Form 2 by Moon Design

FORM CO L L A B O R AT I V E

JOURNAL BY

I S S U E

T WO

161

MOON

ARE

THE

162

ARCHITECT

Moon designs and Moon builds. Traditionally, this relationship has been mutually exclusive. The architect a name on the builder’s plans; the builder a name in the architect’s email. But this never made sense to us.

We bridge the gap. From the project manager to the carpenter, we’re a collection of people who share a passion for something beautiful – a physical space that goes beyond bricks and mortar. And it’s this unique relationship that allows us to create the homes and commercial spaces that our clients dream of.

ARE

THE

BUILDER

519 FISHPONDS RD FISHPONDS BRISTOL BS16 3AH 2

0117 965 1260

FIREBASKET.COM

â&#x20AC;&#x153;We used Mardan following a recommendation from a friend. They moved us in and out of storage and then into our renovated house. I would highly recommend them. The service was super efficient and the guys were quick, polite and courteous. Nothing was too much trouble and all of our possessions arrived safe and soundâ&#x20AC;? Emma Webster, Moon Client

FOREWORD

THIS IS HOW FORM TA K E S SHAPE…

When Moon first came up with the idea for Form, we weren’t quite sure where it would take us. We knew we wanted something beautiful that went beyond the world of design + build…and that was about it. In that sense, the first issue took us by surprise – in its richness, its spirit of collaboration, and in the satisfaction it brought.

touring a small brewery on the eve of going to market – we’ve collated a range of unique talents and curious tales that somehow make sense together. So while the ultimate reason for producing Form remains the same – to share what inspires us from day to day – the reason to continue is now much clearer. To keep exploring a community of creators whose stories deserve to be heard.

For this second issue, we were prepared to be surprised. And we have not been disappointed. From the past-life safari adventures of someone we’ve worked with for years, to

Here are some of those stories.

CREDITS

PUBLISHED BY

CONTRIBUTORS

MOON DESIGN+BUILD

PIZZA WORKSHOP BYBO

EDITED BY

CHEW MOOâ&#x20AC;&#x2122;S ICE CREAM

TOM BROWN

PA PA D E L I

w w w. t o m b r o w n c o p y. c o . u k

KETTLESMITH BREWERY

ROSSITERS

GEORGE ARNOLD

S&F JACKSON T H E P I A N O S H O P B AT H

PHOTOGRAPHERS

LUKE HAZELL

MARCUS NEWEY w w w. m a r c u s n e w e y. c o . u k

SPOKE & STRINGER

BRETT CHARLES

GRAND CRU SKI

w w w. b r e t t c h a r l e s p h o t o g r a p h y. c o . u k brett.charles@me.com

H AT T I E E L L I S

DA N VA R N E Y

w w w. h a t t i e e l l i s . c o . u k hattie94@hotmail.co.uk

BRETT CHARLES

PHIL HOBGEN

ANOTHER BRAND

w w w. p h i l h o b g e n . c o . u k

UPFEST

ADAM CARTER

TOM BROWN COPYWRITING

w w w. a d a m c a r t e r p h o t o . c o m

P E N N Y L E AV E R G R E E E N

I L L U S T R ATO R S

ABBIE ROSS

R O S A N N A TA S K E R

TIMO BAKER

w w w. r o s a n n a t a s k e r. c o m rosannatasker@hotmail.co.uk 0796427 1275

1625 INDEPENDENT PEOPLE

CONTENTS

FOOD

ART + DESIGN

MADE BY MOTHER

MESMERIC MEMORIES

THE GRAPE ESCAPE 18

MAN OF LETTERS

FROZEN TO BE FINER

MADE IN THE UK

A NEW MENU

INTERIOR WORLDS

MODERN BEER ARTISTRY

INTERIORS

B U I LT D I F F E R E N T

34 B AC K S TAG E AT ROSSITERS

U R B A N C A N VA S

RESTORING PRIDE

I AM THE FUTURE

ARCHITECTURE

PA I N T A N D P L AY

104

T R AV E L

HOME WORK

112 A NEW BUILD HOUSE

A CAREER IN THE WILD

125

A VERY LIGHT TOUCH

MAXIMISE FREEDOM

136

LIFE ON SITE

GRAND CRU SKI: LUXURY LODGE

148 S PAC E S

Pizza Workshop

Words: Catharine Ross

Photos: Brett Charles

Made by Mother —Southville’s Pizza Workshop has just been awarded Bristol’s Best New Restaurant by the Bristol Post. Catharine Ross, owner, takes us through just what makes their sourdough pizza so special.

If you’ve sampled both, you’ll know that pizza and sourdough pizza are very different propositions. In texture and flavour. In eating experience and how you feel after. There’s a reason for this. Sourdough is the original form of leavened bread, dating back to ancient Egyptian civilizations. Authentic sourdough has just three basic ingredients: flour, water and salt. No added yeast, no sugar and no additives or preservatives. And while that might appear an easy recipe on paper, that’s certainly not the case in the kitchen. Preparing good sourdough requires skill, time and a carefully controlled environment to rise the dough. But, most importantly of all, it requires the right starter. The starter, or “mother” as it is also known, consists of flour, water and naturally-occurring wild yeast and lactobacilli. Elements that combine to produce a vigorous leaven and a distinct sour taste (apparently more time was spent on creating the bread than naming it). This unique combination of ingredients also makes sourdough easier to digest than bread made with commercial yeast. In the sourdough process, gluten is broken down and rendered virtually

harmless. In fact, many people who are gluten-sensitive but not intolerant find that sourdough does not trigger a reaction at all. Approached carelessly, growing your own starter can give birth to a rancid, papiermâché glue. Nurturing a starter takes an attentive and parental approach. And like raising well-rounded children, sacrifices are required. Your starter needs feeding daily to thrive and grow: holidays become a thing of the past; your personal interests take a back seat to your creation’s wellbeing and development. And like children, each one has its own unique character. While a starter can theoretically be knocked up at home for pennies using flour and water (with varying degrees of success), there’s a longstanding tradition of using starters with their own names, stories and personalities. Each one the result of individual research, taste and dedication. Pizza Workshop’s starter adheres to this tradition. In March 2015, Head Chef, Giuseppe, returned to his home city of Naples to meet with old friend and master pizza chef, Eduardo Ore. The purpose of his

journey: to bring back some “Dodo” – his grandfather’s curiously named sourdough starter. Dodo is reportedly over 70 years old and has a hard-earned reputation as the catalyst for truly beautiful pizza. Successful in his quest, Giuseppe carefully packed half a kilo of the white stuff into his suitcase and risked life and limb smuggling it across international borders back into the UK. Or, depending on who you ask, simply boarded an easyJet flight. Meanwhile, back in Bristol, a very special room for this treasured dough was being prepared, furnished with beautiful wooden boxes. Making great sourdough requires a constant temperature of around 18 degrees for 30 hours – so leaving it to rise in a regular kitchen environment just won’t work. The wooden boxes remove the moistness from the bottom of the dough, resulting in crispier, more satisfying pizza. From this mother, Pizza Workshop’s menu was born. Dodo remains at the heart of every dish served, putting 70 years of tradition and commitment on the plate of every customer. Long live the Dodo. — pizzaworkshop.co.uk

Pizza Workshop Pizza Workshop â&#x20AC;&#x201D; Bristol pizza restaurant

Pizza Workshop

bybo

Words: Julian Lewis

Photos: bybo

The Grape Escape

— Jules, the self-described ‘wine guy’ from Pizza Workshop’s wine supplier, bybo, discusses his quest for quirk over bland mass-produced bottles

bybo began on the beach, a few summers back. Tim, our Finance Director, and I were busy gutting fish, lighting a fire and making sure the kids didn’t drown, while our wives went to sniff out some wine. All they could find was some bland, insipid, plonk that described itself as ‘Good with Fish’ – although whose fish it failed to specify. That’s it in a nutshell, really: we just became fed up with the wines available on the high street; we felt they had become the product of a large, regimented industry rather than the off-message, hidden gem, quirky stuff we liked to drink. bybo believe in ‘real’ or ‘natural’ wines. I don’t particularly like either label, but basically these are wines that are expressive of their origins; wines made by hand, with minimal chemical intervention and maximum respect for the environment. Because the

farming is labour intensive, often done by horse rather than machine, these wines are a bit risky and less accountant friendly – but life would be dull if it were risk averse. Seasons change, vintages change and real wines reflect those changes – there’s no variation in a big brand bottle.

growers to ensure they stay connected to the land and environment in which they work. We oppose a mono-branded world by favouring slow rather than fast food, field over factory, local above global. What we eat and drink has physical, ethical and moral consequences – we are what we buy.

It’s impossible to physically interact with a bottle of wine until you open it and drink it. Emotion and obsession are essential for creating change. We work with some very eclectic and diverse people and need to convey their message as well as get their wines to market. Everyone says that they work with small growers, but that’s not true. If supply is truly finite, why are the products in every store? At bybo we work anywhere from three hectares to three vine rows – and, as a result, we run out regularly. We sell quality wine to people who care about value not just price, supporting

We can all do our bit. The next time you get off a cross channel ferry don’t just drive to the nearest hypermarket and fill the boot up with something you already know. Visit some cooperatives and small growers – they will be thrilled to see you – and lubricate your larynx for that rusty French. There are around 450 appellations in France, and nearly 900 indigenous grape varieties in Italy alone – proving there’s life beyond Pinot Grigio.

— bybo.co.uk

bybo

Chew Moo’s Ice Cream

Words: Catharine Ross

Photos: George Arnold

Frozen to be Finer — Pizza Workshop introduces us to their supplier of luxury ice cream: Chew Moo’s Ice Cream

It’s not just sticky-fingered kids who can get all silly about ice cream. Find the right one and you’re in for a heavenly experience. We’re talking groans of pleasure, rolling eyes and curling toes. Pizza Workshop believes they have found such an ice cream. And it just happens to be made down the road. Chew Moo’s Ice Cream is sourced (as in cows), made (as in churned) and packaged (as in, erm…tubs) on a small dairy farm atop Dundry Hill near Bristol. From this lofty position, overlooking the glorious Chew Valley, the Parfitts and their extended family of 40 handsome Guernsey cows produce ice cream from udder to tub in a single day. Three generations of the Parfitt family have looked after Graylands Farm for over 100 years, but the Chew Moo’s Ice Cream Co. was the brainchild of Suzanne, daughter of farmers Nick and Nicola Parfitt. And it was an idea born from necessity. In 2011,

milk prices were at the same level as they had been for 30 years. With this financial stagnation dictating an uncertain future for the farm, the Parfitts had to consider other options with the resources at their disposal. With that, the Chew Moo’s luxury ice cream brand was born. Each day begins with Nick milking his herd of Guernsey cows, renowned for their premium milk and cream. Armed with this beautiful dairy, Suzanne gets to work in her state-of-the-art ice cream parlour on the farm – a big financial investment for the family, but an essential one. All of Suzanne’s creations are made in small batches. To the base, natural flavourings and stabilisers are added, all free from colourings and preservatives. And wherever possible, hand-picked local fruit is used to bring flavours to life. Beyond fruit and traditional options like Cheeky Chocolate and Royal Bourbon

Vanilla, Suzanne has now added Whisky and Marmalade, Irish Cream and Lemon Crumble to the Chew Moo’s repertoire. This growing range reflects growing demand. Over 1,000 litres of Chew Moo’s ice cream is devoured every week in the height of the summer, purchased at the farm’s own shop and a growing number of local pubs and restaurants. Keeping it in the family, Suzaanne’s grandfather makes the deliveries. From cows treated like royalty (they occasionally attend dairy shows for a pamper) to only using the finest local ingredients, Chew Moo’s dedication to doing things right is evident in every tub that leaves Graylands Farm. And it’s is why Pizza Workshop couldn’t be prouder to stock their heavenly ice cream.

— chewmoos.co.uk

Chew Mooâ&#x20AC;&#x2122;s Ice Cream

Papadeli

Words: Catrin MacDonnell

Photos: Papadeli

A New Menu — Be it socially, ceremonially or for business, how people eat and what we expect on our plate is changing. Catrin MacDonnell from Bristol’s Papadeli examines how.

Once upon a time, business people went out at lunchtime for a three-course meal with lots of booze. Sometimes the rest of the afternoon was a write off and little could be remembered about the “brilliant” deals that were done.

Dinner parties were just as stiff. The man got the drinks, the woman spent most of her time in the kitchen, occasionally appearing with a tureen of something from a cookery book she may not have made before.

In those days, events and celebrations were all so different. Weddings were so much more formal. The parents of the bride paid for it, they invited their friends and a few of the happy couple’s, a wedding breakfast was arranged at a smart country house or hotel, and seating was fixed. If you got stuck next to a bore, that was it for the next few hours. The food was most likely overcooked, probably not seasonal, and the fizz close to undrinkable. Yet the aforementioned bore ensured you poured the stuff down your neck.

The good news is, things have changed. We have (mostly) left all this pain behind us (although those business lunches sounded pretty fun). If you’re leaving your desk for lunch, you’re more likely to take your colleague or prospect to the local deli or cafe for a light lunch. You might even take them for a walk and grab a bite to eat as you go, or make the most of an offer at the sushi place round the corner. There won’t be any alcohol as you’ll actually need to do some work in the pm. It’s all generally much healthier.

Papadeli

And weddings? There’s actually a bit of a revolution going on here. It’s all so much less formal. Couples want to reflect their own personal tastes and style by rejecting soulless, lukewarm three-course meals for seasonal, colourful, nutritious, relaxed feasts – where food is served on great central boards for guests to share and rave about. There’s no better way to get people talking than to sit down and share food. Bread rolls being served by starchy waiters with tongs have been replaced by a big wooden board of the best artisan bread, sliced by your fellow guest. It might be sliced badly, but doesn’t that help break the ice? Imagine the impact and colours of a roast butternut squash, baby spinach, hazelnut and goat’s cheese salad, alongside saffron spiced slow roast chicken, celeriac remoulade with black grapes and walnuts, slow roast shredded lamb with cumin, paprika, yoghurt and pomegranate. Beats dried out chicken breast with new potatoes any day. Onto puddings. The dreary line up of (not very much) apple tart, trifle that has been in the fridge too long and Eton mess that has bled all over itself, has made way for little sweet

mouthfuls of handmade puddings, passed around more than once, so you can have lots of each! Think gooey brownie squares (made with real chocolate), mini lemon tarts, campari and almond cakes, apple meringues. No decisions to make even – you can have it all! Guests just get so excited, you can hear the noise levels in the room increase. Speaking of rooms – swirly carpets and dado rails are a thing of the past – it’s much more likely to be a village hall decorated by the couple’s friends and family, a marquee in the garden or neighbour’s field or, weather permitting, a big sit down on a picnic blanket sort of affair. And seating plans, if they exist at all, are so much more fluid – so everyone can meet and chat to as many people as possible. Dinner parties are going the same way – we’re all so busy we can’t spend the day cooking (this would be enough to put many of us off ever having friends round!). And we certainly don’t fancy spending the evening in the kitchen. So we’re noticing invitations for “bring a dish” type parties, or takeaway fish and chips and a bottle of fizz: “apologies for the food, but we really want to see you” type evenings. Some wise people are even stocking

up on “traiteur” style food from their local deli and passing it off as their own. This informality has also taken dining out by storm. It’s all about people and seeing our friends over a bite to eat and a glass of something – and that is often best done over a pizza or curry. Fine dining is for special occasions, but we want to get out more often for an affordable, fun evening. Food, dining, celebrations are all so much more informal, but this doesn’t mean that expectations have dropped. On the contrary, expectations are higher. We are interested in provenance, sustainability, food chains, animal welfare and air miles. Couples arranging their weddings want to know where their food is from, the more local the better. When it comes to eating out, we might have cut back on the fine dining but we’re refusing to accept anything less than an authentic sourdough pizza with our local micro brewed beer. As more and more causal eateries pop up, and delis replete with the most wonderful picnic components pepper our streets, one thing becomes clearer and clearer – people are getting serious about informal food.

Papadeli

Saffron Chicken With Pine Nuts And Fennel Ingredients: (serves 5):

Method:

5 x boned chicken thighs 1 x pinch of saffron 100g x mixed spice 100g x hot paprika 200g x pine nuts 100g x fennel seeds 1/4 x preserved lemon 200mls x white wine 60g x cold butter squeeze of honey

Pre-heat oven @ 180 degrees Mix spices, saffron and fennel seeds together and rub into chicken with a little oil Season skin well and sear chicken in a hot pan skin side down until skin is nice and crispy (donâ&#x20AC;&#x2122;t wash frying pan yet) Place chicken in roasting tray and roast for 20mins Once chicken is cooked, take juices from roasting tray and pour into frying pan you previously used Reduce chicken juices with white wine and squeeze of honey together Dice up butter and whisk into wine reduction bit by bit or until it starts to thicken Place chicken in frying pan with the sauce and baste Toast pine nuts add to chicken Serve

Kettlesmith

Words: Tom Brown

Photos: George Arnold

Modern Beer Artistry Open up and explore with Bradford-on-Avon’s contribution to the South West’s brewing landscape, Kettlesmith. Crafting beer for all the right reasons.

“One thing I’ve found is that people genuinely want to learn about beer,” explains Antony Field, enthused about sharing his creations with people. “Maybe not as much I’d like to tell them,” he adds, self-aware, “but a bit.” After just minutes in his company, you can tell from the way his eyes widen and his speech quick steps to a faster tempo where Antony’s passion lies. He founded Kettlesmith with his wife, Caroline, in just 2015; but far from being an act of impulse, the brewing company is the result of a long-gestated need to make beer. “I started brewing as a student looking to save money. This eventually turned into more tastedriven pursuits, winning some home brewing competitions along the way. Since then my brewing has been about trying different styles and techniques, but with one eye on the goal of one day opening a commercial brewery.” After a spell living in London in the mid 90s, where Antony discovered all-grain brewing – essentially following the same process as a commercial brewery but on a smaller scale – Antony’s story took a turn for the Hollywood. “I moved to California to pursue a career in film special effects,” he shares, almost in passing. After some more pressing, Antony reveals he worked on the Matrix films and a ream of Dreamworks’ animated features: from Shrek 2 to How To Train Your Dragon 2. But it’s obvious he’d rather talk about his true passion. “While I was out there I bought a pilot brewery, which looks very similar to the one we’ve just

commissioned here – just 40 times smaller. I was able to experiment and refine recipes, soaking up the amazing craft brewing scene on the West Coast.” Weaving through the Kettlesmith brewery, built from scratch by Antony in a small unit on a Bradford-on-Avon industrial park, it’s easy to see how the kettle, mash tun and fermenters have become his canvas, easel and brush; the hops, yeast and barley his paints. This is where he creates. With a core range of six beers – ranging from a Red Rye Ale (Ridgeline) to a Belgian Saison (Skyline), Antony has spent time researching and experimenting – looking for new perspectives on familiar styles: “We are brewing modern interpretations of classic beer styles. Exploring new combinations. It’s a mix of creativity and science, really.” Sipping on a Fogline, Kettlesmith’s exquisite Belgian Pale Ale, this respect for technique and spirit of adventure is obvious. Yet there’s an accessibility to all the beers Antony brews; an inclusivity that makes sense when held up to the short statement on the back of every bottle: ‘Modern explorations in beer’ it calmly states. “Beer is such a varied drink. When people ask what kind of beers we make, they often expect an answer such as ‘light’ or ‘dark’ but it’s far more complex and interesting than that. Most people have moved beyond seeing wine as merely red or white, and I’d love to do the same for beer.”

This predilection to educate doesn’t end with the first sip of beer. Linked to Antony and Caroline’s time in San Francisco where there’s growing recognition of beer’s potential to pair with food, each Kettlesmith details which foods the brew works best with. These unisons are recommended by Antony, who trained as a Cicerone through the Siebel Institute, Chicago in 2012. “Living in San Francisco provided us access to many great restaurants and it was good to see some of them offering decent beer lists alongside their wine lists. Beer offers so many avenues for pairing with food from its bready, nutty malt flavours to floral, spicy or citrus hops. With more ingredients than wine, beer can offer far more combinations.” Time to leave, Antony is mid-way through the second brew in his new home, another beer is slipped into my bag for home consumption. “It’s still terrifying to watch someone try one of our beers for the first time,” Antony proclaims. “But it’s also thrilling – to introduce people to styles they’ve never experienced before. I particularly enjoy serving people who say ‘I don’t really like beer’ and hearing them say ‘I really love this!’. I guess that’s why I do it.” And there you have it: a Kettlesmith by definition. — kettlesmithbrewing.com @kettlesmithbeer facebook.com/kettlesmithbrewing 01225 864839

Kettlesmith

INTERIORS

B AC K S TAG E AT R O S S I T E R S by Ann-Marie James

R O S S I T E R S : A D E PA R T M E N T S T O R E Photographed by George Arnold

Rossiters of Bath was established in 1961 as a department store for the artistic shopper, often described as the Liberty of the West Country. Its creative director, Ann-Marie James, reflects on the heritage of its Broad Street buildings and how well they have served as a home for ever changing interior styles. Rossiters is a five floor emporium offering a carefully curated collection of furniture, fabrics, wallpaper, lighting, home accessories, and gifts from some of the best design sources in the UK and around the world. Our interior design team offer personal advice to customers who would like help with their home decoration projects, as well as working on projects with architects for hotels and restaurants. We provide a unique shopping experience in a store that can be enjoyed by the whole family. Surprising and delighting visitors with our toys, gifts and kitchenware in six rooms, inspiring and tempting them with our covetable furniture and fabrics in the rooms above.

People visiting Rossiters for the first time often marvel at the maze of rooms, the exquisite oak panelled walls and sweeping staircases that provide such a stunning backdrop for our furniture and fabrics. If only they could see the further labyrinth of little rooms, tunnels and staircases behind the scenes or “backstage”, as we call it, where the mechanics of retail theatre take place. The buildings were not, of course, always used as a department store. Rossiters occupies what were originally three town houses, built for well to do wool traders. In fact, Broad Street was thus named because it was a centre for broad cloth weaving in the early 1700s – it is thought that parts of our buildings were used for weaving at some point too. In the 1800s, Weavers was established on Broad Street, a manufacturer of mattresses and pillows. By the 1950s, Broad Street had become a retail centre and Rossiters was first established at number 40, a tiny corridor where we now sell greetings cards, china, glass and kitchenware. Over time numbers 38, 39 and 41 became available and with that

Rossiters expanded into all things for the home. This began our tradition of spotting new design talent and discerning which design trends will most appeal to the people of Bath, frequently being amongst the first to support some of the most famous names in design. How wonderful to think that as we go about our work at Rossiters, we are still surrounded by sumptuous rolls of fabric and textiles of all kinds, continuing the textile heritage of Broad Street. How the Georgian architecture has stood the test of time, providing us with interior scenery which allows us to showcase modern and classical furniture with such elegant ease. I sometimes like to imagine those well to do wool merchants sitting in the oak panelled upper salons at number 41 sipping tea or something stronger. Beneath them, a hidden hive of activity; people being creative and productive backstage as they are today in the secret rooms that nobody sees. — 38-41 Broad Street, Bath, BA1 5LP rossitersofbath.com

Rossiters

INTERIORS

RESTORING PRIDE B y To m Wa l k e r

S & F J AC K S O N I S A H AV E N O F B E A U T I F U L F U R N I T U R E I N B AT H . E AC H P I E C E LOV I N G LY R E S T O R E D B Y T H E S T O R E ’ S OW N E R S , S I M O N A N D F R A U K E J AC K S O N . Photographed by George Arnold

Walk into S & F Jackson’s workshop in Bath and there are telltale signs that their commitment to faithfully restoring furniture borders on obsessive. Not least what looms above. Clamber into the loft space and you’ll find old veneers and timbers stacked high and wide. Materials sourced and stored as the team seek the perfect cut-off for each new project. “I have so much timber,” says Simon. “It means whether I’m working on a drawer lining or veneer, 19th or early 20th century, I have the correct off-cut here.” Although even Simon admits it could be time for a bit of a clear out: “It can be hard to get rid of things.” This impressive dedication to their art can be traced back to Simon and his wife Frauke’s beginnings: “We started off as cabinet makers and furniture restorers, doing fairs all across Europe and the world.”

A formative experience that shaped both their approach to restoration and their current customer base: “In Europe they were totally used to a gloss finish, so we introduced an English matte patination, and still find ourselves supplying to customers in Germany and beyond now.”

Simon has become known for his quirky window displays; a giant plastic advertising boy holding a flower being one of his more recent spectacles: “The big plastic boy in the window is my abstract side. I’ve always been a cabinet maker and furniture restorer, but if I wasn’t, I’d have loved to have been an abstract artist or sculptor.”

After moving back to Bath, they soon found they were putting every available moment into their labours of love. Something that continues to this day: “There’s a limit, only a certain amount of hours in a day. I’m usually working with Frauke and an upholsterer on several projects at a time,” Simon continues. “We know we have a tendency to over do it though, but I believe it’s this that makes us busy all the time. People recognise the effort we put in.”

There’s a certain logic to the displays too, with much of Simon’s trade revolving around people driving (or crawling) into Bath along London Road, and being intrigued enough to stop for a look. Simon expands: “I sell a lot to people coming down from London, or generally anyone passing the shop. I also do a lot of work with interior designers. We’ve built up many strong relationships over the years. I think people appreciate quality and passion.”

It’s not just their wonderful work that lures people into the pair’s shop. Over the years,

One commercial necessity when selling restored furniture is the need to reference

S&F Jackson

modern trends. But the increasing demand for mid 20th century furniture has meant Simon and Frauke can provide greater variety in the shop. “Even in the 90s,” Simon explains, “Midcentury was fashionable, but only at the top end. It has filtered down to the main market in the last 15 years or so. Bath will always have a demand for traditional furniture, but this trend has meant I’ve moved into lamps and modern furniture as well.” Yet for all they are getting right, Simon says the business has no concrete rules on what they look for. From Gustavian furniture to a

30’s nightstand, it’s all considered: “I just like pieces that have a look about them. It’s got to have the lines, its got to have the balance and something a bit architectural about it. I do like furniture with a purpose though. A lot of my furniture has a purpose and is practical. I do a lot of flat pack wardrobes dating from 1830 to 1910, which have been brilliant as people have such difficulty getting wardrobes upstairs.” It’s perhaps these delicate balances – beauty and function, old and new – that the guys

at S & F Jackson have so cleverly mastered. Putting their heart and soul into dressing people’s homes with pieces that tell stories both classic and contemporary.

— Visit S & F Jackson: 20 Walcot Buildings, London Road, Bath, BA1 6AD; sfjackson.com

S&F Jackson

INTERIORS

PA I N T A N D P L AY B y To m Wa l k e r

BLUTHNER PIANOS ARE DISTINCT IN THEIR CONSTRUCTION AND Q U A L I T Y. A N D N OW, F O R T H E F I R S T T I M E , T H E P I A N O S H O P B AT H W I L L BE DISTRIBUTING THEIR UNIQUE PA I N T E D U P R I G H T S . Photographed by George Arnold

The Piano Shop Bath is one of the leading piano dealers in the South West. With over one hundred pianos displayed within their adjoining showrooms in central Bath, they are known within the industry for their hardworking and innovative approach to selling their instruments. And now they are poised to become the first piano shop to stock Bluthner painted pianos.

would be a little limiting to think that the only options open to people were black gloss or traditional wooden pianos.”

Established in Leipzig in 1853, Bluthner pianos are regarded alongside Bechstein, Bosendorfer and Steinway as some of the world’s finest. Recognising The Piano Shop Bath as true specialists, Bluthner has granted them exclusive distribution of their painted uprights.

As well as their range of painted Bluthners, The Piano Shop Bath offers an inspiring selection of restored painted pianos. These older upright pianos are given a new lease of life through careful restoration and painting. Rather than being hand painted, the pianos are given a professional spray finish in bold, beautiful colours such as Farrow & Ball’s Brinjal. This results in truly eye-catching pianos that play as beautifully as they look.

Musicians will be given the opportunity to customise their Bluthner pianos by selecting the wood finish, choosing from a range of brass and chrome fittings, and choosing the colour of paint from a hand picked palette of colours by Farrow & Ball and Little Greene. “We wanted to give customers the chance to create their own bespoke piano”, explains owner, Jon Kelly. “It’s not that there’s anything wrong with traditional piano cabinets, but it

This fresh approach to piano design mirrors interior design trends for painted kitchens and the use of pastel and jewel colours. It also taps into another key theme for 2016: the trend for switched-on upcycling.

The inclusion of restored uprights into the painted pianos range means that The Piano Shop Bath can now meet a wide range of tastes and budgets – helping musicians of all abilities to create their dream piano. — thepianoshopbath.co.uk 1&2 Canton Place, Bath. BA1 6AA

TheThe Piano Shop Bath Piano Shop

The Piano Shop Bath

Luke Hazell Wildlife Photography

Words: Luke Hazell

Photos: Luke Hazell

A Career in the Wild â&#x20AC;&#x201D; Luke Hazell is one of Moonâ&#x20AC;&#x2122;s carpenters. But before building beautiful spaces on site, he was capturing beautiful animals on film.

Luke Hazell

Before joining Moon’s build team, I worked as part of a camera team on wildlife films. I got to travel to some amazing locations and spend time with some rare and incredible creatures. From this time, two experiences really linger in the memory. In 2014, I spent two months in an Indian nature reserve filming tigers. During this time, it was vital to be patient and get on well with the team around me. When you’re stuck in a tiny jeep, in the boiling sunshine for 10 hours a day, eating curry three times a day and getting rocked around by non-existent suspension, things can get a little tense. Filming the tigers was a huge challenge. They’re shy animals, so we needed to be sneaky in order to see them, let alone film anything worth keeping. And, as with any wildlife park in India, you are always competing with tourists for position – when the call for a sighting goes out, the scramble to see these wild animals can be overwhelming for both animal and observer.

For us, the key to capturing footage was to film from the back of elephants, driven skillfully by the local ‘mahout’. This in itself provided major challenges: for a start they stank worse than the jeep but, also, we needed to make special adaptations to our equipment so it could reach the ground from 12 feet up. And we needed to be able to move quickly to track the cats, which on an elephant that likes to stop for a munch every five minutes is not ideal. Eventually though, we managed to film plenty of good behaviour, including the elusive hunting shots that were so important. A year later, I was sent to French Polynesia to film dolphins and sharks. The location was Fakarava, a small atoll east of the main islands. The challenges were similar to the previous shoot, simply swap the jeep for a boat and the English crew for a bunch of temperamental Frenchmen. On a good day in Fakarava, you can see large numbers of grey reef and white tip sharks – and if you’re lucky, hammerhead and tiger

sharks too. It was at nighttime that the shark community came alive, hundreds of sharks gathered in the channel to hunt small fish. This was what we’d come to film. As the sharks could easily bite through neoprene, the crew had to wear steel mesh suits – in the dark there isn’t much difference between a limb and a fish. We used special underwater lights to illuminate the scene, and the cameraman and safety diver sat on the bottom of the ocean to capture the incredible feeding frenzy. Unfortunately, the fish often became panicked and on several occasions used the divers as hiding places. It wasn’t uncommon for a fish to zip in-between, closely followed by a hungry shark. Getting to work with two of the world’s deadliest predators was a privilege and an experience that will stay with me for life. But, after several years of constant travel and being away from my family, I’m now relishing my new, safer career at Moon.

Lukefrom Hazell Working home

Luke Hazell

Spoke & Stringer

Words: Tristan Caleb & Kristian Crews

Photos: Tristan Caleb

Maximise Freedom â&#x20AC;&#x201D; Spoke & Singer share what sets them free

Spoke & Stringer

The Chase Alarm goes off, 4am, you’ve snoozed it three times and when you finally get up, you head to the kitchen cupboard; oats, Greek yogurt and a piece of banana. You pour some honey on top, as you watch the city wake. Car tyres squeaking on the rain stained roads, a few white collar workers most probably embarking on their commute to the big smoke. For a second you wonder, if you would ever trade your position for a life like that. Perhaps you’d be a little more well off with that secure job. Other hand you could be sacrificing this morning’s chase for the mundane. You receive a message from your mate asking if you’re ready to head out; you grab your coat,

you grab your bag, the time reads 5am. You get into his van, rock songs from the past blaring through the speakers to wake the both of you up. Bristol to Taunton, to pick up your other mate to join the adventure, you all catch up. We stop by a supermarket, grab ourselves one of those £3 deals. Taunton to Devon, the winds of hurricane Imogen sway the van. We get to our destination; it’s hard to believe that you’re still in England, it almost seems Scandinavian. Icy covered grey rocks as the wave comes in, houses on hills surrounded by trees and a misty horizon.

We wait a brief moment for the tide to turn. It’s on. We stand with our wetsuits and surfboards, as armour and sword, ready to battle the Atlantic waves with a second of contemplation. Adrenaline. 7am. This is your office for the day. The calendar reads Monday.

Spoke & Stringer

The Grind Tuesday. You’re probably thinking about your pay cheque and if you have enough for the bills at the end of the month. But when was the last time you felt free or did something for yourself? People would see it as being selfish, but it’s about taking care of yourself and your mental health. Freedom, from everything that’s ever tied you down. Happiness, defined in action rather than in a job title or a grind. Those things we do to keep us sane and importantly, human. It’s just a matter of choice, and making choices are hard. The choice is that you either want it or you don’t.

For Freedom And at the end of all of this, whether the surf has died off or rain has set in; you know that memories were made, and your time was not wasted. Grabbing a pint with mates to laugh about the good times. You wonder if things will ever be like this again, when escapism was all you chased and it was the only goal. Surely, this moment will pass. So choose those little things that bring you a little freedom. These things matter.

— Written by Kristian. Owner of Spoke & Stringer Café / Bar / Shop. spokeandstringer.com

Grand Cru Ski, Morzine

Words: Penelope Hooper

Photos: Steve Fenlon

Grand Cru Ski: Luxury Lodge â&#x20AC;&#x201D; Steve Fenlon tells Penelope Hooper how he built the dream at altitude...

Grand Cru Ski, Morzine

— When your wedding takes place on the slopes of St Anton, you kind of know your future together might involve a bit more snow... So that’s how, one summer’s day about five years ago, Jane and I lurched round another bend of the zig-zag roads from Geneva to Morzine in our campervan, with our dog looking slightly carsick on the back seat. The Portes du Soleil area of the Alps in the summer is indeed just as beautiful as the snowcapped winter vista. With Bristol already a significant way behind us, both in miles and lifestyle, we peered bleary-eyed in the windows of the local agent immobilier. Before you could say “zut alors” we were being whisked around mountain properties. Our imaginations had been in overdrive as we’d made the speculative crosschannel journey, we wanted a traditional Savoyard structure, something solid, sturdy and traditional that was built to last. But we soon realised that finding a chalet where the integrity of the building has been left untouched is a rarity, especially in a central location, one within walking distance to the town centre. Mentally thanking a squabbling French family, we looked around a hillside farmhouse that had been built in 1835 and then left empty and unloved for many years because the cousins couldn’t agree on its future. Their loss was our gain. No running water and no power. No problem. This was our future new home. It would mean selling our Victorian house in Clifton to fund our new venture, and we would need to call on our network of Bristol-based talent and resources to help bring the dream to reality. A dream that would now have to provide both our incomes. A big gulp of sharp mountain air, we said “Oui”. My association with some previous Moon projects had helped give me the vision to see the potential of the building. Sketching ideas, our imaginations ran riot, this was the perfect site and had plenty of potential. Our limited budget made being resourceful imperative. We would use the materials we had around us, that made sense. There is something really nice about using timber that has practically been grown in your back yard, as supplied by the local sawmill. Up-cycling various bits left behind in the building has given us both

great pleasure. An abandoned old Biedermeier sofa was re-sprung and re-upholstered (back in Bristol), and the old wooden sleighs now provide a quirky detail to the exterior. The top floor of the farm was the grange (barn) area where the hay and grain had been stored. This had a magical view across the valley to the Pleney slope. So we decided on an ‘upside down’ approach, putting the kitchen, dining and sitting area up on the top floor in one big, light flooded open room. The bedrooms below. In keeping with the Moon philosophy, we wanted to create a comfortable living space which exploited period features juxtaposed with contemporary finishes. Some of the existing beams still had the original carpenter’s mark on them. It was a stag’s head. It became the logo for our company: ‘Grand Cru Ski’. To tackle these huge, solid beams, I found I had to purchase some interesting additions to my tool chest. Big, oversized chisels and rasps were needed to repair the massive exposed timbers and purlins, all sandblasted to a wonderful honey colour to remove years of dust and dirt. The approach was much like how we create contemporary finishes. You can’t cover up untidy edges with skirting and trims; the finish is what you see, so you have to do it once and do it right. An old ardoise (slate) guillotine which we inherited with the farmhouse was used to cut the slate tiles from the local slate mine (on which much of Morzine’s wealth was partly founded) for the traditional roof. The rustic features inside include the restored ‘sunbeam’ wooden ceiling in one of the bedrooms. To say it was a learning curve for us both would be an understatement, but by trial and error I found some fantastic suppliers and guys to help. Tony and Nick of Moon, who love nothing better than to climb or throw themselves off a mountain, came over to Morzine for a mountain bike weekend, and made time to visit the site. I got a real boost from how positive and encouraging they both were. During the build process weather conditions often interrupted progress on site. Up in the mountains you have to factor in seasonal

variations, which might cause floods to run off the mountainside, thick snow making it difficult to get around, or the water supply regularly freezing. During the lovely summer months when the mountains look like something out of ‘The Sound of Music’ the chalet operates as a B&B, perfect for fans of world class downhill mountain biking or those training as tri-athletes. Morzine is a hotspot for summer visitors, with a key stage for the Tour de France here in 2016, it also hosts the annual Mont Blanc rally and the bi-annual Harley Davidson motorbike music festival. Of course, operating as a catered ski chalet in the winter was the dream. We wanted to renovate the farm into the kind of chalet we were always searching for when we went away on ski holidays. The area where the cattle lived on the ground floor would become the boot room, so we removed the old feeding troughs, which still contained hay for the cows, but were now rotten. This made room for an area I’d always felt had been overlooked, yet is one of the most important rooms on a ski holiday. So the boot room is set out to create an environment to remove the hassle and stress of getting suited and booted for the slopes. Important elements such as appropriate seating, heated floor and a deodorising heated boot warmer rack were incorporated, and it’s finished off with a beautiful oak rack for skis and boards. Once all the structural work was completed and the making good was finished, the electrical supply was finally changed from a temporary to a permanent one. The planning process had been very simple, and the French don’t seem to have Building Control Inspectors to check the work progress in accordance with building regulations. So I worked to the British and EU Standards, using materials marked with the French Standard (NF). Nor did they seem interested in the interior, which I feel is a shame as there aren’t many original farms left in the area. They need protecting from unsympathetic developers. On the other hand, it gave us the freedom to create the living spaces we desired.

Grand Cru Ski, Morzine

Jane sourced the various sheep and goatskins from local suppliers, and softened the wood, slate and stone building by adding warmth to the chalet through fabrics supplied by Romo Black and Zinc Textiles. She had the vision to make every room individual and full of character, charm and comfort, hand making all the bedroom curtains and cushions herself. She then added Natuzzi chandeliers and Bo Concept furniture for chi-chi glamour. Friends from Bristol were part of the process. Alistair Sawday featured us in the new Go Snow Ski Guide. Mango Consulting created the stylish marketing material based on our ‘Grand Cru Ski’ logo. Archer & Co. designed our wraparound sofa on which to relax in comfort by the massive wood burning stove, looking out across to the slopes. A friend in PR secured us pictures and a write-up in both The Independent and London Standard newspapers. A local Morzine contributor to Grazia got us in there, too. Things started to take off... Design and build complete, with interior in hand, we were ready to open our chalet door for business. Jane had completed a ski chalet cookery course at Ashburton in Devon so we were ready to start cooking for and hosting our first guests. We named the chalet ‘Ferme de Margot’ after our Airdale Margot (the carsick one on the back seat) and a bottle of St Emillion Grand Cru (a wedding present) inspired the ‘Grand Cru Ski’ name. Oh, and the tears...one of the French vendors who had fond childhood memories of the farmhouse came by. When she saw how the building had been saved and so sympathetically renovated, spotting portraits of her relatives we’d found and reinstated on the wall, she was moved to tears. A happy ending.

— grandcruski.com

Grand Cru Ski, Morzine

Hattie Ellis Photographer

Words: Hattie Ellis

Photos: Hattie Ellis

Mesmeric Memories

Meet Hattie Ellis: Moon’s favourite young photographer How did you get into photography? Was it always your preferred discipline? I started taking photos when I was doing GCSE Art – I found it a better way to express my creativity. I love art and music but, as I’m no good at either, photography was an obvious choice. There’s an excitement when I’m taking photographs that I haven’t found in anything else. As well as self-initiated projects, you work to briefs – what’s been your favourite so far? We had a brief at university which was unlike anything I had done before. We had a week to build a set in the studio and produce a photograph that hadn’t been manipulated at all. It was so fun working intensively as a team to create something we were proud of. Otherwise, I would say my favourite briefs include those where I can observe and capture the atmosphere of an event. What’s your preferred type of photography? I’m drawn to photographing people, as I think I respond more to a photograph that has a subject in it. I feel like I can then challenge

myself to capture them in a way they want to be presented. And it’s always fun working with other people. Is working on a live brief more fulfilling than a uni brief? Or do you miss the complete freedom? I feel like freedom is amazing when you are motivated and really inspired with an idea, but there are often times when a brief can give you that motivation to produce something for a purpose. I do enjoy self-directed projects, and most of my projects at university have been just that, but I do like having a brief to give some direction to a project. When working from a brief, what’s your process? It changes from brief to brief. But often, I go onto Pinterest and fill myself with inspiration. I think that also talking to the person that set the brief to find out exactly what they envision for the outcome is really helpful – I find the discussion can lead to more creative ideas and sometimes turn into a bit of a brainstorm. Where do you plan to work once you have finished uni? At the moment I’m still undecided as to exactly what I want to do. I would love to

one day be a freelance photographer, but I’m aware I will have to build up to that. I think that having a job where I can be creatively inspired alongside doing freelance work would be amazing! At the start I think it will be important for me to be inspired creatively by other people rather than going it alone. I love natural light and if I ended up going freelance, I’d love to work mostly outdoors and with natural light. My style is more suited to this rather than studio-based work. Do you have any exciting projects we should keep an eye out for? Well, at the moment I’m getting ready for our end of year show ‘Exordium’ in Falmouth, which will then be displayed on Brick Lane in London at the end of June. My work is based around memories and a feeling of nostalgia – but I want them to be vibrant and alive rather than melancholic.

— hattieellis.co.uk

Hattie Ellis

Tom Brown Copywriting

Words: Tom Brown

Photo: Phil Hobgen

Man of Letters 76

Tom Brown, Bath-based copywriter and editor of this very journal, takes us through the daily demands of a modern wordsmith

It happens every time I’m waiting for Word to open. That familiar admixture of creative excitement and low-level anxiety. What if nothing comes? What if I can’t find the voice? The trick is to just start writing. Get something down. Anything. Type, type, type – before that blinking cursor, slyly winking from the page, has its evil way. Despite what my grandma continues to think, a copywriter has absolutely nothing to do with insurance. Unless, that is, you’re working for a financial client (tried it; didn’t like it). No, as I’ve explained on numerous occasions, a copywriter is someone who gets paid to put words next to other words in order to sell something. The only thing that a copywriter and an underwriter have in common is that we’re both trying to make someone else a profit. Now if that sounds remarkably unromantic, well, that’s kind of deliberate. What I do – be it writing an ad campaign, website or creating a tone of voice for a brand – is not art. The words and ideas I get down on paper are not intended to reflect my wonderful vocabulary (average at best) or capture the tortured soul of a misunderstood genius. I save that for my spare time. The words I’m paid to write have but one purpose: to engage their audience and persuade them to act. Don’t get me wrong, this coldly commercial stance does not mean I see every brief in terms of dollar signs and zeroes. Being a copywriter is being creative. It’s just being creative with a very discernable outcome. And when that comes right, when you lock into a voice and idea that is exactly what people need to hear (not always what they want to hear) there are few better adrenaline rushes you can have in a swivel chair. I’ll leave you to figure out the rest. I’ll be the first to admit that I didn’t know what a copywriter was when I first stumbled across the profession (Mad Men hadn’t been made yet). But after a spot of nepotism landed me a two week work experience placement at an agency in London, I was smitten. A job that required no suit, had nothing to do with Excel spreadsheets (actually, I got that wrong), and where lunchtime alcohol was only mildly frowned upon. Sold. Eight years down the line and my spell check has got me out of all kind of fixes. But if I had to pick one project that

defines what I do – or at least, my approach – I’d rewind back to relatively early in my career. A couple of years into my aforementioned first job, myself and an Art Director (the pictures to my words) had been entrusted with an important piece of pitch work (industry code for working late and eating crap food). I won’t bore you with the minutiae of the brief, but the gist was: produce a campaign that captured what it meant to work in an M&S store. We got to work. Half-idea followed half-idea. Coffee followed coffee. Heads banging walls followed internal reviews. The usual thing. On the third day, as my creative partner and I sat in silence, doodling obscenities in our notepads, I came across something scrawled in the margins that I had no recollection of. Essentially, I’d adapted their then strapline to put the people who deliver the Marks & Spencer experience at the heart of everything: ‘Your M&S’ became ‘You’re M&S’. That was it. We were off. Simple, type-only executions were boarded up and taken to the pitch…which we won. As it dawned on me that we’d secured a prestigious piece of business by effectively adding an apostrophe and an ‘e’ to an existing line, I had something of a half-drunk epiphany: My job is to communicate brand messages in beautifully simple ways. Ways that are so bloody obvious, no one else can see them. Ideas hiding in plain sight, if you will. Since then, that’s how I try to approach every job. So when the panic sets in as the Word icon hops up and down in my toolbar, I make an effort to remember that. Then I take a deep breath, reach for the keyboard and just start typing.

— tombrowncopy.co.uk

MODUAL

Words: Daniel Varney

Photos: Daniel Varney

Made in the UK, Made Difficult

When Dan Varney quit his job to bring his MODUAL bicycle tool system to life, he was determined to create a product that was made in the UK. But noble ambitions are sometimes the hardest to achieve. Having studied Industrial Design, I can find even the most mundane products interesting. I often think of ways they can be improved if they’ve been poorly conceived. Whilst at university, my friends and I would cycle (strictly fixedgear at that point) to get around campus and to explore the surrounding landscape. It was here I first encountered the folding bicycle multi-tool, a prime example of a product that left me underwhelmed. I was frustrated by how ineffective and awkward they were to use. So I designed my own. Having devised a novel concept, and following extensive development, my idea had expanded to form a range of products. I was now ready to start considering production. From the very beginning I was adamant the major components would be manufactured in the UK. There is a worldwide demand for ‘Made in the UK’ goods and it is a buying preference of mine, so it made perfect sense. The case for domestic manufacture is a very strong one, especially when setting aside the economic factors. It can result in considerably more agile supply chains, shorter lead-times and cash flow headaches rather than migraines. Furthermore, being able to liaise with production partners in the same time zone and no longer waiting six weeks while your product floats across the sea is no bad thing! Since the financial crash of 2008 there has (in the beginning at least) been government talk of rebalancing our economy, meaning a much greater emphasis on manufacturing. So it was safe to assume the suppliers would be out there. Although production costs are invariably higher here, I was confident the UK-made aspect would clearly differentiate my product from my competitors. Therefore, justifying a premium price that could offset this.

I found numerous articles suggesting that the gap between production costs in the UK and the Far East was continually closing. As evidenced by established British multinationals starting to reshore their production (Bristol’s own Magmatic, the maker of the Trunki, a noteworthy example). This gave me the impression it wouldn’t be that difficult. Sadly, that impression was wrong. It only became clear that I had underestimated the difficulty of manufacturing in the UK when I began constructing the spine of my supply chain. Despite the many advantages, as always, it boils down to pounds and pence. I got off to a good start and had little trouble finding several plastics companies who could offer their injection moulding services at a competitive price. There seemed to be healthy competition in this area, but unfortunately the same couldn’t be said for my other requirements. Alarmingly, several of the metal casting quotes I received were five times that of the cost price I was aiming for. To make matters worse, merely identifying a suitable fabric manufacturer seemed an impossible task. After persevering with a search of every corner of the internet, I finally pieced together a full cost breakdown to manufacture in the UK. It was about as low as I could achieve but still far from respectable. I therefore had no option but to concede. During my research, I had noticed some of the UK companies I’d been considering had partnerships with Chinese factories. These outsourced alternatives were for those clients with more price-sensitive projects, a bracket I fell firmly in. Although I had enjoyed a minor triumph with the plastic components (which I would be making here) these brokered arrangements were to be the compromise for those that remained.

MODUAL

The upside was I could now achieve a competitive pricing strategy (while maintaining a healthy margin, unlike before) and eliminate the risks of dealing direct. Although the ‘middle men’ would be ensuring they pocket a margin of their own, I wouldn’t be responsible for the more challenging aspects. Arranging quality control procedures and shipping logistics 5,000 miles away is no easy task. A small price to pay for relative peace of mind and dodging the language barrier entirely. For those attempting to manufacture goods here, there seems to be a stark contrast in fortunes depending upon the nature of the product and the materials used. Unfortunately, I have failed to gain membership to the exclusive ‘Made in Britain Campaign’, so their contemporary logo won’t be adorning my products. The final costings I had weren’t even close to being commercially viable. I can’t help but think that with the recent changes to workplace pensions and the living wage (both very commendable initiatives nonetheless) this situation will only get worse. When I develop future products and come to decide upon their place of manufacture, the UK will not even be a consideration. It saddens me that we have consciously dismantled our industrial heartland in the pursuit of a service-based economy, heavily reliant on the performance of the capital. As a nation we should be proud of such a rich industrial heritage, shared more evenly across the nation. If rebalancing the UK economy (and realising The Northern Powerhouse for that matter) is a real aspiration, it’s going to take a lot more than just warm words. I would relish one day owning a UK factory that employs a UK workforce to produce ‘Made in the UK’ products. However, when reflecting on my recent experiences, I fear this will have to remain a pipe dream.

— To learn more about the MODUAL tool system and join its Kickstarter campaign, visit: altum.cc

MODUAL

Brett Charles Photographer

Words: Brett Charles

Photos: Brett Charles

Interior Worlds

For Brett Charles, interiors photography isn’t just about capturing the character of unique spaces – it’s about capturing the character of those who inhabit them

I’m an interiors photographer. I blame/thank (yet to decide which) my mum for my interest in interior design; at times it felt like I was literally raised in John Lewis’ haberdashery department, I spent so much of my childhood there. I still get a sense of belonging and comfort when I find myself immersed in their world of curtain tiebacks, buttons and meter upon meter of plastic-backed fabric. In fairness to my mum, she did at least have the courage of her convictions. Having wilfully nurtured my soft furnishing addiction, she let me loose to decorate my room however I wanted. So, aged 11, I inhabited a bedroom whose walls were painted dark grey (I was a bit ahead of my time there) with a thick pillar-box red stripe midway up, running around the whole room (hmm…haven’t seen this little detail catch on with quite the same fervour as the grey walls). It felt like I had managed to externalise and personify a bit of me in my surroundings. I loved it then and probably still would 30 years on. I guess what I took from this was how the interiors of our homes become an extension and a projection of who we are. Interestingly, there is considerable scientific discussion (for further reading I highly recommend Richard Dawkins’ The Extended Phenotype) surrounding the way in which our genetic make-up may be responsible for how and why we manipulate our external environment. After all, our house building and home making isn’t that far removed from a beaver building its dams or the weaverbird carefully constructing its highly elaborate nest.

Perhaps our choice of kitchen chair or wall colour is more than a simple reflection of current fashion trends. Could it also be a result of our genetic constitution? I think so. It’s for this reason that I’ve found myself so heavily drawn towards the world of interiors and photographing them. Far beyond the tassel trims and the paisley patterns, interior design offers an insight and a window into the soul of the owner. When I’m taking pictures of people’s homes, I genuinely feel the pictures are far more than pretty cushions and fancy worktops. They offer insight into its inhabitants and who they are. Of course, the alternative view is that I have just spent far too long in said haberdashery department and it’s addled my brain.

— Brett Charles is available for editorial, commercial, corporate and private photographic commission: brettcharlesphotography.co.uk

Brett Charles

Theo Williams, Another Brand

Words: Theo Williams

Photos: Another Brand

Built Different

Another Brand is a business built upon the collaboration of designer and manufacturer. We talk to its Creative Director, Theo Williams, about how this simple marriage produces such distinct furniture.

Theo Williams

As a Design & Build business, how something is made is always at the core of Moon’s design solution. Is it the same when you are designing furniture for Another Brand? Another Brand is just one aspect of our design studio, Theo Williams Studio. My team and I develop a wide range of products for clients such as McClaren F1, John Lewis and IKEA – tackling product design as well as print, packaging, retail and brand development. At the beginning of any project, we are in discussion with the manufacturing partner – they are always at the core of what we do for Another Brand. The supplier’s processes must always be understood before we begin any project, they are partners in the business. Both parties play to their strengths to get the right result. Another Brand’s business model is based on this. We are creating furniture (and soon lighting), but always keeping the manufacturer at the heart of the operation. What new materials for furniture making have caught your eye recently? More than new materials, I would say new finishing techniques – these have improved with new technology. Foils and paper melamines in particular. We don’t actually use these techniques for our furniture at Another Brand, we use veneers. But for some clients I’ve noticed that the foils have become increasingly real.

market, but the ‘design and details’ take place with the manufacturer. We push them to the limit to create a stunningly detailed finished piece. We are also driven to maximise the production for costs and flexibility for our contract customers. We are conscious however that our style is contemporary. What’s the ambition of Another Brand? To be a high street furniture retailer? Another Brand will begin to add other manufacturing partners. We are currently underway with new lighting and upholstery designs. We will then begin to develop accessories and introduce other brands that compliment ours. We are about to launch our e- commerce site www.anotherbrand.co.uk, alongside our bricks and mortar showroom space in Battersea London. Each of our partners has the mandate to manufacture, distribute and sell the products individually using their current infrastructure. But we will at some point (plans are already under way) collectively join together on, let’s say, one particular trade show and share a stand. We are currently selling to the contract market, independents and launched in John Lewis this May.

What was the main design influence for your latest range? For Another Brand our designs are not actually influenced by design. The design is influenced by the basic principal of what we can develop around our manufacturing partner’s capability.

Could you see an Another Brand shop working in Bristol? Bristol would be a good place to start a shop. I can envisage Another Brand working well there. I think it’s early days to begin a retail concept but, yes, we may start in Bristol

Our work is shaped by our discussions with buyers and what we generally see on the

— anotherbrand.co.uk and theowilliams.com

Upfest

Words: Tom Brown

Photos: Upfest

Urban Canvas

Skie Oner

Europe’s largest live street art and graffiti festival takes place in Bristol every year. We look at Upfest’s past, present and future.

Art, true art, comes unfettered and unfiltered. And few forms of expression have origins as untainted as graffiti and street art. There was no brief. There was no invoice. There was just something to say. After slowly shaking off their ‘just vandalism’ electronic tags, both forms have become increasingly respected. There is now recognition for the pioneers who keep pushing the scene – and the art world – forward. Subversive artists and saboteurs who, in order to fully realise their potential, are constantly in need of a bigger canvas. Upfest is the UK’s and Europe’s largest live street art and graffiti festival – created to draw the eye to a visual form that operates outside the confines of traditional galleries. Held across Bristol, it attracts artists, both established and grassroots, from around the globe and provides over 30,000 sq ft of blank space to fill over a weekend. Founded in 2008 by Upfest gallery owner Stephen Hayles, a range of backgrounds and disciplines are represented: urban and fine art, stencils and contemporary, with artists free to create in over 30 spaces in Bedminster and Southville. Essentially venues including Tobacco Factory, Hen and Chicken, South Street Park, The Steam Crane and Spotted Cow are all transformed into evolving, real time galleries. In 2015, Upfest attracted 275 artists from more than 25 countries, including luminaries of the scene: My Dog Sighs, Telmo Miel, Martin Ron, L7M, LONAC and Thierry Noir, the

first man to ever paint the Berlin Wall. Paying their respects were 30,000 visitors. Attendees who interacted with live street art, graffiti battles and basked in a supporting soundtrack of live funk, soul, reggae and old school hiphop. For 2016, Upfest is looking both further and closer to home. As well as recognised artists and collectives from around the world, a third of the 300 spaces will be allocated to Bristol-based artists. One of whom is Gemma Compton, a local contemporary artist chosen to be this year’s festival artist, making her the first female to create the festival logo and poster. As Stephen Hayles continues to grow the event – in 2008, just 45 artists took part – it reflects a newfound sense of purpose and confidence purveying the scene. But while graffiti and street art may be getting the attention and love they deserve, the outsider spirit at the heart of such stirring works endures. It stills boils down to just a can, a paintbrush and something to say.

— Upfest festival takes place from 23rd – 25th July in Bristol. upfest.co.uk

Upfest

Copy Right & Gemma Compton

My Dog Sighs

Upfest

Gemma Compton

I am the Architect Competiton

Words: George Arnold

Photos: Moon

I am the Future

Moon’s first ever children’s book, ‘I am the Architect’, invited readers to submit their own den designs, inspired by Archie and his adventures. George Arnold, the book’s designer, discusses the impressive results. We always intended ‘I am the Architect’ to be educational. We had a goal to inspire children; to encourage them to design a structure that they could go on too make. And we wanted them to come up with ideas we as adults never would. Yet the process of creating a story that could teach but also be entertaining proved a challenge. Our initial efforts proved dull; we’d effectively written a handbook on how to build a den. You could easily wonder into a Travis Perkins and pick up all the materials and fittings. We wanted our readers (and ourselves) to think bigger. In the end, inspiration was our inspiration. We sent Archie on a wonderful journey around the world (much like the book itself), learning about different design styles. With this voyage of discovery at the book’s core and Archie’s character developed to be borderline sociopathic, we had found the right balance of education and entertainment. To make good on our intention of encouraging children to actually design a den, we added a competition at the back of the book, inviting readers to help design Archie’s den.

Once printed, we sent copies to local schools in Bristol and Bath, clients’ children, libraries (including one in America) and museums (across Europe and North America). The response was everything we had hoped for. Inspired minds had looked beyond pen and paper to submit designs as collages, models and even videos. Some of the entries were funny, some intriguing, and some sparked memories of our own childhoods. We then had the tough task of selecting three winners, covering three categories: Bristol, Bath and schools. But as you’ll see from the designs, we found deserved winners in Amy Foster, Sam Ellis and Lydia Li. As well as an iPad for all their hard work, their creations have inspired the design of Archie’s den in the book’s forthcoming follow-up, ‘I am the Builder’. With so many creative young minds out there, we hope we have encouraged some to look at the world a little differently and explore architectural design as they grow. Who knows, maybe we’ll see their designs popping up in Bristol and Bath in years to come?

1625

Words: Tia Psihogios

Photos: 1625

1625 Independent People

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1625 Independent people is a Bristol-based charity supporting young people who have been faced with homelessness in the local area. They work with young people aged 16 – 25 to reboot their lives and develop the necessary life skills and confidence to live independently. Recent winners of the National Lottery Award for Best Charity Project, they provide specialist support and advice with homeless prevention, housing, life skills, money management, confidence building; involving young people at every level, making sure they remain integral to the services they provide. They were also chosen as the Varsity Series sponsored charity for the last two years, a

competition that saw students from both Bristol University and UWE ‘embracing the rivalry’ in various sports to take home the coveted Bristol Blue glass trophy and raise money. The support offered by Bristol University students doesn’t stop there – 1625ip have been working closely with the University sports department to deliver regular football coaching sessions for the young people they support, with students volunteering as facilitators. The sessions provide the young people with an opportunity to build their confidence and team skills, giving them a sense of purpose and camaraderie, while improving physical and mental health. There is also the option to work towards coaching qualifications. For

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the Bristol University students involved in the project, it is an opportunity to give back to their local community and train towards coaching qualifications. This is one of many projects that is run and supported by local organisations and individuals with the aim of opening up opportunities to young people at 1625ip that they otherwise might not have. Valuable community mentoring, assistance with hands on creative projects, business advice and support are just a few ways you can get involved. — For more information and to donate visit justgiving.com/1625independentpeople

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Home Work

Photos: Hattie Ellis

H O M E W E

TA L K

D I F F E R E N T

T H R E E

P E O P L E

W H O S E

P R O F E S S I O N S

A L LO W

C A P T U R I N G

W O R K

F R O M

T H E

P R O S ,

T H E

S PA C E S

W O R K

H O M E C O N S

I N F L U E N C E

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A N D

H O W

T H E I R

T H E M T H E I R

W O R K

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Home Work

Abbie Ross is an author. Her memoir Hippy Dinners was published by Transworld last year and has been optioned for a six part television series. She is working on her first novel. How long have you worked from home? I did bits here and there while my kids were little, but in earnest for the past three or four years. What are the perks of working from home? Unlimited access to biscuits, the garden when the sun shines; having a dog.

A B B I E

R O S S

W R I T E R G L A S S

E X T E N S I O N

O F F I C E

Whats the worst part of working from home? See above. Other distractions include dreary household chores - hard to ignore if they’re staring you in the face; and *cough cough* Daily Mail online. I’m going cold turkey on that soon. Any day now. Just one last peek at that sidebar of shame…. Does having a great space to work in cancel out those negatives? Overall yes. Steely will power and dis-hah-plin is required, but all the glass helps. We’re pretty overlooked, so if I’m contemplating adding a third course to my lunch or slumping onto the table in some indulgent fit of despair, I think better not, what would the neighbours think? And open my laptop. What made you want to create a really interesting space to work in? We wanted the extension to add space and light into the existing small, fairly dark kitchen. I hadn’t intended to use it as a place to write but I find myself naturally gravitating towards it because it’s so light. There’s something uplifting about working in a very light room, everything just feels more postive. I also find the lack of clutter quite soothing; I love working on my laptop on the empty white table.You should see the state of my desk. Do you think your profession reflects the space you’ve created? No! Which is just how I like it. If it did, the extension would be covered in Post It notes with character notes, and piles of printed out chapters; and a scrappily drawn story arc on a pin board; which would look rubbish. I have a desk in the sitting room for all that. It drives my husband nuts.

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P E N N Y

L E A V E R

G R E E N

A R T I S T E X T E R N A L

H O M E

S T U D I O

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Home Work

What is your job? I’m a textile artist. I make pictures to commission and exhibit widely.

meant my day was much shorter). My studio is warm in winter, quiet and very light and I love it!

How long have you worked from home? Working with John Tinney, a designer/builder, we discussed the design of my studio in 2009 and he fabricated it in his workshop in Somerset. Once we were both happy with it, he reassembled it in my garden – it went up in a matter of days. I’ve worked from home since then.

What’s the worst part of working from home? I miss the social interaction I experienced at Centre Space.

What are the perks of working from home? I can work flexibly. My children are now at secondary school, but the proximity to the house has allowed me to have a longer working day (I used to have a studio at Centre Space in Leonard Lane, which I loved, but

Does having a great space to work in cancel out those negatives? Yes, definitely. I find the space inspiring and calm, and Radio 4 helps with the lack of social interaction. What made you want to create a really interesting space to work in? Many practical elements informed the design of the space. We wanted the space

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to complement the house (we live in a conservation area) and have a traditional feel to the design, but also needed it to be extremely light. We were keen to use a foreshortened perspective to make the studio appear much smaller from the house than it actually is, which has meant that the garden is not drowned by it. Do you think your profession reflects the space you’ve created? That’s an interesting question and the answer is yes. My work involves decisions about fabrics/ materials, colour and space, and the collaboration with John meant those decisions were made quite intuitively; so the studio is rather like a large piece of work. — pennyleavergreen.co.uk

Home Work

T I M O

B A K E R

M U S I C I A N H O M E

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M U S I C

S T U D I O

Home Work

What is your job? I’m a film and TV composer. How long have you worked from home? I’ve worked from home for 14 years, since I’ve been in Bristol. But I’ve had a very “free” working life since I left uni in the 90s. I was in a rock band for many years and became very accustomed to a flexible lifestyle! What are the perks of working from home? Minimal commute. Keep your own hours. Work more efficiently – no distracting influences. Make your own food at lunch. Create your own inspirational workspace/ environment. No office rules or politics.

What’s the worst part of working from home? Work too hard – not enough distracting influences! Can’t switch off from work – it’s omnipresent. Feel a little isolated/detached. Family distractions/interruptions.

What made you want to create a really interesting space to work in? I’ve always been interested in architecture and design – getting the balance between form and function is an inspiring challenge. I spent many hours flicking through architectural books and delving deep into Pinterest for creative illumination.

Does having a great space to work in cancel out those negatives? Absolutely! It’s been incredible to have the room in an urban neighbourhood to design and build my own studio space. And then to have been able to deck it out with bespoke furnishings and fittings has been a total dream. It also helped having an extremely talented friend to turn my mad scribbles into reality!

Do you think your profession reflects the space you’ve created? For sure. If you walk into my workspace there’s no mistaking that this is a music studio. Guitars, drums, mics, speakers and keyboards dominate the room.

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—

timobaker.co.uk

Case Study:

Photos:

Moon

Brett Charles

N E W

B U I L D

H O U S E

Our clients bought this former bonsai tree nursery, situated in a green belt, with a view to building their dream home in the country. They appointed Moon after a scheme for a traditional house developed by another architect was refused planning. We developed a modern design, taking its lead in terms of form and materials from traditional buildings in the surrounding area. This was supported by the planners and approved unanimously at committee. The house is split into two separate pitched roofed forms, linked by a glazed entry hallway. This approach allows the mass of this large house to be broken up and sit discreetly in its setting. The open-plan living/kitchen dining space has large sliding doors to capture the views and allow the space to spread out into the garden. Upstairs is a boutique master suite that extends out onto a large roof terrace.

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A New Build House

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Designer Lighting

Contemporary Furniture

Oskar Furniture and Accessories 47 Whiteladies Road Clifton Bristol BS8 2LS Tel: 0117 973 4777 e-mail: info@oskarfurniture.co.uk www.oskarfurniture.co.uk Appointed retailer for

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Accessories

Original Designs available from

OSKAR

Case Study:

Photos:

Moon

Marcus Newey

V E R Y

L I G H T

T O U C H

As a listed building in very good order, this house needed a very light touch to achieve the desired outcome. We found most of the answers in furniture and by refinishing existing floors and walls. This resulted in a series of small changes adding up to a greater whole. The transformation of the ground and first floors was particularly dramatic, making great use of improved light distribution. An excellent example of how big changes can be made with almost no building work.

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A Very Light Touch

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Life on Site

Words:

Photos:

Moon

Hattie Ellis

L I F E

O N

S I T E

A photo essay that captures life on a Moon site and the people who make each job happen. A full range of projects is depicted: from full house refurbishments and extensions to new builds. Each site has a Site Manager leading the team, supported by a Project Manager based at the Moon offices. But everyone plays their part.

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Spaces

Words: Moon

Photos: Moon

S PA C E S

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Spaces

The Heart of the Home — The significance of the kitchen in today’s homes goes far beyond a place to just cook and store food. It has become the principle destination: the place you head to from the front door. The design challenges are many and varied, and the kitchen should at least be considered as part of a ‘whole floor’ strategy in terms of layout. You can walk past the kitchen but not through it, and the layout of the kitchen should shield the workings from other open plan spaces. The kitchen’s visibility from the dining and living spaces means that all its elements (furniture, lighting, flooring) are often seen together and need to be considered as a cohesive whole. What type of cook you are also impacts the design. Some people like the idea of a performance, being the centre of attention. Others prefer a more stealthy approach, delivering food to the table from a place unseen. Clearly the more reserved cook requires a kitchen somewhat at odds with the open plan ethos, but open plan design takes many forms and spatial arrangements can create discrete areas not necessarily visible by others.

K I T C H E N S

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Spaces

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The Luxury of Space — Bathrooms represent a concentrated area of materials and fittings. And with people preferring a larger shower tray for a more luxurious experience, the shower has a greater impact on these spaces than ever before. As a consequence, bathrooms need more space. This is often found in adjacent rooms, off corridors or by moving the bathroom into a different area altogether. The choice of materials available for bathroom design and construction is now vast; tile manufacturers are constantly coming up with new formats and sizes for a more flexible proposition. The use of timber in bathrooms is also increasing, but care is required to ensure it is positioned in areas where moisture is not present to prevent any staining of the surface.

B AT H R O O M S

Trying to cram too much into a bathroom is a common mistake – time should be taken to understand what can be comfortably fitted into a space, and what additional space might be available.

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THE WORLD OF MOON

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Architects, designers, project managers, builders, all-rounders – a collection of people who live and breathe designing and building. But we share more than this. We all have the same sneaking suspicion that builders usually disappoint people. The process is arduous; the client has to fight every step of the way for what they want. It doesn’t need to be this way. Building and making things should be inspiring and enjoyable – from the first discussion to the last brush stroke. Here’s how we believe it can be achieved. OUR ETHOS

consider good value. It’s putting a price on design, craftsmanship, time and stress levels.

For us, design goes far beyond how something looks. It’s how it’s

Building an extension that has little design quality, uses poor

built and how it works – function and form. You need to consider

materials and does not answer the brief is not good value – it’s

the whole picture to create something great. Something that makes you proud and still works brilliantly years down the line.

cheap. Building an extension that’s considered and crafted may

The designs are only as good as the man banging in the nails. Or,

brief.

cost more, but it will also last longer, feel better and satisfy the

as we like to call them, the craftsmen. We might draw something

Moon always raises the issue of budget early in proceedings.

beautiful on paper, but without a good team of people to realise it, that’s all it will ever be.

We’ll consider your project in detail, making sure what you want

Designers and builders working together. It might not sound

We won’t pluck a figure out of the air and we won’t give you false

is achievable. We’ll then offer you solutions that fit your spend.

radical but, in industry terms, it is. And the results are telling. The

expectations.

process runs smoother, the design is more considered, the difficult

We can’t guarantee working with us will be cheaper than using

becomes more achievable. Better on every level.

the local builder in the rusty van. But we can guarantee it will be painstakingly designed, beautifully built and you’ll enjoy the

HOW WE WORK

journey.

The journey always starts with you. It’s your project, your vision. So, before we can start any design work, we make sure we know what

That’s what we consider good value.

you have in mind. We build what we design. This means we need to know it will

TO BE CONTINUED...

work. If the design is flawed or something isn’t possible, we have

As these pages testify: it’s been a busy past 12 months for Moon.

to blame ourselves. No pointing the finger while the project grinds

Not just designing houses and building homes, but exploring

to a halt. If there’s a problem, we resolve it. Because it’s just us,

the world, indulging in our passions and collaborating with other

we close all the gaps. No one wants potential miscommunication,

talented folk who inspire us.

misrepresentation or getting buried under a mountain of emails. A

And as Moon continues to grow, we hope to collaborate with more

quick chat while making coffee or an in-depth conversation in the

creative people, shaping our own little pockets of the south west.

boardroom – constant communication.

Keep an eye out for our sign…

From the off, we’re ready to go. And once the build has started you’ll find the process smooth. Our working drawings detail all your

We are the architect. We are the builder.

wants and wishes. This means our build team can get on with their work of making it all happen, with no daily meetings to decide where the light switches should go. Any issues – and there are always one or two – are quickly sorted out, redesigned and we’re off again.

R E D E F I N I N G VA L U E Budget. One small word that can cause a few awkward conversations. For us, agreeing a budget comes down to what you

If you think you’d enjoy working with us or want to find out a bit more, do get in touch. For a company with a name like Moon we’re remarkably down to earth. Please contact us at: 0117 973 3284 or 01225 312 977 info@moondesignandbuild.co.uk bath@moondesignandbuild.co.uk moondesignandbuild.co.uk

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Professional Supply & Fit

With over 25 years experience in supplying & fitting sustainably sourced solid and engineered oak floors to top trade and retail customers worlwide, you can be assured that your flooring is for life.

+44 (0) 117 971 31 31

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NEXT EDITION... G E T I N V O LV E D

CONTRIBUTE

Sharing our passions and discovering other people’s is in our DNA. It’s how we forge strong relationships with clients, suppliers and local businesses. And it’s why we produced this journal. Everyone featured has a connection with Moon, whether we designed them a new extension or it’s one of the guys who built it. But we’re keen to take this further: to meet new people who share our passion for creating, exploring and sharing. So if you’d like to be involved in the 2017 Form journal in any capacity, then please contact: gd@moondesignandbuild.co.uk

T H A N K YO U TO A L L O F O U R CONTRIBUTORS, OUR ADVERTISERS AND TOM BROWN (EDITOR) C O N TA C T BRISTOL Moon, The Coach House, 18 Sutherland Place, Clifton, Bristol, BS8 2TZ 0117 973 3284 info@moondesignandbuild.co.uk BATH Moon, 10 Claverton Buildings, Claverton Street, Bath, BA2 4LD 01225 312 977 bath@moondesignandbuild.co.uk Issue Two © 2016 Moon Distributed by Moon Printed by Cambrian Printers moondesignandbuild.co.uk

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Bathroom Solutions Bristol

beautiful bathrooms by design

Leaders in the business for over 30 years.

More than 50 different bathrooms on display.

Bathroom Solutions Bristol 54 Redcliffe Street Bristol BS1 6LS 0117 929 9227 info@bathroomsolutionsbristol.co.uk www.bathroomsolutionsbristol.co.uk 163

Leading brands such as Matki, Hansgrohe and Duravit.

FIND US 232 North Street Southville Bristol BS3 1JD 0117 966 9890 pizzaworkshop.co.uk 164