تدريب Shadowing: Inside a Charming 17th-Century Farmhouse - تعلم التحدث بالإنجليزية مع YouTube

Humour, I think, is vital because earnestness seems to be the case of death in conversation,

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Humour, I think, is vital because earnestness seems to be the case of death in conversation,

in terms of decoration, in terms of anything, in my view.

We are in a 17th century building that's over time,

had lots of different faces,

ending with a Georgian facade in the south,

and we're in a little hamlet near Petworth in West Sussex.

I had furniture, I had all sorts of things,

and I didn't want to spend any money on decoration, really.

I wanted to spend the money on the building and the garden,

because there really wasn't a garden,

and there was an enormous amount of landscaping to do.

And because the outside is as important to me as the inside,

and vice versa, after all,

you're not an island, you're looking out,

and particularly in the country,

I wanted to create a theme that resonated both inside and out.

For me, I like it to be soothing,

I like it to be exciting,

I like it to be slightly odd.

Some of it I like to be bad taste.

I like it slightly bordello somehow, or funeral parlour somehow.

I like the mix and I basically don't want rules.

Everything resonates with something, it has a meaning.

It's not just bought because it's fancy or stylish or cool or in vogue.

It's here because it holds a memory.

The thing that resonated most with me as a child,

with my father, we were in London during the week,

we would come down to the country at the weekends.

He would be waiting for us in this very chair.

And I was little, I was up to his knee.

He would be wearing those worsted wool,

crimson-magenta trousers, with a glass of cinzano on his knee, ice and lemon.

And that lemony gold next to that crimson has stayed with me forever.

That is the theme that runs through this home.

I guess I use this room mostly in the evenings.

It's not really a day room.

And it reminds me of growing up,

there was always a room that children were absolutely not allowed in.

This is sort of that room,

except that I absolutely always allow children into it.

It's full of fun things,

but try not to touch them.

Then that's okay.

And then, you know, then they can enjoy it as much as you like.

It was all painted blue,

and I had an amazing carpenter,

local guy who made the panelling for me from pieces of oak

that we'd taken from other parts of the house that we couldn't use, including the ceiling.

A lot of it had rotted away,

so rather than replacing it with oak,

I decided to put gold acrylic,

and I love the reflection of it.

At night, you light the candles and it's all very glittery and kind of Studio 54.

I love it.

The colours in here are sort of a deep crimson-y,

crushed raspberry, I don't know what you'd call it,

but I love the fact that it's a damask silk,

so it already has some sort of three dimension to it.

And they had been my bedroom curtains,

bits of old fabric that I've found over the years and had made into cushions.

The yellow fabric on the chair was impossible not to buy because it was called Princess Harriet.

So clearly I had to have it.

The Giaciano Pesci piece, you've got some sort of vinally modern,

contemporary, shiny, something that seemingly doesn't go with an Aubusson rug.

But the mix is sort of,

I find it joyful, and I find it odd and interesting,

and I like that mix-up of old and new.

We're in the library, which is a bit too grand a name for it,

really, But I think this had been a hallway or an entrance at some point.

I wanted to fill it with books and found some beautiful original drawings

that Chippendale had done of detailing and profiles of joinery and then nature.

So lots of flowers everywhere,

florals everywhere, and reflective wallpaper so that you're bouncing light all the time.

Many of my parents' friends were writers.

My father was a writer and my sister's a writer and I don't really have a theme that I collect,

although probably there are more books on art and gardening than anything else because I feel I never know anything about them.

There's so much to know,

and because also they're such visual feasts when you delve into them.

Kitchen, I wanted to have as much space as possible so

that there could be a big kitchen table in the middle of the room,

which I didn't have in my old house,

there just wasn't room enough.

So I wanted to limit the number of units.

Plain English and I did a collaboration on them and I chose then a slate worktop,

which is highly impractical.

I would never tell a client to get it because it stains like mad.

But for me, I love it because each stain,

each mark is telling your story.

Same with the brass.

The brass is a solid brass panelling and I really wanted the northern light to ping off it.

Glasses, some inherited, some old,

bits of junk, they're sort of all bits and pieces and the artwork is an artist I really admire called Pierre Bergier.

I don't like walking into houses that feel new,

it's like getting into a new car.

I can't, not that I ever have had one,

but I don't like it.

I think you want to feel you're relaxed already

and having vintage fabrics anyone can get and it's just a question of time finding them.

We are in my bedroom which is mostly filled with pictures and paintings of Scotland where where my father grew up.

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Made me think about putting the sort of deep Prussian blue against the walls,

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which I also love.

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And also this ridiculous headboard,

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which I found in an antique shop.

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I think it must have been from a film set or a theatre set.

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Life isn't a serious matter,

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but I mean outside of your little space,

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it's very serious and it's very depressing.

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So at least in your own space,

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make it something that makes you feel good,

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you know, that feels fun.

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To me, that is utterly preposterous.

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I love it.

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You know, there are lots of things I've got that are really bad paintings.

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I mean, really bad paintings.

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But they just make me laugh.

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I think they're brilliant.

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I love that mix.

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It's not about where it's from,

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its value, it's none of those things.

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It's literally, does it make your whiskers twitch?

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That's it.

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This room is a dressing room.

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Because my child is now an adult,

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I didn't need lots and lots and lots of bedrooms.

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And what I did need,

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which everybody needs, is a space,

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a room of their own.

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The pictures are tear sheets really,

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some far too good to have been torn from books,

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but there you are, that's me all over.

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They're original paintings and drawings by an artist called Vertez,

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a book that he had illustrated called The Stronger Sex, about women.

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and that formed the thread of what this room became.

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My father, when he passed away,

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left in his will the contents of his dressing room.

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And amongst his things were these wonderful boxes of all sorts of things,

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like wing collars, because effectively he was brought up by an Edwardian.

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So, you know, it seems miraculous to me that they're so old-fashioned,

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but look at these beautiful gloves and I don't know whether he ever wore them or not,

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or when he bought them or where they came from.

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But the white ties, I've never seen him wear.

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I like the idea of there he is with this other life,

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you know, before, of course,

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we were all born, living in New York,

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dating Jacqui Bouvier as she was at the time, having a marvellous time.

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I think there's pretty much nothing more luxurious than a big bathroom.

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I like the northern light,

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the curtains that the blinds and I found online,

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somebody in Portugal who made them,

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they sort of look like knickers,

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which I quite like hanging down.

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The muslin came from my old house and then I decided to paint with ink.

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Every time you have a bath you can see it begins to fade and drip and alter in its state.

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I love that, it's telling a little story every time you're using it.

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The blue is what the indication and the thread which runs through this whole floor,

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in particular this bathroom and our bedroom.

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I love being able to see the origins of the house,

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which is of course medieval.

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And you know, the Georgian facade was just to show off to the neighbours,

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but this is what it really was like.

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And the bed I found in a junk shop and then some years after Min Hogg died,

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the estate had a sale of which I bought some things

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and that is what started the idea of it being a red and white room.

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And although it's nothing scented or uniform,

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I really like that higgledy-piggledy feel about the room.

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I think, yes, I hope that all the rooms have some kind of an effect on whomever is going into them.

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That's why I don't like to have every room the same.

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I don't want to have a house that's minimal or maximal everywhere.

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I want it to be three-dimensional as we are as humans.

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Design and creativity is just a way of expressing yourself because you don't have the words.

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And you're going to do that whether you're paid to or not.

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You're just doing it.

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You're making, you're doing, you're creating, you're viewing, you're noticing.

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And if you're lucky enough to have somebody say,

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I'll pay you to do that, then happy days.

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you

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تدريب Shadowing: Inside a Charming 17th-Century Farmhouse - تعلم التحدث بالإنجليزية مع YouTube

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تدريب Shadowing: Inside a Charming 17th-Century Farmhouse - تعلم التحدث بالإنجليزية مع YouTube

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