colour hasn’t really happened
– yet. However, ‘neutral’ rarely equals dull,
as designers employ unusual textures to add
interest – grasscloth or polished plaster on the
walls, or wenge and zebrano joinery.

Projects can take many months to come to

fruition, so designers often need to think a long
way ahead in terms of new trends. Visiting show
homes in upmarket developments is a good way to get a handle on what’s around the corner. Gail Taylor of
Taylor Howes, a firm that works both on private homes and developments, explains: ‘With developments,
we’re coming up with the latest ideas, something really different, and we’re often working two or three years
in advance, and that keeps us ahead of the game.’ Trade shows such as the Milan Furniture Fair, France’s
Mason et Objet series of shows and the London Design Festival are a change to source new products, meet
small-scale makers who could be the next big thing, and generally stay ahead of the curve. Increasingly,
there is cross-pollination between all branches of design, with, for example, trends in fashion, gardens,
industrial and product design all overlapping and informing each other – one more reason to cast the as
widely as possible when seeking inspiration.

The single biggest trend that dominates the industry at the moment is the rise of the bespoke. Been-there,
seen-that clients at the top end of the market don’t want any element of their home to be off-the-shelf,
which means that entire homes are tailor-made to suit. Although it’s a labour-intensive way to work, it also
presents great opportunity for designers, who get the chance to really flex their creative muscles in designing
everything from textiles to furniture. Paintings, too, are often individually commissioned to chime in with
a scheme. A specially made piece of furniture, with exactly the right proportions for the space in which it
sits, can result in a much more visually harmonious result – or as Anthony Collett of Collett Zarzycki puts
it: ‘A lot of furniture is designed, not for our own benefit or ego, but because of the need for particular piece
in particular space.’ It also offers a more valuable service to clients, who, for example, can have a walk-in
wardrobe made so that every piece of clothing has its place. It’s also good news for the craftsmen who can
make exquisite objects to order, and whose businesses have been on the wane in the face of cheap mass-
production that they cannot hope to compete with on price.

24
 There is a certain economy to using bespoke furniture, too: quality
furniture is inevitably made to order anyway, so why not cut out the
middleman (the retailer) and go straight to a manufacturer who can
make exactly what you want? This trend has led to some interesting
commercial developments for interior designers, who use the one-
off pieces they have designed for private clients as the basis for their
own made-to-order ranges: Louise Bradley, Blanchard and Soane
Britain are just a few of the companies offering furniture ranges.

The trend has also had something of a knock-on effect on the use
of antiques. It can take years to find exactly the right antique piece
for a scheme, and impatient clients are often just as pleased with
a bespoke piece that comes without the waiting list. It’s one more
nail in the coffin of the antique industry: prices are the lowest
Custom made interiors offers great they’ve been for a decade as economic downturn kicks in, and it is
opportunities for designers
particularly affecting the furniture market.

That said, the projects that now garner the most acclaim are eclectic schemes that effortlessly mix old and
new, a trend that is set to continue. Strictly traditional interiors are rare, and it’s much more likely to find
schemes that retain traditional proportions and original features, but use contemporary furniture and fittings.
Provenance and cost are seen as less important than an overall feel of harmony and a sense that a space has
evolved over decades – even if it may have
been installed last week. In a machine age, a
hand-crafted feel has become an ever more
important thing to achieve, and it produces design in action
interiors that have that essential ingredient –
real personality. This eclecticism is hard to pull
off, but it is at least easier to track down those
‘wow factor’ eye-catching pieces with the rise
of websites with a global reach, such as mid-
century specialists 1st dibs (1stdibs.com).

The reuse of furniture and decorative objects,

whether antiques, a client’s existing possessions
or the odd bit of bric-a-brac that just ‘works’, is
a small way to contribute to sustainability, and
the ‘greening’ of the industry will be an ever
more important consideration. Designers are
increasingly required to offer eco-alternatives
for every product, from low-flow aerated
showers to low-VOC paints, a process that
requires considerable research and constant
vigilance about what’s new on the market. This For the interiors of this house, interior
subject goes back to the question of longevity designer George Christo has incorporated
– creating schemes that really last now has an custom-designed joinery in rich, dark
ethical dimension. For designers, sustainability timber against a neutral background. Note
also means using natural, durable materials how this bedside unit is cantilevered against
such as stone and linen, which have an intrinsic the wall to give the appearance of ‘floating’.
simplicity about them. The new mood allows This is a favourite ploy of designers to give
for some excess, but it’s also about how to find an impression of more space. Note also the
something you love and stick with it, or, as
design of the blind.
ELLE Decoration’s editor Michelle Ogundehin
Photo by Simon Kenny
puts it: ‘Learn to live better with less, that lasts
longer.’
25
New technology will play an ever-more
important part in interiors schemes – most
commonly, intelligent lighting and centralised
design comment

“
audio-visual and security systems. This is a
highly specialist area that many designers I love the way we store memory.
choose to sub-contract to experts in their field, I’m very interested in how that
but keeping on top of new technology is an
essential, not an option. However, although the guides our adult life. It sounds very
‘behind the scenes’ technology may become Californian but I tell [clients] to close
more complex, there’s evidence that clients their eyes. Take a deep breath. What’s
themselves have reached a tipping point in terms
of ease of operation: too complicated, and they your favourite hotel? I ask what’s the
have neither the time nor the inclination to find thing you like to touch when you wake
out how it all works. So here, too, there is a need up in the morning. Think about getting
for simplification.
up and what do
Ultimately, trends are determined by a balance of you like your foot
what’s available and what the client wants. And to touch? Do you
while staying on top of new ideas is an important
element of the job, it is perhaps more important want it to touch
to be in tune with the individual needs of each cold stone?
client so that those new ideas can be used Do you like
appropriately. The perfect blend of comfort and
functionality that every interior designer seeks is
the one thing that is never going to go away.
carpet? Do you
want to have a
heavy door? The
“
*Emily Brooks is an experienced design writer and
regular contributor to BBC Homes & Antiques; body knows.
Elle Decoration; Build It and World Health Design.
Barbara Barry, interior designer
Emily is also the author of Spectacular Homes
www.barbarabarry.com
of London, an interior design book published in
February 2009 by Panache Publishing.

26
Glossary of Timber & Building Terms

Abutment: The support structure at either end of an arch or bridge. The intermediary supports are called
piers.

Across the grain: The direction at right angles to the length of the fibres and
other longitudinal elements of the wood.

Adhesive: A substance used to bond two surfaces together.

Air-dried timber: Timber dried by exposure to air in a yard or shed, without

artificial heat. Using the wood grain as a
design element
Along the grain: The direction parallel with the length of the fibres and other
longitudinal elements of the wood.

Anchor bolt: A device for connecting timber members to concrete or masonry.

Anisotropic: Exhibiting different properties when measured along its different axes.

Arris: The sharp intersection of two surfaces, e.g. the face and edge of a piece of wood.

Back sawn timber: Timber sawn so that the growth rings are inclined at less than 45 degrees to the wide
face.

Beam: Structural member, other than a triangulated frame, which supports load
primarily by its internal resistance to bending.

Bearer: A subfloor timber beam placed across piers or stringers and supporting
floor joists.

Structural beams
Bevel: Any angle not at 90 degrees. Also, a tool for marking such an angle.

Biodeterioration: The breaking down of timber by natural or biological agents such as fungi and insects.
Bird’s-mouth: The notch in a rafter that rests on the top plate of a wall.

Bird’s eye: Figure on the surface of wood that has numerous rounded areas resembling small eyes.

Board: 1) A piece of sawn, hewn or dressed timber of greater width than thickness. Usually 19 mm to
38 mm thick and 75 mm or wider. 2) Manufactured products supplied as rigid or semi-rigid sheets, e.g.
fibreboard and particle boards.

Bound moisture: Moisture which is closely bound to the cell wall constituents of wood.

Bow: A curvature in the longitudinal direction of a board causing the wide

face to move away from a flat plane.

Box beam: A built-up beam with solid timber flanges and plywood or
wood-based panel product webs.

Bracing: Secondary structural members that normally do not support

gravity loads but are required to provide lateral stability to other structural
members or to transfer horizontal loads to the supports. Bracing
27
Bridging: Bracing installed between floor joists to stiffen floor and distribute live loads. Also called cross-
bridging.

Burl: 1) A hard, woody outgrowth on a tree, more or less rounded in form, usually resulting from the
entwined growth of a cluster of buds. Such burls are the source of the highly figured burl veneers used for
purely ornamental purposes. 2) In lumber or veneer, a localised severe distortion of the grain generally
rounded in outline.

Butt joint: An end joint formed by abutting the squared ends of two pieces.

Camber: Intentional vertical curve built into a beam or truss to offset load
deflection or to improve its appearance.

Cambium: A thin layer of tissue between the bark and wood that repeatedly
subdivides to form new wood and bark cells. The butt joint is the simplest
and weakest joint.
Case hardening: A drying defect characterised by the presence of
compression stresses in the outer zone and tensile stresses in the core. It occurs when rapid drying has
caused permanent set of the outer zones of a piece of wood.

Casein glue: An adhesive, primarily for internal use, prepared from casein, sodium silicate, lime, soda
and other compounds. It was used largely in plywood manufacture, has some resistance to water but is not
waterproof, ages well and can be made resistant to mould.

Cathedral cut: A variation of the crown cut method of slicing veneers. The growth rings are exactly parallel
to the slicer, producing on the face of the veneer an inverted ‘V’ figure resembling the spire of a cathedral.

CCA: Copper chrome arsenate, a wood preservative.

Check: A separation of fibres along the grain forming a fissure, but not extending through the piece from
face to face. Checks commonly result from stresses built up during seasoning. They run radially, across the
growth rings.

Chisel: A wedge-like, sharp-edged tool used for cutting or shaping timber.

Chord: Either of the two outside members of a truss connected and braced by the web members. The term
also applies to beam flanges or the perimeter members of a plywood diaphragm.

Clear span: The clear horizontal distance between the supports of a load bearing member.

Close-grained wood: Wood with narrow, inconspicuous growth rings.

The term is sometimes used to designate wood having small and closely
spaced pores, but in this sense, the term ‘fine-textured’ is more often
used.

Coach screw: Similar to a wood screw except larger and with a

hexagonal head so that it can be turned with a spanner.

Coarse-grained wood: Wood with wide conspicuous growth rings in

which there is considerable difference between earlywood and latewood.
The term is sometimes used to designate wood with large pores, but in
this sense, the term ‘coarse-textured’ is more often used.
Close grained Mahogany dresser
28
Collapse: The flattening of single cells or rows of cells during the drying or pressure treatment of wood.
Often characterised by a caved-in or corrugated (‘washboarded’) appearance of the wood surface.

Collar tie: A horizontal board that connects pairs of rafters on opposite roof slopes.

Column: A free standing axially loaded compression member, usually vertical.

Compression failure: Deformation or fracture of wood fibres across the grain

resulting from excessive compression along the grain.

Compression seat: A fabricated or cast metal bracket into which timber structural
members abut, used to joint timber compression elements to other structural
members.

Column Compression: A state or condition of being pushed or shortened by a force.

Conditioning treatment: A treatment applied to equilibrate the moisture content of wood to a particular
value.

Continuity strap: A piece of flat steel fixed over a butt joint between timber beams to provide a continuous
tension connection.

Corbel: A length of timber laid horizontally on the top of a column to transfer loads and to provide a seat for
beams. A compound corbel includes several lengths of timber instead of one.

Creep: Increase in deformation following prolonged loading.

Cripple: A cut in an unseasoned joist, bearer or stud designed to reduce movement in a floor or wall as the
structural timber seasons.

Cross cut: To cut across the grain.

Cross grain: An arrangement in which the fibres and other longitudinal elements of a piece of wood deviate
from a line parallel with the edges of the piece.

Crown cut: A method of slicing veneers whereby the average inclination of the growth rings to the wider
face is tangential or less than 45 degrees. This method is also known as flat cut.

Cup: A concave curvature across the grain or width of a piece of timber.

Cure: To change the properties of an adhesive by chemical reaction (which may be condensation,
polymerisation, or vulcanisation) and thereby develop maximum strength.

Decay: The decomposition of wood by fungi.

Decking: Timber used in surfacing parts of bridges and other structures

subjected to vehicular or pedestrian traffic.

Dehumidifier kiln: A kiln working on the heat pump principle. Moisture

evaporated from the timber by a flow of warm air is condensed on the
evaporator coils of a refrigeration unit and drained away. The refrigerant
is compressed and passed through condenser coils, re-heating the air
stream. Decking leading to a pool

29
Delamination: The separation of plies or laminations through failure of the bond, visible at an edge.

Density: As applied to timber, density is the mass of wood substance and moisture enclosed within a piece
expressed in kilograms per cubic meter. As the mass will vary dependant on the amount of moisture in the
piece, density is often expressed at a specified moisture content, usually 12%.

Diaphragm: 1) In a beam, an element at right angles to the span with the function of connecting the beams
so that they resist load as a unit. 2) A relatively thin, usually rectangular, element of a structure that is
capable of withstanding shear in its plane and acts as a bracing element.

Distortion (warp): A drying defect caused by the differential shrinkage along the three axes of a piece of
wood. Distortion may take the form of cup, bow, twist, spring or diamonding.

Dowel joint: A joint where the pieces of timber are joined by dowels running either
longitudinally or transversely through the joint.

Dressed timber: A cylindrical timber rod or steel bar generally without nut or thread
driven into pre-drilled holes to make a joint.

Drying defect: A feature developing during drying which may decrease the value of a
piece of timber.
Dowel joint filing
Drying schedule: A sequence of kiln conditions which result in a gradual decrease in cabinet
moisture content of the wood.

Dry rot: A generic term for the decay of timber by fungi that at an advanced stage leaves the wood light and
friable. The term is actually a misnomer as all fungi need considerable moisture to grow.

Durability: 1) The natural resistance of timber to biodeterioration due to fungi, insects and mechanical
break down caused by weathering, checking and splitting. 2) In building, the efficacy of details in preserving
or protecting the fabric of the building from decay or deterioration.

Durability class: Durability of timber is expressed as one of four classes. The value for each species is
based on trials of the resistance to both decay and termites of untreated heartwood in the ground. The classes
are:

• Class 1: Timber of the highest natural durability, expected to have a life of at least 25 years and up to 50
years in the ground.
• Class 2: Timber of high natural durability, expected to have a life of about 15 to 25 years in the ground.
• Class 3: Timber of moderate natural durability, expected to have a life of about 8 to 15 years in the ground.
• Class 4: Timber of low durability, expected to have a life of 1 to 8 years in the ground.

Earlywood: The less dense, larger celled, first formed part of a growth ring. Also called ‘springwood’.

Eccentric load: Loads that are applied off the central axis of a
structural member.

End grain: The grain shown on a cross-cut surface.

Epoxy resin joint: A joint in which the parts are bonded using an
epoxy resin adhesive.
End grain benchtop
30
Epoxy dowel joint: A joint in which the parts are joined by dowels that have been set in oversized holes
with epoxy resin.

Equilibrium moisture content: The moisture content at which timber neither gains nor loses moisture from
the surrounding atmosphere.

Exterior plywood: Plywood of naturally durable or treated veneers bonded

with waterproof adhesive and capable of withstanding prolonged exposure to
severe exterior conditions without failure of the glue-lines.

Face nailing: Nailing at right angles to the surface.

Exterior plywood Fascia: A vertical board nailed to the lower ends of rafters.

Fibre saturation point: The point in the seasoning or wetting of timber at which the cell cavities are free
from water but cell walls are still saturated with bound water. It is taken as approximately 25-30% moisture
content.

Fibreboard: A generic term including sheet materials of widely varying densities manufactured from
refined or partially refined wood or vegetable fibres. Bonding agents and other materials may be added to
increase strength or to improve other properties.

Fiddleback: Figure in timber or veneer produced by small, regular undulations in the grain.

Figure: The pattern produced on the cut surface of wood by annual growth rings, rays, knots, deviations
from regular grain such as interlocked and wavy grain, and irregular colouration.

Finger joint: An end joint in which wedge-shaped projections in one piece of timber fit matching recesses
on the other piece and are bonded together by an adhesive.

Fire safety: The Approved Document B (Fire Safety) – Volume 1: Dwellinghouses (2006 Edition) and the
Approved Document B (Fire Safety) – Volume 2 – Buildings other than dwellinghouses (2006 Edition)
documents, published by Communities and Local Government, provide practical guidance on ways to
comply with the Building Regulations, enabled under the Building Act 1984, in terms of fire safety.

Flange: In beams, the longitudinal ribs of a built-up member primarily intended to resist flexure. The flanges
are joined by a web.

Flexural strength: The resistance at failure of a beam subjected to bending.

Flitch: A large piece of log, sawn on at least two surfaces, intended for further cutting.

Floorboard: Boards dressed to standard thickness and generally finished

with a tongue and groove, fixed to floor joists or a substrate to provide a
floor.

Folded plate: The configuration of flat sheets, such as plywood, into a

folded form to produce a beam of considerably higher strength and stiffness
than is possible with the flat sheet alone.

Foundation: The soil, subsoil or rock upon which a structure is supported.

Wooden floorboards

31
Frame: 1) The main timbers of a structure fitted and joined together. 2) A three-dimensional self-contained
structural system of interconnecting members which functions with or without the aid of horizontal
diaphragms or floor bracing systems.

Framing timber: Timber used to form the basic structure of a building, such
as studs and joists.

Free moisture: Moisture which is present in the cell cavities of wood.

Glue laminated timber: Laminated timber where the laminations are joined
with adhesive. Structural framing

Glue: An animal, mineral or vegetable adhesive.

Grade: The designation of the quality of a piece of timber or other manufactured wood products in
accordance with standard rules.

Grain: 1) The general direction of the fibres or wood elements relative to the main axis of the piece. 2) The
direction, size, arrangement, appearance, or quality of the fibres in timber.

Green: unseasoned timber, with free moisture present in the cell cavities.

Grillage: A system of orthogonal elements, usually beams or trusses, acting together to resist a common
load.

Growth rings: Rings of earlywood and latewood on the transverse section of a trunk or branch marking
cycles of growth.

Gum vein: A ribbon of gum between growth rings, which may be bridged radially by wood tissue at
intervals. Also known as kino.

Gum: A natural exudation, also called kino, produced in trees as a result of fire or mechanical damage.

Gusset plate: Plates, often steel or plywood, fixed by nails, bolts or other means to connect timber members
in a truss or other frame structure. Gusset plates may be applied to one or both sides of a joint.

Hammer: A tool consisting of a metal headset perpendicular on a handle, used for driving nails.

Hardboard: A pressed homogenous fibreboard having a mean density of not less than 800 kg/sq m.

Hardness: A property of wood that enables it to resist indentation. It is measure

in kN and is often determined by the Janka hardness test.

Hardwood: A general term for timber of broad-leafed trees classified

botanically as Angiosperm. The term has no reference to the relative hardness
of the wood.

Heartwood: The wood making up the centre part of the tree, beneath the
sapwood. Cells of heartwood no longer participate in the life processes of the
tree. Heartwood may contain phenolic compounds, gums, resins, and other
materials that usually make it darker and more decay-resistant than sapwood.

Hewn timber: Timber with or without wane, finished to size with hand tools Hardwood dresser
such as an axe or adze.
32
Hobnail: A pattern of pin-holes left by insect attack.

Honeycombing: A drying defect which occurs when tensile stresses in the core (usually a result of collapse)
result in the formation of internal cavities.

Horizontally laminated timber: Laminated timber designed to resist bending loads applied perpendicular
to the wide face of the laminations. For vertical loads, this means that the wide face runs horizontally.

Housed joint: A joint where one piece is notched or grooved to receive the other piece.

Hygrometer: An instrument for measuring the humidity of air.

Hygroscopic: Changes its moisture content to be in equilibrium with the atmosphere.

Hyperbolic paraboloid shell: A complex curved surface which has one line which is always straight.

Interlocked grain: Grain where the angle of the fibres periodically changes or
reverses in successive layers.

Irregular grain: Grain where the fibres contort and twist around knots, butts,
curls and so on. Also called wild grain.

Isotropic: Exhibiting the same properties in all directions.

Jamb: The side of a window or door opening.

Interlocked grain flooring
Joinery: Finished timber fixtures of buildings such as doors, windows,
panelling, cupboards, etc.

Joint: A prepared connection for joining pieces of wood or veneer.

Joist: One of a series of timber beams used to support the floorboards or ceiling of a building.

Kerf: The cut made by a saw blade.

Kerfing: Making a series of parallel saw cuts partway through the thickness of a piece of timber so that the
piece can be curved towards the kerfed side.

Kiln: A chamber used for seasoning timber in which the temperature and humidity of the circulating air can
be controlled.

Kiln-dried: Dried artificially in a kiln.

Knee brace: A diagonal corner brace fastened between a column and a beam or
truss to provide lateral restraint.

Knot: That portion of a branch or limb that has been surrounded by subsequent
growth of the stem. The shape of the knot as it appears on a cut surface depends
on the angle of the cut relative to the long axis of the knot.

Kiln-dried side tables Laminated timber: A built-up product made of layers or laminations of
wood, all with the grain laid parallel and glued or otherwise fastened together.
Laminating timber allows large and structurally reliable sections to be built up from small, high-quality
pieces.
33
Laminated veneer lumber (LVL): A structural lumber manufactured from veneers laminated into a panel
with the grain of all the veneers running parallel to each other.

Lap joint: A joint made by placing one member partly over another and bonding the overlapped portions.

Latewood: The denser wood formed during the later stages of growth of each annual ring. Also called
‘summerwood’.

Level: Perfectly horizontal

Live load: The total variable weight on a structure. It includes the weights of people, furnishings, snow,
wind and earthquake.

Longitudinal: Generally parallel to the direction of the wood fibres.

LOSP: Light organic solvent preservative. A wood preservative.

Lumber: A North American synonym for timber.

LVL: Laminated veneer lumber.

Lyctid borer: a wood borer, sometimes known as the powder post borer,
that can attack some hardwoods.

Marquetry: Decorative inlay and veneer work. Overhead structure using LVL

Mechanically laminated timber: Laminated timber where the laminations are joined with mechanical
fasteners.

Medium density fibreboard (MDF): A panel product

manufactured from ligno-cellulosic fibres combined with a
synthetic resin or other suitable binder.

Moisture content: The weight of moisture contained in a piece

of timber expressed as a percentage of the oven-dry weight.

Moisture gradient: A progressive decrease (or increase) in

Sculptural seats made from MDF moisture content between the core and the surface of a piece of
wood.

Mortice and tenon joint: A joint where a hole or slot known as a mortice is formed in a piece of timber to
receive the reduced end of similar size or tenon from another piece. The joint is often secured with wedges,
dowels or steel plates.

Movement: The extent of expansion and contraction which occurs with dried wood as its moisture content
responds to changes in relative humidity in service.

Nail gun: A hand-operated tool powered by compressed air which drives nails.

Nail plate connector: Sheet metal plates stamped so that nails are formed on one side and pressed into
timber to make a joint.

Nail ring: A generally rectangular pattern of nails used to join timber elements.
34
Nail: A sharpened piece of metal or plastic driven into timber to fasten a joint.

Nosing: The rounded front edge of a stair tread that extends over the riser.

Open grained: Common classification for woods with large pores in the grain. Also known as coarse-textured.

Parabolic arch: An arch whose curve is a parabola.

Parquetry flooring: Flooring of small matching pieces of timber laid on a substrate

in a geometric pattern.

Particle board: A pressed sheet material made from particles of timber or other
lignocellulosic material bonded with synthetic resin and/or other organic binders.

Party wall: A wall between two adjoining living quarters in a multi-family

dwelling.

PEC: Pigmented emulsified creosote, a wood preservative. Parabolic arch

Peel: converting a log into veneer by rotary cutting.

Permanent set: A change in the properties of wood which can occur during drying when stressing exceeds
the elastic limit. Permanent set prevents normal shrinkage of the timber and can lead to more obvious
defects such as casehardening and honeycombing.

Pier: A column or post supporting a superstructure such as floor bearers, beams, etc., or an internal support
for a bridge.

Pile: A structural timber driven deep into soil or rock to provide a secure foundation for structures.

Pin joint: A connection free to rotate like a hinge.

Pith: The small soft core occurring in the centre of a tree trunk, branch, twig, or log.

Plain-sawn timber: Timber converted so that the growth rings meet the face in any part at an angle of less
than 45 degrees. Also called backsawn timber.

Plate: A horizontal framing member laid flat.

Plumb: Straight up and down, perfectly vertical.

Ply: One layer of a laminated sheet.

Plywood: An assembled product made up of veneers of timber glued together

so that the grain of alternate layers is at right angles.

Pocket: A patch of bark or gum (kino) completely or partially enclosed in the

Plywood seating
wood.

Pole: A round timber column.

Portal frame: A planar frame where the lateral and bending forces are transferred by movement resisting
connections from the portal rafters to the columns.
35
Post and beam structure: A structural frame with repetitive columns and beams.

Preservative: Any substance that is effective in preventing, for a reasonable period

of time, the development and action of fungi, borer and insect attack in wood.

Purlin: One of a series of horizontal framing timbers supporting the rafters or

spanning between trusses or frames and supporting the roof. Purlins usually span at
right angles to the slope of the roof.

Quarter cut: A method of slicing veneers whereby the average inclination of the
growth rings to the wide face is greater than 45 degrees. Wood preservative

Quarter sawn timber: Timber in which the average inclination of the growth rings to the wide face is not
less than 45 degrees.

Radial: Coincident with a radius from the axis of the tree or log to the circumference.

Radially sawn: Timber sawn on the radius from the central axis of the tree or log to the circumference,
perpendicular to the growth rings. The resulting pieces are generally triangular in shape.

Rafter: One of a series of roof support timbers that provide principal support for the roofing material.
Rafters usually span parallel to the slope of the roof.

Rays: A ribbon-like arrangement of cells, usually oriented in the radial direction.

Reconditioning treatment: A high temperature/high relative humidity (100%) treatment applied after
drying to restore the shape of collapsed or distorted wood.

Refractory: In timber drying, this term is used to indicate high resistance to moisture loss during drying.

Relative humidity: At a given temperature, this is the amount of moisture in air as a percentage of the
maximum moisture carrying capacity of the air, i.e. the water vapour pressure as a percentage of the
saturated water vapour pressure.

Resorcinol glue: An adhesive made from resorcinol resin and formaldehyde.

Reveal: The surface left exposed when one board is fastened over another; the edge of the upper set slightly
back from the edge of the lower.

Ribbon figure: A striped figure produced by cutting timber that has an interlocked grain. Also called striped
figure.

Ridge: The highest part of the roof at the meeting of the upper ends of the
common rafters.

Rip: To cut along the grain.

Roof batten: Small timbers fixed to the top of rafters to which the roofing
material is secured.

Ropey figure: Markings in the form of a twisted rope.

Roof ridge

36
Rotary-cut veneer: Veneer cut in a lathe which rotates a log chucked in the centre against a knife. This
method of peeling is used to produce decorative veneers and is a common method of manufacturing veneers
for plywood.

Rough sawn: Surface condition of wood as it leaves the saw, i.e. not dressed or final sawn.

Round timber: Timber used in the original round form, such as in poles, posts or bridge beams.

Rout: To cut out by gouging.

Sapwood: Outer layers of wood which, in a growing tree, contain living cells and reserve materials such as
starch. Under most conditions, the sapwood is paler in colour and more susceptible to decay than heartwood.

Sawed veneer: Veneer produced by sawing

Sawn timber: Timber finished to size with a saw.

Scarf joint: A joint made by bonding two matching bevelled ends or edges.

Scribe: To mark for an irregular cut.

Seasoned timber: Timber that has been dried so that the maximum
moisture content anywhere in the piece does not exceed 15%.

Seasoning stresses: Stresses in timber caused by variation in shrinkage as it Structural scarf joint
dries.

Seasoning: Drying timber to a moisture content appropriate to the conditions and purposes for which it is to
be used.

Shake: Separation or breakage of the wood fibres caused by stresses in the standing tree or by felling and
handling of the log. It is not caused by shrinkage during drying.

Shear connector: Usually metal connectors fitted inside a timber joint to transfer shear across a wide area of
grain.

Shear: A condition of stress or strain where parallel planes slide relative to each other.

Sheet metal connector: A shaped connector made of sheet metal and perforated so that nails can be driven
through.

Shrinkage: The reduction in dimension or volume which takes place in

timber when the moisture content is reduced below fibre saturation point,
expressed as a percentage of the original dimensions or volume. Linear
shrinkage occurs in three directions: radial, tangential and longitudinal.

Sill: A sill plate. The structural member forming the bottom of a rough
opening for a door or window. Also, the bottom member of a door or
window frame.

Windowsill Sliced veneer: Veneer that is sliced off a log or flitch with a knife.

Softwood: A general term for timber of trees classified botanically as Gymnosperm. Commercial timbers of
this group are nearly all conifers. The term has no reference to the relative hardness of the wood.
37
Sound knot: A knot that is solid across its face, at least as hard as the surrounding wood, and shows no
indication of decay.

Splice: To join the ends of timber elements together.

Split: A defect that occurs when tensile stresses cause the wood fibres to
separate and form cracks. Splits are cracks that extend through a piece.

Spring: A longitudinal curvature of the edge of a piece of timber, not

affecting the face.
Split in a wooden door
Springing: Support point or origin.

Standard names of timber: BS 7359 ‘Commercial timber, including sources of supply’ includes the
commercial names of timber recommended for use to avoid confusion.

Steaming treatment: A treatment sometimes carried out before commencing a drying schedule. The timber
is subjected to live steam. See also reconditioning.

Stiffener: All elements used to support or stiffen the slender webs of box and I-shaped beams and to
enhance compressive capability of webs at support points or points of high transverse loads.

Stich bolt: A long bolt through laminated timber that holds the laminations together.

Straight grained: Timber in which the fibres run parallel to the axis of a piece.

Strength: The ability of a member to sustain stress without failure.

Strength grade: The Building Regulations require structural timber used in buildings to be strength graded.
A grade mark should appear on all pieces of structural timber.

Stringer: 1) A beam that joins the top of columns and supports the cross members in floors and ceilings.
2) An inclined member that supports the treads of a stair. 3) A deck element in timber bridges that supports
transverse deck planks and runs parallel to the beam span.

Structural timber: Timber to be used in construction where its strength

is the controlling element in its selection and use.

Strut: A structural timber resisting compressive forces along the grain.

Stud: One of a series of vertical framing timbers used as a supporting

element in a wall or partition.

Structural timber Sway bracing: Bracing members required to resist the transverse
movement of a structural element.

Swirl figure: A figure caused by irregular grain in the region of the knot.

Tangential: Coincident with a tangent at the circumference of a tree or log, or parallel to such a tangent. In
practice, it often means roughly coincident with a growth ring.

Taper: Reducing gradually in width or diameter.

38
Tension: A state or condition of being pulled or stretched by a force.

Texture: Characteristic determined by the size and quality of the wood elements. Descriptive terms include
fine, medium, uniform, even, uneven, coarse.

Tie: A structural member resisting tension forces along the grain.

Tied arch: An arch tied at the base with a tension member.

Timber: A general term for natural or sawn wood in a form suitable for building or structural purposes.

Tongue and groove joint: A joint where a ridge or tongue in one piece fits a
matching groove in the other.

Toughness: A quality of wood which permits the material to absorb a

relatively large amount of energy, to withstand repeated shocks, and to
undergo considerable deformation before breaking. All structural timber
must undergo strength grading carried out under the control of a third party
quality assurance scheme, run by an approved body such as BM TRADA
Certification Ltd.
Tongue and groove joint
Transverse: Across. A transverse section is a section across the length of a
building or room.

Tread: The horizontal platform of a stair.

Trimmer: The structural member on the side of a framed rough opening to narrow or stiffen the opening.
Also the shortened stud (jack stud) which supports a header in a door or window opening.

Truss: A frame of members in the same plane joined only at their end and all interconnected to form
triangles. Primary stresses are axial so that if loads are applied at the joints, the stress in each member is in
the direction of its length.

Trussed beam: A timber beam reinforced with a trussed metal tension rod.

Twist: A spiral distortion along the length of a piece of timber.

Unseasoned timber: Timber in which the average moisture content exceeds 25 %.

Veneer: A thin layer or sheet of wood.

Veneering: Facing a substrate with a thin layer of ornamental wood.

Vertically laminated timber: Laminated timber designed to resist bending

loads applied parallel to the wide face of the laminations. For vertical loads,
this means that the wide face runs vertically.

Wane: The absence of wood on any face or edge of a piece of timber, leaving
exposed the original underbark surface with or without bark.

Want: The absence of wood, other than wane, from the arris or surface of a
piece of timber.
Veneer dressing table

39
Warp: Any variation from a true and plane surface. It includes bow, cup and twist and is often caused by
irregular seasoning.

Water repellent: A liquid that penetrates wood which, after drying, materially retards changes in moisture
content and in dimensions without adversely altering the desirable properties of wood.

Water-repellent preservative: A water repellent that contains a preservative which, after application to
wood and drying, accomplishes the dual purpose of imparting resistance to attack by fungi or insects and
also retards changes in moisture content.

Wavy figure: Markings in the form of waves or undulations. Figures with large undulations are described as
‘wavy’, while others with small, irregular undulations are ‘curly’, and those with small, regular undulations
are ‘fiddleback’.

Weatherboard: Boards that cover external surfaces and overlap to keep

out the rain.

Weathering: The mechanical or chemical disintegration and discolouration of

the surface of wood caused by exposure to light, the action of dust and sand
carried by winds, and the alternate shrinking and swelling of the surface fibres
with the variation in moisture content. Weathering does not include decay.

Web: Any transverse lateral stiffener.

Wild figure: Irregular markings. Weatherboard detailing

Wind bracing: Bracing members required to resist the forces on a structure resulting from wind pressure

Wind post: A column that stiffens a framed wall against wind loads.

Wood: The hard, compact fibrous substance of which trees and shrubs are largely composed.

Workability: The degree of ease and smoothness of cut obtainable with hand or machine tools.

end of tutorial four (4).

We hope you are enjoying and benefiting from your course.

Please make a point of reviewing these notes until you are totally
familiar with the content and techniques presented.

Please find guidelines for your assignment on the following page.

40
assignment three
For this assignment, you are going to conduct a property presale report, advising
a client on how to style their property to maximise its value and enhance its
appeal to potential buyers. You will submit an itemised list of the improvements
you would advise them to make and the budget breakdown, presented as if to a
genuine client.

To act as your ‘client’, you can ask a friend or neighbour and pretend they are putting their
home on the market. The intention here is for you to hone your communication and observation
skills.

Note: If you are unable to meet your client in person, you can use this as an opportunity to
work on an online business model that you may consider working with in the future. You can
conduct consultations online using tools such as Skype, Zoom or FaceTime (and ask your
client to take supporting photographs to email to you).

Alternatively, look online at real estate listings and find a property that is already on the
market to base your report on. Look for a listing with enough photography for you to conduct
your consultation. You may decide you would also like to contact the sales agent for further
assistance/photography in exchange for providing the report free of charge when completed.

Explain that you are an interior design student and it is an assignment for your course. You
could show your report to the agent for his/her comments before submitting your assignment.

This way, if you are interested in pursuing a career in this area of interior design, you may also
be making a valuable contact for the future.

Your report must include:

• The current value of the property.
• Your recommended budget.
• Your estimate of how much this investment, spent judicially, would potentially add to the
sale value of the property (remember this should be expressed as a percentage, not as a
value).
• A complete budget breakdown.
• Details of final styling recommendations for viewing times such as fresh flowers, music,
brand new towels in the bathroom etc.
• Photos of the property

Do not promise a definite increase in sale price to the eventual sale of your property. If for any
reason (and it may well have nothing to do with you!) the property does not ‘hit the mark’, then
you could potentially leave yourself open to legal action! Estimate an approximate potential
increase (this is usually a percentage rather than a cost) and make sure it is clearly labelled as
an estimate.

41
assignment three (continued)

Further Advice:
Anyone wishing to go into presale styling of properties should first thoroughly research the property
market in their area, get to know the local sales managers at all the real estate agencies, assess the
sale prices of similar properties that are well-presented and poorly presented. You will then be able
to wisely advise vendors on how much they should spend to maximise their potential sale price.

A property with a potential listing price of £100,000 that is not in a desirable position would
potentially benefit from a good clean up and some fresh flowers and a simple addition to its street
appeal so potential buyers are drawn to look further rather than cruise past.

At the cost of £1,000 or less, this could add maybe up to £10,000 to the property value if it is
structurally sound. If the property’s probable market value is £700,000 as is and it is in a great
location but lacks lustre then a budget of £7,000 could conceivably add up to £30,000 to £70,000 to
its market value. It all comes down to having a firm grasp of the market forces in your area, who the
potential buyers are, what to place most emphasis on and, finally, what the client can afford to spend.

On even a small budget, just advising professional cleaning (especially sparkly clean windows!),
getting rid of clutter and undertaking minor repairs, adding pot plants and repainting the front door
to enhance street appeal can make a big difference to the number of people viewing the property and
therefore the speed of sale and eventual sale price.

As a general rule of thumb if a property is in a sound condition, presale makeovers with an

investment budget of one to two per cent of the current market could return an extra 10 per cent
on sale.

Time is another consideration. If the property is going on the market in two weeks, then there is
no point recommending any work that involves calling in trades as they may not be available. The
idea is to make the property as appealing as possible to potential buyers by the simplest and most
effective means and within a budget appropriate to the value of the property and within your clients’
means. The aim is to create a look that says ‘buy me before anyone else does’.

42
assignment three examples
Please click here to access examples of Assignment Three.
These examples will demonstrate how previous students have approached the task and we hope
they can provide you with further guidance as to what is required. You will still need to apply
your own thoughts and concepts to the task and ensure you meet the task requirements within
your own presentation.
If you do have any remaining queries or require further clarification, please review the
guidelines and contact us by email with any questions you may have.

submission details
Submit via email: assignments@britishcollegeofinteriordesign.com
OR
Submit via Student Portal: log into the Student Portal, select ‘My Assignments’ then ‘Submit
Assignment’ in the left-hand menu, and follow the prompts to upload.

Include: Name & assignment number in the subject line of your submission.
e.g. John Smith A3

Format: Please compile all work into one document. Send as a PDF (preferred) or a
Microsoft Word file, and ensure file size is kept under 10MB. When naming
your file, ensure you use text only, no special characters (such as # ‘ - , { etc.).

Please Note: If the College receives your file and it is larger than 10MB, it will be
returned to you with a request that you resave your document so that you are able to
practise the skills required, so you are industry-ready. See Emailing Under 10MB
in Tutorial (1) for further instruction. Keep in mind that in this instance, your tutor
is your client. Please ensure you present your work to the best of your ability.

Please ensure you save copies of your work.

Send any assignment questions to: questions@britishcollegeofinteriordesign.com

43