Artist Jobe Burns has completed the renovation of a 300 -year -old farmhouse in southwestern England and transformed it into a house that is supposed to celebrate its rural identity and time details.
Burns had just completed its end in a spatial design at the Chelsea School of Art in 2019 when he was addressed by the customer to take a look at a rural property that they had recently bought.
Initial talks about a change in the decor have been developed into a more holistic project that is supposed to return to its earlier shine after decades of inferior renovation work.
According to Burns, the loose letter focused on creating a home with a very personal style in which the customer could relax and escape the stress of everyday life.
“With regard to the lifestyle that they wanted to lead here, it was all about slowing down,” said the designer. “It is not an intelligent home with a lot of technology. All switches are mechanical, so it feels like you are back in the past.”
The project included the restructuring of the dark and cramped interior to create a number of functional rooms, keep the aspects of the character of the original building.
A first survey discovered structural problems that caused delays and, together with a later decision to extend the property, contributed to a timeline that extended up to almost five years.
The first phase was to remove unnecessary elements and open the ground floor to bring in more light. Ceilings on both floors were also removed to release the original ceiling rays.
The layout with six bedrooms was reduced to four bedrooms, one of the original rooms for the main suite produced a bathroom and a walk -in wardrobe.
An old -fashioned cabinet hid an entrance to a previously undiscovered basement with two brick ridges, which were restored as part of the project.
During the renovation, burns managed to keep characteristics such as oak doors, soils and beams and at the same time introduce devices and furniture that contribute to the eclectic feeling of the house.
“Every time we built something new, the goal was to get it as old as possible,” he suggested. “There are so many unique moments when the materials or objects we used add a new layer of the course in the rooms.”
In order to achieve the required detailed and finish degree, Burns worked with a local father-and-sensors team that specialized in renovation projects, whose experience with traditional construction methods led many of the design decisions.
“We were lucky enough to have these boys who understood how things would have been done 200 years ago,” he added. “Details such as ensuring that the lime used in the mortar matches the original color, make a big difference in such a project.”
The use of materials including lime -geared walls, polished plaster and exposed stone gives the interior a warm and tactile feeling, which is reinforced by details such as the gently curved walls and rounded yields on the window.
The color palette in the entire accommodation was from references from the customer during their travels together with their own passion of burns for bold colors.
“In my artistic practice, I use a lot of high contrast and saturated colors, so I wanted to bring that to this project,” he said. “It helps to compensate for the rooms, because if everything was steamed, it would have felt like monotonous.”
On the ground floor, joint rooms, including the kitchen and dining room, are mainly exhibited neutral tones and natural textures in order to create a quieter environment to relax and socialize.
In -tima areas have more extensive colors, such as the Terracotta T bathroom and a room that is mainly rendered in black, which contains only one fireplace and a piano.
The color is also inserted in the form of recovered color glass windows that have restored burns. The glass is integrated into a door and a curved opening that creates a visual connection between the kitchen and lounge.
Some of the furniture and decorations come from the customer's collection, while other pieces with the help of the stylist Hanna Ali were obtained for the project.
The outstanding finds include a trailer tone by designer Carlo Nason and a standing Blue -Glass lamp that was bought on a trip to Italy. The Murano glass crown candlestick in the living room originally belonged to the mother of Burns, and some of the artist's own sculptures can also be seen in the rooms.
Repurposed elements are contained throughout the house, including tiles that have been recovered from the original roof and now form the basis of the fireplace. Fallen trees from the garden were used to create tables and shelves.
Burns claimed that the client's emotional reaction when the final result was worth the years of slow progress, and added that the project also changed its own way of thinking about space and historical buildings.
“I have always been interested in material cultures to resonate through texture, color and materiality with a place with a place to ask questions about identity: What it means to be British what we inherited and what we want to advance,” he concluded.
“This project was a way to follow the form built by built form that some contemporary has taken in a long, quiet story. Leaving the past and giving it a new form.”
Other recently published farmhouse projects on Dezen include a Welsh farmhouse with larch cladding and a renovated farmhouse in Tuscany.
The photography comes from Felix Speller.