This week's instalment of the #SBIDinspire interior design series features a residential design by Ledbury Studio. This London pied à terre is located in a leafy square of imposing mid-19th century properties in Pimlico. The owner was completely refurbishing the two-bedroom apartment and wanted a copper kitchen for her stylish open-plan kitchen-living space. Ledbury Studio’s Metallics Collection kitchen – the first copper kitchen our client had ever seen – was, therefore, the perfect fit.
Company: Ledbury Studio
Project: Pimlico kitchen
Location: Pimlico, London
What was the client's brief?
The owner had a very definite vision for her whole apartment that included rich colours, mid-century furniture and metallic accents – and the copper kitchen was a key part of this. The kitchen was to be situated on one side of the room with sitting area on the other, so she didn’t want something that looked like standard square kitchen cabinets. They had to resemble standalone pieces of furniture that would blend into the look of the whole room.
What inspired the interior design of the project?
Our client was searching unsuccessfully for a copper kitchen when she saw the first incarnation of our Metallics Collection at the Chelsea Flower Show in 2018. When creating that kitchen, I had chosen copper because I wanted to harness the beauty of solid metals and use them in a contemporary kitchen setting that was different to anything else out there. Which is why our client was so excited to see the kitchen in her head become a reality!
The design needed to be a beautiful but practical working kitchen in a compact footprint. As such, the antiqued copper doors are kept to one side away from direct contact with heat or water but still provide the focal point our client wanted. For the worktops and splashback, I chose hard-wearing Bianco Macaubas quartzite, rather than the marble that was originally specified in the Chelsea kitchen. Thus, the island serves as a functional sink and prep area, as well as a breakfast bar to gather around. And finally, to answer the brief for furniture that looks like standalone pieces, I included a glass-fronted display cabinet in black-stained oak with an unusual dropped worktop.
What was the toughest hurdle your team overcame during the project?
The biggest challenge was to create a glamorous design that worked in this relatively small space. With the kitchen and sitting room forming a multi-functional area, I had to ensure I got the balance of the design right between having an island, a breakfast bar, a wall of cabinetry, and then having a really attractive sitting room as part of the whole set up.
What was your team’s highlight of the project?
This was one of our earliest projects and I think the highlight was that it showed us just how different and how attractive the use of the copper could be. Seeing the copper combined with the stone and the wood in a kitchen context and seeing how well it could work – that really was very exciting.
Questions answered by Charlie Smallbone, founder of Ledbury Studio.
We hope you feel inspired by this week's residential design! Let us know what inspired you #SBIDinspire.
If you missed last week's Project of the Week, featuring a unique restaurant design, click here to see more.
SBID Accredited Partner, Ledbury Studio opened the doors of its bespoke kitchen furniture showroom in 2019, but founder Charlie Smallbone is no newcomer to the industry. The legendary designer has been pushing the boundaries of kitchen design for over 40 years.
What is your kitchen design philosophy?
‘A kitchen is for life’. I said that to the actor George Layton in 1981, when I installed one of my first kitchen designs at his London home and I still believe it to this day. At the time, though, I think George was more concerned with the cost of the kitchen than with my musings!
That said, Ledbury Studio is much more about the future than the past – every day I look forward and try to produce something unique. I still want to deliver contemporary designs using beautiful, mostly well-known materials, but I am looking to treat them in a radical way to produce something that can’t be found anywhere else.
What materials did you choose to work with for your Ledbury Studio designs?
Traditionally, the use of metal in the kitchen has been largely reserved for appliances and handles, with polished stainless steel and brass the prime material choices. But having worked with both solid and liquid metal progressively for a number of years now, the idea of broadening the application of metal in the kitchen and taking it beyond its traditional uses excited me. It was also was one of my primary inspirations in founding Ledbury Studio.
From the outset I realised that this application of metals needs to be carefully executed. For this reason, I decided to take a disciplined approach with our first Ledbury Studio kitchen concept, the Metallics Collection – to use ‘metal with integrity’. So, rather than using liquid metal finishes, I opted to explore the potential of solid metals: initially copper, pewter, zinc, bronze and stainless steel. At the same time, we also considered the practicality of the finish that we were applying; aware of the potentially debilitating impact of extreme heat and water penetration. We then moved on to assess suitability of finishes in different areas of the kitchen.
Design is always about more than simply making something look nice. But I have found that incorporating these metals, and researching the different finish possibilities that each has, really does bring a unique quality to a kitchen.
Can you talk us through the Ledbury Studio design process?
The process starts with a design consultation during which we will review any architectural plans. If clients don’t have them, we will arrange a site visit so that we can measure their proposed space and chat about how best to maximise it. At this point we are able to start putting a conceptual layout together including hand sketches and some initial 3D spatial concept modelling and material selection, based on what we have already talked about. At the same time, we will also provide an initial estimate of cost (furniture, appliances, delivery and installation).
Once we have an agreement on the basic design, budget and quote, we move forward with floor plans, 2D elevations and a formal estimate. At this point we like to create material selection mood boards and also, as required, 3D renders, as this helps us really get to grips with how the design will look and work in the space.
Finally, we drill down to specific fascia finishes, and worktop and splashback materials. By now we want our client to have a real feel for the kitchen and how individual areas of the design are going to work.
How closely do you work with you clients to create the final design?
The best kitchens evolve from a design process that is a rooted in the ideas and interests of our clients, which then combines with the design expertise of the team. This process informs initial ideas on which materials are going to work best for the kitchen design.
A good example of this was on our Cheshire Kitchen. The design was influenced and underpinned by the client’s collection of pewter-ware, which had been collected over many years. Inspired by the material, we decided to incorporate quite a number of pewter doors on the kitchen cabinetry. We ‘hand-textured’ sheets of pewter, and applied a patina using acids to age it, finally sealing the surface with lacquer.
Where are your kitchens made and who do you work with?
Our kitchens are built in our Wiltshire workshop by a small team, who have worked with us for many years, from our Smallbone of Devizes and Mark Wilkinson days.
We also collaborate with a handful of talented artists and artisans: Emma Culshaw Bell, an artist and specialist painter who creates bespoke colours and finishes for our painted furniture, and designs and fabricates the Verre Eglomise incorporated into our kitchens; Quentin Reynolds, the craftsman behind our pewter door fronts; and George Winks who carves wood beautifully. We have worked carefully, on a project-by-project basis, to incorporate these elements into our furniture.
What’s the best part of your job?
It’s the enjoyment that comes from working with talented people, bringing designs to life and creating furniture that inevitably is more complex as a result of that teamwork. For me, an open and collaborative process is always infinitely more satisfying than working solo. Of course, the process needs structure. But it’s important to try to maintain enough freedom to be flexible. That way, if something unexpected and good arises, we can work to incorporate it in the final design. This is really what I love about my job – to watch the evolution of an idea, and then to see the finished result in someone’s home.
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