Three rooms from one house, photographed after completion: the main sitting room, a smaller television room, and the principal bedroom. The scheme runs on texture and a tightly held palette rather than on colour, which is what lets three quite different rooms read as one house.

The sitting room

The room is long, so it is furnished as two zones rather than one: a deep modular sofa in bronze-olive velvet at the near end, and a seating position by the window at the far end. Nothing divides them except the layout and the lighting.

Almost every surface is textured. A silver-grey grasscloth wallcovering runs the length of the room, set against a bronze panelled section behind the sofa that holds three recessed wall pieces. The low table is a pair of staggered grey-oak blocks rather than a single slab, which keeps a large table from reading as heavy.

Colour is deliberately restricted: teal and peacock in the cushions and the chaise, and nothing else. Against that many neutrals, a small amount of one strong colour does more work than a broad palette would.

Lounge with a long velvet corner sofa, blue cushions and a low coffee table
Fitted media wall in dark veneer with lit display shelving
The corner sofa seen from the window end with a low square coffee table
Velvet sofa and chaise with a sculpture on a plinth beside the curtains
The lounge along its length, sofa, chaise and framed artwork
Media wall with a television set into lit joinery and pendants above
Chaise longue and sofa with a bronze sculpture between the curtains
Sofa with blue and bronze cushions, artwork above and the sculpture beyond

The television room

A smaller, softer room designed for evenings rather than entertaining, and treated as the quieter counterpart to the main sitting room.

Small television lounge with a grey sofa below three framed prints
Console below a textured stone panel with a tall vase and a candle
The snug with a linear fire below a stone panel and artwork either side

The principal bedroom

Storage is fitted along both long walls, so the floor stays clear and the room reads as calm. The dressing ledge is a floating grey-oak shelf with drawers below it and an illuminated mirror above, rather than a freestanding dressing table taking up floor space.

The lighting is doing most of the work. Concealed strips under the bed base and beneath the dressing ledge make both appear to float, glass pendants hang on long drops either side of the bed in place of bedside lamps, and the recessed downlights are kept away from the bed itself. Between them the room can be lit for dressing, for reading, or for almost nothing.

The upholstered headboard is sized to the wall rather than to the mattress, which is what sets the proportions of everything else. Its fabric, grey shot through with magenta and burnt orange, supplies the only colour in the room, and the cushions and throw pick it up.

Bedroom with a textured headboard panel and a purple throw
The bedroom towards a fitted dressing unit with a lit mirror and a wall hung screen
The bed with its patterned headboard panel and the mirrored wall beside it
Fitted dressing table with a lit mirror, a screen above and lit plinth drawers

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