Latest news with #Crittall
Elle
22-06-2025
- Entertainment
- Elle
The 'Dept. Q' Interiors Are More Significant Than You Might Think
If you're watching Dept. Q, the latest police drama on Netflix, then you're probably trying to figure out solicitor Merritt Lingard's fate or wondering what season 2 will entail. Or, like us, you could be so fixated on the interiors that you're too distracted to concentrate on the crimes in question. At first glance the interiors are dark, cold and gritty—like the basement urinals where Detective Carl Morck (played by Matthew Goode) and his micro-team have to set up office. But look closer, and the interiors are stylized, atmospheric, and likely to inspire your home decor. Plus, they have their own main character energy and play a big part in creating the edginess of the drama. While the Netflix show is based on a series of crime books by Danish author Jussi Adler-Olsen set in Copenhagen, Dept. Q has moved its setting to the Scottish city Edinburgh, with the show's creator Scott Frank describing it as 'the perfect combination between the modern and the medieval.' These are our top interiors moments in Dept. Q and why they matter. In the opening episode of the series, we go into Carl's boss, Moira Jacobson's office at the Edinburgh Police HQ. While the force might be in need of some cash, we couldn't stop staring at the carpet! With a fitting tartan nod, the green-and-red square pattern has a '70s-style template that complements the vertical wood paneling and mid-century furniture. And we haven't even gotten to the bare concrete pillars and floor-to-ceiling Crittall windows. While you know the carpet gives off stale 'grandparent house' cigarette smoke, it's also giving us good Mad Men vibes. It doesn't look like much when Carl is shown down to his new office quarters for Dept. Q–it is, after all, the police HQ's old toilet/shower/changing room/gym. But it's the basement space, named 'Q,' that gives the department, and the show, its name. 'Where's this office?' asks Carl. 'Q?' he replies as Jacobson hands him the labeled keys. 'Where's that?' he asks. 'Downstairs,' she replies. 'But the offices are numbered downstairs, Moira,' retorts Carl. 'I meant downstairs downstairs,' she replies. It's amazing what some lighting can do to the space, which starts off piled full of discarded chairs and old case note boxes. Especially for the Claridge's green and bottle brown rectangular wall tiles which perfectly offset the geometric floor and ceiling pendant lights. In a later episode, when DC Rose Dickson (Leah Byrne) joins the department, it gets positively atmospheric and you could easily forget about the urinals and the discarded gym weights, that Carl can't lift, around the corner. We're particularly into Merritt's house by the sea, although if we were receiving mysterious death threats, we really wouldn't want to be living in a building with so much glass. Filmed in Dirleton in East Lothian, the actual house was an old World War II radar station which had been renovated and then sold. Dept.Q's supervising location manager Hugh Gourlay has said, 'We ended up painting it to give it a more austere flavor. It has that feeling of Merritt's coldness.' There's also a coolness to the interiors with the stainless steel kitchen, the bare concrete floors, and white-washed walls. Again, the lighting, in the form of up-lit wall fittings and large arc floor lamps, creates the eerie atmosphere that gives that bad-person-lurking-outside feel, as does the open plan design. Draw the curtains Merritt! The care home where Merritt's brother William ends up—which Carl and his anorak-wearing, far more charismatic sidekick Akram Salim (Alexej Manvelov) visit in episode 2—is set outside of Edinburgh in Midlothian. It was shot at Vogrie House, Pathhead, an old mansion that was made to 'look like a clinic, institutional but richer than it is,' according to location manager Gourlay. Indeed it looks more like an ambassador's residence than a care home with mahogany furnishings, plush velvet armchairs and a sweeping grand staircase. The luxe mansion feel begs the question: What part does the suspiciously glamorous Dr. Fiona Wallace (Michelle Duncan), who is now in charge of William's care, have in all of this? And also, who is paying for him to be there?
Irish Times
06-06-2025
- Business
- Irish Times
Charming two-bed with courtyard garden and period features in Blackrock for €795,000
Address : 10 Green Road, Blackrock, Co Dublin Price : €795,000 Agent : Sherry FitzGerald View this property on Green Road, which connects Sydney Avenue and Waltham Terrace in Blackrock , is a residential street with a rich history dating back to the early 19th century. It was originally part of the Pembroke Estate and development of the road happened in stages – the majority occurring around 1908 – hence it features a variety of architectural styles from Victorian, Edwardian and 1930s types, reflecting its phased development. It is impossible to compare homes on the Property Price Register alone, as they vary so much in size. For example, the most recent sale listed is that of Seaforth, at Number 14; a semidetached, five-bedroom 180sq m (1,937sq ft) Edwardian in need of upgrading and with a good-sized garden, which achieved €1.225 million in 2020. Sherry FitzGerald has just listed Number 10 to the market for €795,000. It is part of a terrace of three and dates from 1840, making it one of the older properties on this stretch of prime Blackrock real estate, and extends to 102sq m (1,097sq ft). It lies at the Sydney Avenue end close to the junction with Sydney Terrace, so is close to the village, schools, good transport links and plenty of amenities. The fact that it is double-fronted allows for a good-sized livingroom on one side of the hall, and a family room that leads to a dining space on the other. Off the dining area, a set of Crittall-style doors open into a contemporary galley-style kitchen that itself opens out to a rear courtyard, as does the dining space. There's also a much-coveted, separate utility room located off the dining space, and it's close to the courtyard for drying linens in the fresh air. READ MORE Upstairs are two double bedrooms flanking each side of the landing, which is flooded with light thanks to a tall sash window. A family bathroom lies to the rear. As it has two living areas downstairs, it could have the potential to be a three-bedroom unit. There's room out front for morning cups of coffee, with privacy from a tall hedge. To the rear, a tall, woven willow fence provides much privacy to a small courtyard garden, which has a southeasterly aspect and where its owner has sundowners and barbecues. Its Ber rating is E1, but it retains its original sash windows, most of which are working, so heavy curtains and closing the shutters will keep rooms toastier in winter months. Entrance hall Front entrance Livingroom/dining space Kitchen Dining space Bathroom Courtyard Number 10 may interest those looking for an alternative to an apartment in the south Dublin suburbs, with the benefit of having its own door, a terrace and courtyard. It retains numerous original period features such as sash windows, old fireplaces, high ceilings and interesting curvature to bedroom ceilings. Though in good nick, the purple carpets upstairs may not be everyone's cup of tea, but it's a small cosmetic change to an otherwise lovely old house.
South China Morning Post
26-03-2025
- Entertainment
- South China Morning Post
How art is at the heart of this soon-to-be-demolished Hong Kong home
Although designer Ella Bridgland conceives beautiful interiors for a living, she confesses that she and her husband, Damian Chandler, an arts and culture consultant, never consciously designed their 1,200 sq ft apartment. Instead, she says, their home, which they share with their four-year-old son, five-month-old daughter and cat, has evolved organically over the past five years, and is as much an expression of themselves as it is a testament to their love of art and design. Advertisement The British couple's three-bedroom, two-bathroom rental flat in a 1960s Pok Fu Lam low-rise is awash with eclectic character and craftsmanship. With its three-metre-high ceilings, original Crittall door frames and well-preserved parquet flooring, the space exudes a timeless charm – the perfect backdrop for the artwork and furniture Chandler and Bridgland have not only collected but created themselves. Little wonder they are sad to be moving – the building is due to be demolished. Ella Bridgland in her Pok Fu Lam, Hong Kong, home. Photo: Joshua Lee 'We love the building,' says Bridgland, founder of Studio Ella . 'It's one of the few left with authenticity and charm. The layout is well planned and the proportions are grand – rarely the case in newer buildings.' The couple's approach to collecting art is refreshingly unpretentious and deeply personal. Many of the pieces have been with them for years, including works Chandler acquired during his time at art school in London, where the students used to swap their artworks with each other. 'We don't see ourselves as art collectors. It's very much about enriching our living experience,' says Bridgland, who has a keen eye for emerging talent and enjoys championing local artists such as Yi To, Hilarie Hon and Chow Chun-fai, whose works feature in her study. 'Once we have something we like, it grows with us and becomes part of the landscape of our lives.' Advertisement Bridgland and Chandler buy pieces they feel an emotional connection to rather than following trends or building an encyclopaedic collection. They also like to experiment with the location of pieces, recasting the dynamic of a room and creating a new dialogue through the juxtaposition of different artworks and objects. The couple describe how one of their most recent acquisitions, a piece by Saudi Arabian artist Alia Ahmad, prompted them to rearrange their interior in response to it. As well as reconfiguring artworks on the opposite wall, hanging smaller-format pieces to play with scale, they added a linear directional pendant light to illuminate the art without competing with, or obstructing, it. They also made changes to upholstery.
The Guardian
16-03-2025
- Business
- The Guardian
Industrial evolution: a designer breathes new life into an old London warehouse
In the late 18th century, London was one of the busiest ports in the world, the docks in the east bustling with clippers, sailors and porters unloading tea, tobacco, rice, fruit, sugar and wine. It meant that industrial warehouses were thrown up along the banks of the Thames for much-needed storage. Almost two centuries later, only a handful of those Victorian storehouses survive, but those that do have been regenerated, inspired by the renovation of New York's loft apartments in the 1980s. The Guardian's journalism is independent. We will earn a commission if you buy something through an affiliate link. Learn more. For South African interior designer Veronique Hopkinson, a historical home – specifically, a warehouse in London – was always on the bucket list. Her riverside apartment in a Grade II-listed warehouse is in Wapping with a balcony that overlooks the Thames. The busy city river traffic includes raucous party cruisers, dredgers and navy patrol boats. When the tide drifts out, revealing the bones of the city below the waterline, hawk-eyed mudlarkers start sifting. 'I love unique properties,' says Hopkinson. 'And I loved the apartment's exposed ceiling and brick walls – it's all part of its identity.' Industrial remnants of the old pulley system adds depth and character to the building, setting the scene for her choice of chunky, industrial furniture, contemporary artworks and dimensional lighting. Hopkinson started by stripping out all the rooms inside the two-storey apartment to create a vast open-plan living, dining and kitchen space. Her husband, Bradley, is a keen cook, regularly whipping up sourdough or sushi, and often nips down to Borough market to pick up cream to churn into butter (she applied for him to do MasterChef but he was too busy), so the kitchen is a central feature. 'I designed a massive island, 3m long, and arranged stools alongside it so that we could sit and chat while he cooks,' says Hopkinson. Made from steel, the bespoke island fits into her industrial-interiors vibe, alongside the steel units, concrete splashback, statement lighting from Andrew Martin, and their vast American two-door fridge, which had to be winched up to the balcony to get in. To the left of the kitchen is a small, hidden scullery, which boasts two dishwashers. 'I am big into storage,' says Hopkinson, describing her plan to reconfigure the entrance and stairs to create more space and cupboards. She has also installed a home office, cleverly divided off from the main living space using internal Crittall glass panels, which were custom-made to reflect the original Victorian window frames and invite natural light. Studying graphic design and running her own advertising agency, Hopkinson compares her later career in interiors to working on an ad campaign. 'You choose the visual references, consider the target audience and stick to the budget and deadline, it is very similar.' The living room is broken up with an Andrew Martin rug, brown leather sofas from Seattle, a pair of Timothy Oulton sheepskin armchairs and a large Oulton sculptural pendant above. Describing her style as 'functional and authentic', Hopkinson says lighting is key to creating comfort in an industrial environment. 'You have to be careful with brick and wood, but lighting adds ambience.' Antique signs from Etsy, an old juke box, a leather punch bag from Notting Hill market and wooden sculptures and masks from the couple's native South Africa decorate their home, which they share with their two daughters, who are at university, and two pet dogs. Colourful artworks embellish the yellow London stock brick walls, along with the uncovered wooden beams held up by their original metal columns, now repainted black again. The dining room enjoys a bolt of red and blue from a large canvas by Ukrainian pop artist Mykola Kuryliuk. Other walls are embellished with metal shelving and a wine rack made from a stack of metal boxes. Above the generous wooden dining table and benches, which were shipped from South Africa, floats a tubular turbine light by Timothy Oulton. Upstairs in the master bedroom, a wooden African war mask demands attention above an antique wooden bench from Cotswold Grey. The bed, with its aircraft-inspired metal frame, is softened with an OKA rug and cushions, and a textural backdrop of Arte wallpaper. Out on the balcony, a set of Ikea chairs contemplates the gentle but steady pace of the longest river in England, as it flows past. 'Wapping is a great neighbourhood. With its local butcher and shops it's like a little village, and walking the dogs I get to know people,' smiles Hopkinson. 'And the lights in Canary Wharf are so pretty at night.'
