Form 1 by Moon Design

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

JOURNAL BY

I S S U E

O N E

MOON

ARE

THE

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. 2

ARCHITECT

ARE

THE

BUILDER

This is what makes Moonâ&#x20AC;Ś Nick Ross

Long story short: we got bored of brochures. The thought of putting together another ‘why we’re brilliant’ missive no longer inspired us. And if it doesn’t inspire us, it sure won’t inspire anyone else. Instead, we turned out attention to something that’s been bubbling away in our subconscious for a few years now. Something that would document our journey over the year, capture our passion for beautiful things and go beyond the world of design + build. An open brief to the curious and creative people we come across every day. This, the first Moon Journal, is the culmination of our efforts. And true to its anti-brochure beginnings, it holds a host of different voices – from inside Moon and the outside world. We gave every contributor free rein to tell their tale how they please. The only thing we were militant on is that it looks and feels beautiful. The assortment of people, stories and approaches in the coming pages is what inspires us. We hope it does the same for you.

CREDITS

CONTRIBUTORS

PUBLISHED BY

SAM CAREY MOON

F re e l a n ce Wr i te r samtcarey@googlemail.com

M AT T H A R T

EDITED BY

w w w. r o l l i n g d o n k e y s . c o m

TOM BROWN

ARCHER+CO w w w. a r c h e r a n d c o m p a n y. c o . u k w w w. i a n a r c h e r d e s i g n . c o . u k

MANO BASU

GEORGE ARNOLD

Good Spaces w w w. g o o d s p a c e s . c o . u k

PHOTOGRAPHERS

ROASTED RITUALS w w w. r o a s t e d r i t u a l s c o f f e e . c o m

MIA-ROSE

WILL HALL

w w w. m i a - r o s e . c o . u k info@mia-rose.co.uk

HANNAH THOMAS

w w w. c h e c k m y a r t i l l e r y. c o m will-hall@hotmail.co.uk 0 7 9 1 2 0 74 9 3 3

w w w. h a n n a h t h o m a s . n e t hello@hannahthomas.net

BERTINET KITCHEN w w w. b e r t i n e t . c o m

MARCUS NEWEY

ANNA BOSS

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

w w w. a n n a b o s s . c o m

BRETT CHARLES

E D F E LTO N

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

w w w. e d w a r d f e l t o n . c o . u k

TIM HALL

I L L U S T R ATO R S

timhall154@hotmail.com 07879288918

EMY LOU HOLMES w w w. e m y l o u h o l m e s . c o m emilyholmes@btinternet.com 07917295919

GEORGE SINGLETON

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

VICTORIA HARVEY

B I L LY B U T L E R

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

CONTENTS

OUR FRIENDS

W H AT W E L I K E

6 ARCHER & CO

54 ROASTED RITUALS

12 ANNA BOSS

60 I N D E P E N D E N T FA S H I O N

19 G O O D S PAC E S

64 ST NICK’S MARKET

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

70 B I L LY ’ S FAV O U R I T E B E AT S 72 BERTINET KITCHEN

W H AT W E ’ V E D O N E 29 M O O N ’ S PAST I M E S

M O O N S PAC E S

34 A BOOK BY MOON

82 A M O N TAG E O F A L L M O O N ’ S 2014 PROJECTS

38 ON SITE

84 LEIGH WOODS HOUSE

46 A N E X PA N S I O N P R OJ E C T

93 LISTED GEORGIAN HOUSE

48 CRAFTING BESPOKE FURNITURE

104 E DWA R D I A N H O U S E

PEOPLE OF MOON 113 WILL HALL 114 TIM HALL 118 M AT T H A R T 122 E D F E LTO N

Ian Archer: Archer & Co

Words: Ian Archer

Images: Archer & Co

Relaxation. Redefined. HOW IN

BESPOKE

BRISTOL

HAS

FURNITURE FURNISHED

THE

WORLD

DESIGNER MOON

AND

Archer & Co

Ian Archer established his consultancy in 1998 to serve the furniture industry across Europe and the Far East. With clients from the UK, Germany and Indonesia, his projects have always been varied.

(It took me quite some time to acknowledge the fact that I couldn’t and shouldn’t limit myself to working solely in the UK and that not everything was about price. In fact the global downturn 7 years ago refocused my mind, and over the intervening years I have completely restructured the nature of my work.)

Before even leaving the kitchen table this freezing January morning I’ve dealt with texts from clients in France, emails from Poland, Vietnam and China, and telephone calls from suppliers in Belgium and Spain. The furniture industry doesn’t just spring back into action after the Christmas and New Year holidays, it launches itself all guns blazing stampeding all over the planet. Before January is finished there have been furniture and design trade fairs in Cologne, Frankfurt, Paris, London and Birmingham. And by the middle of April we will have had Stockholm, Poznan, Singapore, Shanghai, Guangzhou, Milan and High Point in the USA.

The speed and amount of change, even in my relatively ‘low tec’ industry is extraordinary, and the globalisation continues unabated. It was only 5 years ago that I finally got rid of an enormous, extended A0 drawing board - for full size ‘sofa drawings’. All technical drawings have since been completed using AutoCAD draughting programmes on my PC; and presentations are no longer rendered with Magic Marker pens, but now airbrushed in Photoshop, or 3D modelled by a French, Polish or Chinese outsourcing operation. But still the essence and spark of creativity comes from me, with a pencil on paper sitting in my favourite chair or at the kitchen table, in a quiet corner of our fair city – Bristol.

It’s nearly 20 years since I summoned the confidence to try and forge a career as an independent designer, working with furniture (mainly upholstery) manufacturers and retailers. My first clients were a small family owned business in the valleys of South Wales, a very well established traditional company in Nottingham, and a tiny ‘one man operation’ in Semarang, Indonesia.

But what opportunities we now have, no longer do I fly to China each month, but send photorealistic drawings and components.

The manufacturer in Wales is no more - the land proving more valuable than the business. The traditional business in Nottingham has changed owners and had several MDs try to return it to proﬁtability since the virtual disappearance of its core market: expensive, very formal sofas and chairs. Fleeter, more flexible and dynamic new businesses have squeezed them out of an ever more competitive market - and more contemporary simpler furniture dominates the floor space in all of the UK’s retailers.

What seems like until comparatively recently, I used to run my consultancy business by working on some ideas, and quite literally getting in my car and presenting the drawings to local manufacturers in South Wales, and no further afield than another historical furniture centre, Long Eaton, in Nottinghamshire. Now some of my designs are still manufactured in the UK, but the majority are made in Poland, by Swedish and British manufacturers and retailers, as well as in Italy, Germany, Indonesia, Vietnam and China. I’ve also had dalliances in Bulgaria, Romania, Thailand, the Philippines, and the USA. Needless to say, this diverse manufacturing base sells my designs into an even wider range of countries around the globe.

The one man operation in Indonesia is another story however. From quite literally having a one room showroom in a small jungle village called Japara, in Indonesia, an empire has been built, with showrooms in Vegas, New York, Hollywood, Paris and Hong Kong. Have a look at www.christopherguy.com to get the full story. But here is someone who grasped very early what a global marketplace we were becoming and how not to be constrained by national borders - and that there was a very lucrative and developing demand for luxury goods.

I don’t think I am unusual, or my industry, in this diversification. The arrival of IKEA in the UK in the late ‘80s and the emergence of unbelievably low cost manufacturing in China and South East Asia,

Archer & Co

was the start of redefining not only the manufacturing and retail landscape of the furniture industry in the UK, but also the role of the designer. As IKEA credit the designer of most of their products, so others have followed suit, and where once I happily kept below the parapet, I reluctantly had to ‘raise my profile’ - not to capitalise on my brand but actually just to remain in the game. To this end I designed my own label collection to sell with my wife, Judy - through our small shop and online store (www.couchdesign.co.uk). In our first year, we exhibited during London Design Week and at a satellite exhibition to 100% Design - the UK’s foremost contemporary design show. Low and behold things started to happen. Before 2010 I don’t think I had ever been credited, by name, with any of the products I had designed for Harrods, Selfridges, Mulberry, Christopher Guy, Ercol, Heals, Wesley Barrell, John Lewis, Laura Ashley, Multiyork - and whisper it DFS! But the creation of ‘Couch by Ian Archer’ had instant traction. An invitation to design a range of exclusive products for Heal’s sprung from that first show, swiftly followed by approaches to design exclusive products for other British, Swedish, Italian and Chinese brands. And now my name and face - not by my choice, but at the insistence of my clients to demonstrate provenance helps to sell my designs across the other side of the world (but not in Bristol PLEASE!). It’s bizarre. As I now ﬁnish writing this, I sit comfortably in our newly re-branded little showroom on Alma Vale Road, BS8, surrounded by Judy’s fabrics and my beautifully crafted British manufactured furniture. However, this is just the tip of the iceberg. From this modest design outpost spreads a network of inﬂuence, genuinely, spanning the planet. Be it excited shoppers in Shanghai buying a British manufactured and designed sofa in a very ‘chi-chi’ store, a couple in Norway’s largest retailer looking for that perfect family sofa, or someone in the UK looking for an online bargain, it may just be that their next purchase emanated from that chap, sitting there with a sketch book, in that lovely shop, next to that great pub, just around the corner from you!

Find Archer & Co here: 24 Alma Vale Road, Clifton, Bristol, BS8 2HY archerandcompany.co.uk

Archer & Co

Anna Boss: Landscape Artist

Words: Sam Carey

Paintings: Anna Boss

Emotional landscape T H E A

E V O C A T I V E

M O S T

T A L E N T E D

A R T

O F

C L I E N T

Landscape artist Anna Boss is at her home-based studio in Leigh Woods, Bristol. The view from the window gives a breathtaking snapshot of Bristol; illuminated by street and car lights, it offers a glimpse into the inspiration and creative process Anna uses when working on her hyper-realised landscape paintings. 14

Anna Boss â&#x20AC;&#x201D; Landscape Artist

Anna Boss — Landscape Artist

Viewing the artist’s pictures what strikes first is their depth. Fields, paths and skylines stretch into the abyss with the help of an epoxy resin enabling what Anna describes as a “glazed depth, like a pot; giving the impression of the setting, the light, the atmosphere and the journey”. Finding places is intrinsic to Anna’s work and the mother of three seeks scenes that impassion: “I can be somewhere quiet, devoid of people and become imbued in the surroundings. Landscapes I love as they inspire me. At Art School I worked mainly on sculptures and installations, these were the things around me and I was inspired. It is the same for me now that I’m surrounded by beautiful landscapes”. Selling art to commission and at Affordable Art Fairs, Anna’s artwork is varied but quintessentially her own. Leigh Woods, where Anna loves to run when the creative juices run dry, has been the subject of paintings and an important part of her daily routine: “I have to enjoy what I’m painting and running helps”, she continues “I can weave through the trees in Leigh Woods and download any problems or niggles I have. The solitude gives me the ability to completely submerge in my work”. Immersing herself in painting brings with it a certain level of obsession. When beginning each commissioned piece Anna develops a mood board and works with the client to develop something both parties are happy with. Painting a beautiful but dark and melancholic Sussex river walk Anna knew immediately the painting would find a certain individual and it couldn’t be sold for commission. This liberal approach comes from a self-driven urge to make her clients and herself happy: “I need to enjoy painting. Often I’ll step away from a piece for a time and go back to it. Productivity on certain projects is very mood dependant and a painting can take me a few weeks or a few months but I’ll never let it go before I’m 100% satisfied”. Reinforcing the point is a living, breathing country walk that envelops the room and takes you to the setting. Sitting on the easel in her studio it is awe-inspiring and beautiful but, in the artist’s eyes, not ready. Thoroughly encapsulating the artist’s drive for perfection this landscape has been ongoing for months and contradicts the Anna previously more “experimental and less disciplined”: “At Art School everything we needed was there so we worked with what we had to hand. I also had a lot more time so it was less like work and more like fun. Of course, this would all change if there was a deadline. Living and working in Bristol has brought me to a more artistically restricted but creative state of mind. It has also helped me concentrate more on painting”. This artistic discipline stretches beyond the professional and into Anna’s family life: “With three children I try to work between 10am and 3pm each day. This gives me the solitude of the woods within my working environment. I won’t even set foot in the studio unless I’m going to work or let the kids paint. They love coming in here and creating something from scratch so, who knows, one day they may be better than me…”

Anna Boss â&#x20AC;&#x201D; Landscape Artist

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Anna Boss â&#x20AC;&#x201D; Landscape Artist

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Good Spaces

Words: Mano Basu

Images: Good Spaces

GOOD SPACES As more photographers, film and TV producers choose to shoot on location, we look at the growing trend of renting out your home to generate income.

Make your home work for you

As the industry looks for new ways to capture authenticity on a tighter budget, filming in private homes rather than building sets is becoming popular. “You can expect £400 a day for editorial shoots, between £500 to £1,000 for an advertising stills shoot, and between £1,000 to £2,500 for filming,” says Mano Basu, owner of Good Spaces, (www.goodspaces.co.uk) a Bristol company that provides access to great locations and production services in the South West of England and beyond. And who have enjoyed using a number of Moon homes in the past. “Homes that have been designed and built by Moon – be it a contemporary glass box, urban loft or period build with a modern take – lend themselves well to photography and film shoots,” continues Mano. “Often, that’s the kind of high-end setting my clients are looking for. But, depending on the brief, it could really be anything: derelict warehouses, corporate offices. Don’t think your house isn’t the one we are looking for...”

Image: www.martinhartley.com (Above)

Image: www.simonpowell.net (Above) 22

Good Spaces

Interested...

Mano Basu shares what to consider when putting your home forward as a location. Space Open plan is always an advantage and although filming may only take place in one area, other rooms are always required for equipment, props, models and outside space for parking. People Expect 3 to 10 people for stills shoots and anything from 10 + for filming. Time Photo shoots tend to be 9am-6pm, and filming 11 hour days. This can mean early starts and late finishes, so has more of an impact on day-to-day living. But the financial reward will reflect this. Flexibility Although a detailed shoot schedule will be drawn up prior to shooting, allow for on-the-day changes to accommodate light, art direction and timings. Requirements Some crews pick a location for its existing style and interiors, others bring their own props but rest assured it will be treated as your home and left exactly as it is found. Damage Things may get damaged. Although crews are very respectful of the locations they are working in, anything can happen. That said, contracts are in place to guarantee every location is left spotless and that any damage is repaired. Historically, thankfully this is a rare occurrence. Fees Money will be negotiated beforehand. But itâ&#x20AC;&#x2122;s a great way to have your home make you money for a change. Style Different briefs mean different needs. Location agents could be looking for anything from derelict warehouses, family homes, urban loft apartments and contemporary homes to corporate offices and sandy beaches.

To learn more about registering your home as a location or if you have any production requirements, call Mano Basu on 07976 833493; email info@goodspaces.co.uk; or visit www.goodspaces.co.uk

Budding talent I N T R O D U C I N G O U R

F A V O U R I T E

R O S A N N A N E W

T A S K E R :

I L L U S T R A T O R

Rosanna Tasker â&#x20AC;&#x201D; Illustrator

We interview illustrator, Rosanna Tasker, as she tackles her first year out of university.

How did you get in to illustration? Was it always your preferred artistic discipline? I don't quite remember it ever being a conscious decision; the idea of becoming an illustrator just seemed to fall into place. I've always loved art in many shapes and forms as well as growing up with a passion for music and dance. The earliest drawing I have is a picture I drew of Gollum while my dad was reading me The Hobbit as a bedtime story. I had a number of brilliantly inspiring children's picture books when I was young and I think they certainly played some subtle part in leading me onto a path in illustration. Of course as an illustrator you work to briefs as well as self initiated projects, but what is your favourite brief you have worked on so far as a fresh graduate?

Working with Moon on 'I am the Architect' more or less straight out of Uni was ideal. It was a wonderful balance between being given instruction and direction yet also the liberty to make my own decisions. The collaboration aspect of it and bouncing around ideas enriched the development of the book and hugely enhanced the final outcome. Intrinsic to the enjoyment I got out of the experience was working in the Moon office in an environment of humour, good music, energy and enthusiasm. The company's concern for quality and attention to detail also meant I had complete faith that the hard work put into 'I am the Architect' would be done justice in the production and printing of the book, which in turn made me all the more enthusiastic about the illustration aspect of it.

Rosanna Tasker — Illustrator

Was working on a live brief more fulfilling than a Uni brief, or did you miss the complete freedom?

University was so valuable for the ability and time it gave me to illustrate without rules or restraint, I really did learn a lot about myself as an illustrator and was able to hone so many aspects of my work in terms of style and method. This has proven to be a continued learning curve post-Uni as some of the jobs and commissions have highlighted certain things about the way I work that are perhaps not very efficient, and it’s taught me how to adapt to different briefs. Freelancing has so far been very fulfilling; I’ve worked with some great people and it’s always rewarding to see my illustrations being made use of in any shape or form. When working from a brief what process do you go through to get to a finished composition? Do you create characters and build a story to reach the desired outcome? I tend to come up with one or two ideas from first looking at a brief, and at that moment I’m clueless as to whether they’re any good or not. Quite often I’ll begin by going pretty far out the box and have to gradually rein it in to a more acceptable form of eccentricity that meets the brief better. I find concept to be equally important as the aesthetics of an illustration, so the idea or foundations of the story usually take centre stage, especially at the beginning, and everything else stems from that.

What type of brief would you love to work on? Are there companies, musicians, artists you’d like to collaborate with?

I would love to try my hand at packaging design; tea boxes are often beautifully illustrated and sometimes quite off the wall with subject matter, which I love. I’m also particularly enjoying drawing trees and plants at the moment so anything gardening related would suit me right now, and I’d like to attempt some food illustration, perhaps a cookery book. Other than that I’m pretty mad about the 1920s so would love to illustrate book jackets for any classic novels of that time if they were to be reprinted and redesigned. You have designed some album covers, are there any bands you’d love to create album artwork for?

27 27

To name a few current musicians I would love to design for I would say Bon Iver, (or any of Justin Vernon’s side projects or solo work), Feist, The Waterboys, Lisa Hannigan, Jesca Hoop, Johnny Flynn, Ane Brun, Lisa Mitchell, Radiohead, Soley, Junip. Do you have any exciting projects you’re currently working on that we can keep our eye out for?

‘I am the Builder’ is in the pipeline, which is the sequel/counterpart to ‘I am the Architect’. I am also collaborating on another children’s book at the moment and have a few of my own stories that I am developing on the side. I am working on some commissions for a boutique camping company ‘Yurtel’ and have another potential collaboration to look forward to in the near future.

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Out of office A

V I S U A L U P T O

G U I D E T O W H A T W E G E T O U T S I D E T H E O F F I C E

Andy — Running — 3 Billy — Squash & Drumming — 5, 7 George — Bristol City — 2 Mark — Music — 6 Matt — Wild camping — 4, 12 Nick — Ski touring — 1, 8, title page Niki — Paper cuts — 11 Nuno — Surfing — 9 Sorcha — Quilt making — 10 Tony — Kayaking — 13, 14, 15 15

I am the Architect –

Words:

Images:

A Book by Moon

Tom Brown

George Arnold

Tomorrow’s architects I N S P I R I N G Y O U N G M I N D S W I T H O U R F I R S T E V E R C H I L D R E N ’ S B O O K

I am the Architect is the first children’s book (6+) to be written, designed and produced by Moon... 36

I am the Architect — A Book by Moon

her storytelling. Rosanna joined the team in the Moon office to bring Archie to life. And as the story of Archie developed, so too did the humour, warmth and passion that now defines his tale. Like any of their projects, Moon wants Archie’s adventures to be built on strong foundations. To start, this means getting him in front of people who will appreciate the rich illustrations, irreverent writing and passion for design. It’s hoped that Archie will find his home in the well-respected independent book shops and design museums of the South West. Places where people and children with a passion for beautiful things spend hours getting lost in other worlds...including Archie’s.

It tells the tale of Archie, a self-proclaimed 10-year-old genius who sets out on a mission to design the ultimate garden den. As he strives for perfection, he travels the world in search of inspiration, encountering different architecture, colourful wildlife and foreign cuisines – all accompanied by his loyal pet fish, Bruno (although he may be an imposter). So why have some architects with beards (and one very talented, beardless female illustrator) created a children’s book? Good question. And the answer stems from Archie himself: a passion for designing and building. Far from being a commercial project, Archie’s story of discovery and creativity reflects Moon’s love for what they do – and a desire to share this passion with young minds. In fact, it was the enthusiasm of local school students on work experience with Moon that inspired ‘I am the Architect’.

But Archie wouldn’t stop at just designing a den, so why should Moon? Archie’s next adventure, ‘I am the Builder’, is already in production – with the den to be based on real designs from the reader competition at the end of this book. And from there, well, who knows? Archie has a lot of big ideas.

In keeping with this sentiment, Moon wanted to find some budding talent to illustrate their story. They ran a competition with a selection of UWE Illustration graduates. The standard was high, but there was something special about Rosanna Tasker’s work – its richness;

To find out more and enter the design competition for a chance to win an iPad Mini, visit iamarchie.co.uk

I am the Architect â&#x20AC;&#x201D; A Book by Moon

One day, on site

Words: George Singleton

Photos: George Arnold

One day, on site G E O R G E

S I N G L E T O N ,

M A N A G E R ,

S H A R E S

C A N Y N G E

B I G

R O A D

M O O N D A Y

S I T E O N

T H E

S I T E

Working at Moon, I’m fortunate enough to work with some great clients

exactly 48mm between the top of the large letterbox steel and the rest of the

and colleagues. People from far flung corners of the globe and all sorts of

house above.

backgrounds: we’ve had Commonwealth judo gold medallists, boat builders,

Next, the steel jack was slotted in and inflated by a hydraulic pump to a

house DJs, seasonaires, master carpenters, fine artists.

pressure predetermined by people much smarter than me. This resulted in the

But none of this really matters when we’re on site. It’s all about doing our

weight of the house being transferred through the steel. At this pressure, we

jobs to achieve something beyond the norm. And working on a job the size

were told that we would not only deflect this monumental steel by 5mm, but

of Canynge Road – the refurbishment and extension of a 1870s Victorian

lift the rear of the house by 2mm.

property – has shown just how important having a close-knit team and joined-

After some on site measuring and biting of nails, it was clear that this was

up approach is.

exactly the case – the gap had grown by 7mm, with the steel deflected by

Now, not to overstate it, but the Canynge Road project has involved some of

5mm and the rear of the house raised by 2mm. I love it when a plan comes

the biggest structural openings tackled by mankind (I’m overstating it). But

together.

to put things in perspective, the temporary propping we installed is normally

This moment typifies my experience of working with Moon. An idea brought to

used for major motorway constructions. Erected, it allowed us to remove

life by a lot of hard work, brains, skill, experience and teamwork. And the end

over 200 tonnes of stone and rubble, as well as six internal walls over three

result – truly staggering.

stories.

On call.

Truth is, the demolition has seemed endless. Thankfully we’d now completed all the knock throughs, carted the rubble away, and threaded some of the

My go-to tools used to be my tape, my pencil and my saw. Now, on a site

biggest steels ever seen in a house in Bristol through a vast spider web

the scale of Canynge Road, my phone is just as essential. With up to twenty

of temporary props, supporting these new cathedral-like openings. After

people on site at any one time, a list of subcontractors that’s filled my phones

removing the propping, it was time to ‘preload the steel’.

memory, not to mention a wife pregnant with our second child, the thing rarely leaves the side of my head.

I’ve had some memorable days since joining Moon around six years ago, but this one stands out. It was the culmination of some monumental work by

The Moon office is first on my speed dial. Without good communication

some remarkably skilled people, collaborating with clients who were willing

between me, Dom the Project Manager and Andy the Architect, everything

to push the boundaries of what can be done to an old house. And it all came

would fall apart. It’s Moon’s unison of architect and builder in practice.

down to 7 millimetres.

Without this direct line to Dom and Andy, you would get the same results as every other building company. With it, you get something extraordinary.

Andy, our in-house Architect, along with the Structural Engineer, had made countless measurements and calculations to determine the weight of the house that would be taken by the steel. The guys then constructed a gap of

One day, on site

The Build Team

Brave new world Introducing our design + build model to Bath Words by Tom Brown Images by George Arnold

The ten miles from Bristol to Bath might not appear a substantial distance on a map; but in the South West’s cultural landscape, it’s a world away. So when Moon decided to venture east, taking its design + build business down the start-stop nightmare that is the A4, they steeled themselves for a new set of challenges. Not least a market that’s not wanting for architects and builders.

Tom emphasises the importance of being immersed in Bath’s local communities: “From speaking with locals, using a reputable Bath company is almost as important as the end result. We now have a team of people who live and breath Bath and know what it means to be part of the community. That means a lot to our clients and to us. We’ve also been embraced by local industry – every day we come across new people, companies and stories that inspire us.”

But, perversely, it was the abundance and uniformity of these practices – a strict adhering to the traditional ‘designers design and builders build’ model that requires clients to work with more than one company – that enabled Nick Ross, Managing Director, and Tom Walker, Bath Director, to put clear water between Moon and its new neighbours.

As project enquiries became engagements, another contrast to Moon’s Bristol roots was revealed: the work itself. In 2014, Moon worked the length and breadth of the city, from large two story extensions in Lansdown and Combe Down, to a Victorian terrace extension in Widcombe, to a Georgian Listed refurbishment on Richmond Place. Undertakings that encapsulate Bath’s heritage.

“Everything we saw in Bath encouraged the traditional approach to domestic construction – the unholy separation of architect and builder,” explains Tom. “We knew we could offer something different. A unison that would could deliver a project from start to finish

“With Bath’s mix of 16th century cottages, classic Georgian townhouses and 70’s terraces, there are an abundance of homes that simply do not function for 21st century living. They have smaller individual rooms that make the sociable living that most people strive for almost impossible. It’s been an amazing opportunity to take these amazing spaces, full of history, and transform them into special homes that retain their character.”

without any gaps – there are no cracks to paper over.” Disrupting the status quo is one thing. Doing so in a way that respects local sensibilities is quite another. Rather than bullishly arriving on the scene, Moon chose to immerse themselves in local culture and develop a central hub that would allow locals to discover Moon independently. Instead of a mysterious, blacked-out office with a meaningless logo, they wanted to establish a tangible presence.

Peering forward, the horizon’s bright. Enticed by a seasonally changing window display, more and more Bathonians are stepping through the doors of the Widcombe office and getting a sense for Moon’s craft and creativity. Growth reflected by an ever-expanding team; additions to the design, project management and site teams are all on the agenda. Not to mention projects beyond Bath in the beautiful surrounding villages of B&NES, Wiltshire and South Gloucestershire.

Tom elaborates: “We realised early on that we wanted to have a face in Bath, and that meant establishing a street-facing office that invited passers-by to come in, ask questions and get to know us. We chose Widcombe as it had long established itself as an area for independent thinkers and traders. It felt right.”

And as Moon’s influence continues to slowly permeate pockets of Bath, you get the feeling that this is a relationship that is slowly becoming more and more symbiotic. Like the architect and the builder.

A launch party in September announced Moon’s arrival and allowed locals to poke their noses into the newly crafted office, with a centrepiece designed by Ella – the daughter of Nigel from Moon’s workshop – stealing the show. Supported by editorials in local magazines, the team took a pro-active approach to infiltrating local culture, attending and supporting everything from the Winsley Whoop to the Freshford Summer Fete.

We try to keep things interesting by changing the window display regularly.

Moon Workshop

Anti-mass produced C R A F T I N G S T

B E S P O K E

F U R N I T U R E

W E R B U R G H S

I N

W O R K S H O P

Images: Hannah Thomas

M O O N â&#x20AC;&#x2122; S

Roasted Rituals

Words: Tom Brown

Images: George + Nick

ROASTED RITUALS PRAISE BEAN K E E P I N G B Y

M O O N T H E

G O I N G

K I L O

THE BUYING PROCESS IS LENGTHY BUT EXCITING: FROM SOURCING THE BEANS TO SAMPLE ROASTING AND CUPPING, THROUGH TO DEVELOPING ROAST PROFILES AND BREW RATIOS

Yet as painstaking as this process sounds, it’s merely the last leg of a journey that starts with getting dirty hands, down on the farm: “Probably more energy goes into our coffee than people realise,” says Tahi. “The buying process is lengthy but exciting: from sourcing the beans to sample roasting and cupping, through to developing roast profiles and brew ratios – we like to be involved at every touch point. Then we have to finalise packaging and images to promote our coffees.”

Turn the corner; another coffee shop. It might be owned by a tax-shy multinational or a local barista fighting the good fight, but it’s there – replete with similar coffees in similar varieties. But take a sharp turn into St. Johns Court on White Ladies Road, and it’s not another coffee shop you’ll discover. In fact, it’s not a shop at all. Roasting Rituals pour their self-roasted coffee from a branded wagon, carefully parked in pious surroundings. An apt setting for the four-wheeled-flagship of three coffee aficionados who worship at the altar of micro-roasting and specialist beans. And as you’d expect of three people who have spent most of their adult lives in search of the perfect cup, it’s a story that doesn’t begin in Bristol:

It’s a process that demands close relationships with farmers, suppliers, and roasters, with ethics and morality taking precedence in a shifting model. “We’re currently working closely with an import/exporter based in America that works solely with coffee out of Colombia, Nicaragua, and Guatemala. They act as an agent establishing connections with farmers and roasters to encourage a more transparent relationship. This results in higher premiums being paid to farmers and, in time, direct relationships between farmer and roaster.”

“For Patrick, the decision to set up here was easy,” confides his wife and co-owner, Tahi. “He was born and raised in Devon, so Bristol, with its surrounding countryside and locally sourced food, was a natural move. For me and Courtney, our Head Roaster, it was a much bigger leap. We’re both from New Zealand; we needed convincing that Bristol had an appetite for something different.”

And direct trade is the ultimate goal of Roasted Rituals’ passionate quest. It not only offers huge financial incentive to the farmer, but for the roaster, it ensures the coffee moves from A to B efficiently, avoiding spoilage through long storage. Symbolically, it represents a commitment to offering the best coffee with a clear conscience.

Anyone who’s explored the undulous streets of the city will know that, among the obligatory chains and same-same outlets, are the creative and diverse manifestations of a food and drink scene that’s embracing change. More and more people are hunting out a meal, beer of coffee that has its priorities straight.

As for the future, Tahi and team are feeling happy, confident and are ready to earn some more passport stamps:

Tahi expands: “It’s such a great city to live and work in. At the moment the food and coffee scene is really taking off. It’s so good to see independents breaking ranks – taking quality and sourcing into consideration, as well as a more artistic and innovative approach to production.”

“We love what we do. It’s truly a privilege being able to roast, taste, and brew what we think are some of the best coffees available in the UK. Later this year, we hope to travel to Colombia and meet the farmers we purchase coffee lots from. We need to broaden our understanding of the cultivation and processing methods they use, and understand the welfare risks and struggles they face.”

This philosophy can be traced through every coffee Roasted Rituals brews and every bag of beans they sell. Each blend endures a rigorous process of testing until the end product matches the exact characteristics of the original brief.

With this unflinching commitment to their craft, and plans to open a café without wheels later in the year, the Roasted Rituals approach is fast gaining the devout followers it so richly deserves.

“Generally, we create blends based on what specific customers have asked for. People will describe certain flavour characteristics they may favour – heavy body, mouthfeel, acidity levels, and how they might go about brewing day-to-day. We apply that to the particular coffees we think will best translate those qualities, finetuning the blend until we’re all satisfied.”

Spread the good word.

Roasted Rituals

Fashion Retailers

Words: Victoria Harvey

Illustrations: Emy Lou Holmes

Independence game T H E I N D E P E N D E N T R E T A I L E R S K E E P I N G B R I S T O L A N D B A T H L O O K I N G F R E S H

Perched on the end of my bed, I recently found myself desperately trying to tuck my essential spring / summer 2015 voluminous flares into my kooky legwarmers. Confused and dejected I tried to hoist myself up by my sheepskin hot-pants, but to no avail.

So where to go? Any boutique worth its salt will enable you to achieve this in spades. Independent shops are the heart of our cities and the key to creativity and design. A garment made with quality and conscience at its core, will not only stand the test of time but will steer you safely through the perilous waters of ‘seasonal fashion’. It’s about breathing the “air du temps” and making it your own. Often your visa card will wear out faster than the quality items bought from these stores.

According to Mark Twain, “Clothes make the Man. Naked people have little or no influence on Society.”Well, with these sage words on board it was time to take stock and remind myself that Bristol and Bath are two of the coolest cities in the country and all was not lost.... Before I headed off to one of many indistinguishable high street stores, bag slung determinedly over my shoulder, I had the good sense to remind myself that part of fashion’s job is to keep us in an eternal state of sartorial dissatisfaction, thereby keeping us in its thrall. Thus heading off to the High St, Grazia in hand, may not be the answer.

Oh, I’m not really suggesting there’s no room for the high street and the art of mixing it up is not only the fun part, but makes it easier on your wallet. But one thing is for sure; be you a Bathonian or a Bristolian there is a wealth of independent gems hidden in these two cities. So, embrace the independent spirit! Here is a selection to get you started.

If you’re determined to nail it in the ‘fashion’ stakes you must embrace your own ‘style’(with a little help from those in the know).

Fashion Retailers Grace and Mabel

TCS

The Vibe

Established in Bristol by three sisters in 2007, with a Bath store opened in 2010, Grace and Mabel is an Aladdin’s cave of individual style and quirky fashion. It encapsulates a vibrant array of edgy design from Marlene Birger, Hoss and Paul Smith – Black, balancing these collections with lux essentials from American Vintage.

Bath’s answer to Shoreditch’s Hostem. This is “Luxury Miserabilism” at its best! Sister to its’ London based store it specialises in niche designer labels from France, Belgium, Japan and the UK. Clothing abounds in compelling textured fabrics with hidden twists and earthy pallets. The Essential

The Essential American Vintage – a few items of their luxury fine gauge knitwear are necessary for any comprehensive wardrobe. The Perfect Gift Les Nereides Jewels – these designs are not for the understated amongst you BATH 7 Broad Street Bath BA1 5LJ Tel: 01225 461 274 BRISTOL 17 Regent Street Clifton Village Bristol BS8 4HW Tel: 0117 9743 882 www.graceandmabel.co.uk 18 The Vibe

private 0204 – uber-cool collection from Copenhagen. There’s a plethora of cashmere beauties on offer; T’s, tops and scarves and a kelim hemp rug, woven on vintage 50’s Italian looms and then washed in the sea. Luxury dishevelment never looked so good! The Perfect Gift Astier de Villatte – Parisian ceramics, made from black terracotta clay and glazed in a milky white finish, durable and perfect for everyday use....time for a Greek wedding?!

18 (Ally Capellino & John Derian)

Goti Perfume – on many a wish list. It’s an exquisite range of scents, elegantly packaged in leather boxes. ‘Goti Smoke’s’ top of my list if anyone’s asking??! BATH 3 York Buildings George Street Bath BA1 2EB Tel: 01225 427 264 www.tcstylelab.com

Oozing with understated luxury cool, “18” is the ultimate lifestyle shop. Well edited collections of clothes ‘you can be yourself in’ are nestled alongside Campaula Urns and imposing vintage furniture. The Essential Ally Capellino – this British accessories brand uses the highest quality Italian Veg Leather and waxed cottons. The antithesis of the ‘it’ bag, it’s the one to have if it’s timeless urban elegance you’re after. The Perfect Gift John Derian – exquisite paperweights hailing from New York City, unique and artisan.

TCS (private 0204 & Astier de Villatte)

Glass lanterns - of all different shapes and sizes. BRISTOL 18 The Mall Clifton Bristol BS8 4DR Tel: 0117 9745 332

Grace and Mabel (American Vintage)

www.18themall.co.uk

Fashion Retailers The Loft

Found

The Vibe

It’s the very essence of The Loft that keeps you coming back to this Bath institution, well that and the sensational food from it’s own Café Lucca. The clothing, homewear and café welcome you in and sit so stylishly alongside each other that all tensions of the high street immediately dissipate.

This shop does lifestyle through “the undiscovered, the classic and the contemporary”. It’s a succinct edit of a hip streetwear style wardrobe, for both ladies and gents with their fingers on the pulse.

The Essential

YMC – a strong individual urban style brand, great T’s and separates.

Café Lucca’s – seasonal Salad plate, salad never tasted sooo good... Lilith – a collection which is original, playful, and contemporary – “for women of all ages who are adventurous and progressive”.... Oh and not short of a bob or two. The Perfect Gift Matthew Calvin – an understated and handmade collection from this British based designer offers perfect ‘everyday’ pieces. BATH The Loft 1/2 Barlett Street Bath BA1 2QZ Tel: 01225 462 111 www.theloftbath.com

The Essential Found ( Janine Barraclogh)

Karen Walker – eyewear that will make you go weak at the knees, not just for the summer month’s ahead! The Perfect Gift Janine Barraclough – hand made Aztec designs, the perfect statement piece. Deadly Ponies – handbags exclusive to Found in the UK. BATH 17 Argyle Street Bath BA2 4BQ Tel: 01225 422 001 www.foundbath.co.uk

The Loft (Matthew Calvin)

Maze - Menswear The Vibe

hokoshop – The Vibe This father and son outfitters knows its stuff. Super understated cool clobber from the likes of Margaret Howell, Folk, Acne and Oliver Spencer The Essential Folk – you can’t help but look good in anything from this London label. The Perfect Gift Filson Bag – one of these’ll do nicely.

BRISTOL 24a The Mall Bristol BS8 4DS Tel: 0117 9732 888

Sister to Bristol’s “18” this sells a range of classic and hip labels for the essential gentleman’s wardrobe. Quality solid classics, from Edwin Jeans, Belrose and Scotch and Soda with a few hip highlights from YMC and Ames Bros. just to show you’re still in the game. The Essential Redwing Boots – these boots from the heritage collection are the real deal and oh so manly. The Perfect Gift Sandqvist Bag – one of these will put you well on your way to your peak “lumberjack” aspirations..... BATH 19 Green Street Bath BA1 2JZ Tel: 01225 789 398 BRISTOL 26-28 The Mall Bristol BS8 4DS Tel: 0117 9744 459 www.mazeclothing.co.uk

Maze (Redwing & Sandqvist Bag )

Flavour exchange St Nicholas Market has become a beacon of Bristolâ&#x20AC;&#x2122;s ever-evolving food scene. A vibrant pocket of flavour, culture and history

St Nick’s Food Market Words by Tom Brown Images by George Arnold

The Exchange, a Georgian corn market at the hub of Bristol’s Old City, is home to St Nicholas Market (St Nick’s to locals). Abuzz with thriving businesses, new and old, it houses an eclectic roster of independent food companies, restaurants and cafes. Feeding a city increasingly obsessed with local food. Built from a John Wood the Elder design, the Exchange functioned as a corn market and general trade exchange before taking on numerous functions to accommodate changing times and economies. But beyond the 300-year-old exterior is a multicultural scene that befits 2015. Where once merchants hectored, peddling wares from around the world, now stand hungry office workers, touring the market in search of tasty alternatives to a semi-stale sandwich. Portuguese sausages, Caribbean chicken, Middle Eastern wraps – each stall offers fresh relief from the daily grind. Put lunch on hold for a second, though, and the rabbit warren feel to St Nick’s is an experience in itself. Every turned corner brings a new wake-up call to the senses: be it the rainbow of salads at the falafel stand or the intoxicating aroma of fresh curry. The market’s décor changes to reflect each experience, specific to the food’s providence – a patchwork of colours and materials.

Matina Middle Eastern Food Lamb Naan Wrap

The mixture of languages and accents from chefs and staff just adds to the sense of escape. But you can only resist so long – sooner rather than later, you have to eat. This time, it was the sight of a Kurdish naan, rolled flat and baked fresh, that did it. Matina’s Middle Eastern fare sits on the outskirts of the market. Handily, that leaves plenty of space for large queues. Lamb, chicken or halloumi, laid atop fresh chillies and a simple salad, wrapped in that warm bread: a blend of flavours and colours that works beautifully. And with change from a fiver, it sure beats another Tesco meal deal. As you finally leave, full but still tempted by each new stall, there’s one last chance to admire your surroundings. Where John Wood the Elder created the Exchange as a trade venue for the essential, but undeniably bland, corn, his creation is now a monument to flavour, character and culture. If he was a man who liked his food as inspiring as his buildings, he’d probably be quite chuffed.

Eateries at St Nick’s Market: Pieminister Ahh Toots Cakery Matina Middle Eastern Food Eat a Pitta Caribbean Wrap Big Juice Moorish Cafe Portuguese Taste Grillstock Kofta Bar Lellos Bristol Sausage Shop

Record Stores

Chosen by: Billy Butler

Images: Mia–Rose

Form and funktion B I L L Y B U T L E R , O N E O F M O O N ’ S A R C H I T E C T S , T A K E S U S O N A N A B R I D G E D T O U R O F H I S V I N Y L C O L L E C T I O N

Find the funk at one of Bristol’s great record stores: Plastic Wax Records - 222 Cheltenham Road, Bristol BS6 5QU Prime Cuts Records - 85 Gloucester Road, Bristol BS7 8AS Wanted Records - Unit 1 St Nicholas Market, Bristol BS1 1HQ Rise Record Shop - 70 Queens Road, Clifton, Bristol BS8 1QU Payback Records - Unit 45 St Nicholas Market, Bristol BS1 1HQ

Bertinet Kitchen Cookery School & Bertinet Bakery

Words: Bertinet

Images: Bertinet

Kitchen master T H E

B E R T I N E T A N D

K I T C H E N

C O O K E R Y

B E R T I N E T

B A K E R Y

S C H O O L

Bertinet Kitchen Cookery School and Bertinet Bakery

Renowned baker and chef, Richard Bertinet has been passionate about baking since the age of 14 when he became a baker’s apprentice in his native Brittany. With over 30 years’ experience he now divides his time between teaching at his cookery school, The Bertinet Kitchen, and running The Bertinet Bakery. Richard opened The Bertinet Kitchen Cookery School in Bath in 2005, teaching everyone from novices to experienced cooks, helping all who pass through his kitchen to understand the way food should look, feel and taste whilst encouraging individuals to enjoy and develop their own cooking style. Richard is particularly revered, however, in the world of baking. Known for his technique of ‘working’ the dough, he strives to promote the art of baking and to show how simple it can be to create fantastic bread. Richard’s four books on baking: Dough, Crust, Pastry and Patisserie Maison have become modern baking bibles and he attracts people from all over the world to participate in his renowned bread making classes at the school.

Bertinet Kitchen Cookery School and Bertinet Bakery

The Bertinet Kitchen Cookery School offers a range of relaxed and fun courses for food lovers of all abilities, and specialist baking and bread making courses for amateurs and professionals alike. Courses include anything from macaroons, wedding cake and pasta making, to Mediterranean feasting and wine tasting, to Michelin-starred masterclasses with the likes of Bruno Loubet and Angela Hartnett. Courses vary in length from a day to a three or five day intensive course. Teaching groups are kept to a maximum of 12. The school can also cater for bespoke events and corporate bonding or entertaining. The Bertinet Bakery started life as an extension to the cookery school, running on Saturday mornings in response to customer requests. The bakery now has two of its own shops in Bath which offer a wide range of sourdoughs, other long fermentation breads, viennoiserie and pastries. Bertinet products are also available in good food stores and delis in the south, such as Chandos Deli in Bath and Bristol, and 28 branches of Waitrose, including Bath, Westbury Park Bristol, Keynsham, Wells, Stroud, Cirencester and Cheltenham. The bakery only ever uses natural, wholesome ingredients and ensures that they are the best that they can find. There are no flour improves, processing aids or enzymes in Bertinet bread â&#x20AC;&#x201C; ingredients which are often used to save time or increase shelf life. Instead, they invest the time and skill needed to create real, honest bread that looks, smells and tastes amazing.

The beard An illustrated montage of Moonâ&#x20AC;&#x2122;s ever-expanding facial hair

s of Moon

Facts of 2014

Planning applications

Applications won

Jobs designed

Jobs completed

1200m

Skips used

506m2

12.3

New site members

km of 3”x2”

Of oak flooring

312 m3

7.6 km

Cubic meters of concrete

Of electrical cable

Pints of milk

304

921

24 rolls of drawing paper

Facts of 2014

New office staff

8,326 Cups of coffee

32 Bathrooms fitted

752

Kitchen cabinets fitted

Toilets fitted

326 T-shirts printed

OUR YEAR IN NUMBERS

iMacs purchased

The numbers donâ&#x20AC;&#x2122;t lie. These facts and ďŹ gures capture how Moon has spent the past year.

Jobs won

Jobs started

A lot of caffeine has been consumed, our workforce is growing steadily, and we know our way around a kitchen cabinet. It adds up to a pretty impressive 12 months.

is one of the largest and best trusted

bristolmarbleandgranite.com sales@bristolmable.com 0117 965 6565

suppliers of finished stone products to the trade and retail. Within our extensive premises, clients

Visit our showroom

can see the full size slabs that show so

Bristol Marble & Granite Co Ltd Verona House Filwood Road, Fishponds Bristol BS16 3RY

much more than small samples can ever hope to achieve. 82

Case studies

Photos: Moon

Moon Spaces

A collection of a projects we have completed in 2014 83

Previouslyâ&#x20AC;Ś A thumbnail guide to jobs completed by Moon over the past 18 months. An eclectic mix of refurbishments, extensions and new builds.

Case study: Moon

Photos: Marcus Newey

Leigh Woods House

The layout of this Leigh Woods house is centered around a large entrance hall and staircase, with generous bedrooms and living spaces. Like many older houses, the kitchen felt secondary, and the connection with the garden was poor. The changes we introduced were subtle, but made a huge difference in the way the kitchen interacts with the rest of the house, and how the garden is both viewed and accessed. Completely refurbishing the kitchen and connecting it to the dining room made the it feel larger, while new doors into the garden ensured the route felt special. At ďŹ rst ďŹ&#x201A;oor, an existing en-suite was reorganised and we used large format tiles for the ďŹ rst time. A new staircase was added into the loft as preparation for a future loft conversion.

Leigh Woods House

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

Accessories

Original Designs available from

OSKAR

Case study: Moon

Photos: Brett Charles

Listed Georgian House

For many years this home was an ofﬁce, hiding its origins as a ﬁne Georgian house. Fortunately, much of the detail remained, so Moon worked closely with the client to invigorate the space with a new kitchen, master en-suite, dressing spaces and a bathroom. 5

Moon worked hard to repair interior shutters, and replicated new ones where required. New furniture was designed and built in our workshops, and features heavily in the dressing rooms and study. New hard ﬂoor ﬁnishes, timber panelling and comprehensive lighting and heating systems have transformed the space into a sophisticated and comfortable home.

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Listed Georgian House

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Listed Georgian House

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Case study: Moon

Photos: Marcus Newey

Edwardian House

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Edwardian House

The original house was somewhat blighted by an enormous covered swimming pool at the rear. The structure was so large that the back garden couldn’t be seen from the original rear rooms of the house. The need for a pool was eclipsed by the need for more effective living space, so we developed a scheme that allowed the grandeur of the existing house to remain intact, with the added delight of a large open plan space at the rear. An imaginative client allowed the structure of the extension to be expressed, which gives deﬁnition and scale to the large space. Views out are carefully controlled, framing the wider garden (an intimate Japanese space) and back towards the house itself. The existing pool was ﬁlled with the structure that used to enclose it, so waste from site was greatly minimised.

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Edwardian House

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Edwardian House

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Edwardian House

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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

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Leading brands such as Matki, Hansgrohe and Duravit.

The fine art of building M E E T M O O N

W I L L

C A R P E N T E R

Both my parents met at Art College, studying for their foundations. As far back as I can remember, I’ve had a paintbrush in my hand.

H A L L : A N D

A R T I S T

My paintings are conceptual, contemporary and, hopefully, provoke questions about this world we live in. My approach tackles big topics: politics, war, science – things that shape the now.

Dad’s subject was technical drawing, while my mum studied fashion. Their creativity was put on pause while starting a family, but they managed to forge one student of Fine Art out of four.

Within these areas, I like to explore opposites. How love could not survive without hate. Peace without war. From the rich to the poor; the academic to the uneducated.

I completed my GCSEs and A Levels at Astor College for the Arts, my foundation at the Kent Institute of Art & Design, and then went onto graduate with a degree in Fine Art from Loughborough University.

It’s how I make some sense of the world.

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Tim Hall

Words: Tim Hall

Images: Supplied via Tim

King of the mountain A

C O N V E R S A T I O N

M O O N

W I T H

T I M

C A R P E N T E R

B Y

D A Y ;

R A C E R

B Y

B I K E

Tim Hall has been hitting the pedals hard since he was 13. As he forges a name for himself in the world of downhill and enduro biking, we discover what makes him tick. FORM: Let’s start at the start. How did you get into mountain biking? I started merely as a means of getting around on Dartmoor when I was young. My routes were all off road and the more I rode, the better I got. FORM: So when was your first race? My first cross-country race was when I was about 13. I raced crosscountry for a year but soon realised I much preferred the downhill speed to the uphill grind. I kept riding and got better and better at downhill style, but my fitness meant I could always dabble in crosscountry too. FORM: At what point did you start to take things seriously? About four years ago I started racing in the British Downhill Series. This triggered a big jump in my riding – the level of riders was much higher than I was used to. Since then, I’ve got faster and learnt to hit bigger, riskier obstacles at some of the best tracks in the world. FORM: What’s your favourite? Fort William in Scotland. Amazing place and an amazing track. FORM: So where are you now with competing? Well last year I gained some amateur level sponsorship which meant I was riding as part of a team. That was really good – it was nice to be involved with a group of really talented riders. But this year I’m going at it alone, riding for myself.

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H A L L :

D O W N H I L L

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Tim Hall

FORM: How’s that been going? Unfortunately at the end of last year I had my two bikes for downhill and enduro racing stolen from my flat, so I couldn’t ride or race over the winter. I’ve replaced my enduro bike, but they’re expensive toys so the downhill will have to wait a bit. Because of this I’m just going to race enduro – a mixture of downhill and cross-country – and some smaller downhill events until I can replace my downhill machine. FORM: Robberies aside, just how dangerous is it? I won’t lie, downhill racing is a very risky sport and has its crashes. I basically train in the gym to help me bounce off trees and rocks, so if I do crash I can hopefully get back up. That said, I’ve still got a few injuries to heal. But I’m looking forward to a busy race season and another attempt at the ‘Megavalanche’ race in the French Alps. FORM: What keeps you going back? I love the risk factor and those 10 seconds at the start gate, knowing you’re about to put it all on the line. It’s when I feel most alive. Basically, if you’re in control, you’re not going fast enough – it’s a massive buzz. Add that to being able to race against the fastest riders in the world and it makes for an awesome weekend.

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Tim Hall

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Rolling Donkeys

Words: Matt Hart

Images: Rolling Donkeys

Back in the saddle

M O O N â&#x20AC;&#x2122; S H I S

M A T T

L A T E S T

S H A R E S

A D V E N T U R E

C O L L E C T I V E , I S

H A R T T H E

W I T H

R O L L I N G

W I L L R O S E ,

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H I G H L I G H T S H I S

B I K I N G

D O N K E Y S .

S C O T L A N D

O F

T H I S

Whenever I look back on any Rolling Donkey’s adventure, I recall it as a collection of moments – each one passing like the terrain beneath our wheels. So rather than stringing them together into something resembling coherent sentences, I thought I’d share them as they come. Starting with…

The adventure

The route

The strap from my bag catching in my wheel, bending the rotor and spokes, busting the bag.

Fort William to Fort Augustus (Loch Ness) via the Caledonian Canal. The Corrieyairack Pass (the Monadhliath Mountain’s vertical gain of over 2500ft) through Kingussie to camp by the lake in Inshriach Forest.

A lazy, rainy first morning: hanging out in hammocks and not get going until midday.

Alaska Day: followed River Fishie down Glen Fishie to cut across the Cairngorm National Park .

The never ending uphill of the Corrie Pass. Seeing new pylons being installed and realising just how much work is involved to put these things up in a harsh environment.

Followed the River Dee past Braemar, Balmoral Castle and Ballater, before cutting up into the forest of Glen Tanar.

The summit having snow patches. Then the mist rolling in and chasing us down the hill (we managed to stay just ahead of it).

Up over Mount Keen (939 meters) and down the other side. Through Glen Mark and Glen Esk, out the flat eastern side and past the villages of Edzell, Brechin and, finally, Montrose.

The epic super-rocky downhill on the other side. Camping in a deer chill area and putting clothes on the floor. Discovering there were ticks.

rollingdonkeys.com

The mouse that got into my rucksack and chewed through food packets. A beautiful loch-side pitch. The Alaska day: river crossings, sun, remoteness, sense of grandeur, wilderness, fun – one of the best days I’ve had on a bike. Finishing early and finding a super-nice hang spot overlooking the river of Tanar. Whisky. Fire. Onion bobbing.

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Rolling Donkeys

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Wildlife Photography

Words: Ed Felton

Images: Ed Felton

A night on Handa Island E D

F E L T O N ,

W I L D L I F E

M O O N

C A R P E N T E R

P H O T O G R A P H E R , L A T E S T

A N D

S H A R E S

H I S

A D V E N T U R E

The Highlands of Scotland have long been my stomping ground for wildlife watching. In June 2013, I made a trip up the west coast to photograph sea birds and, more optimistically, catch a glimpse of the majestic Golden Eagle. I’d spent many hours searching for this rare and elusive creature in all its likely habitats. No luck. This year I was determined to tick it off my list. The journey to Scotland was punctuated by the inevitable M6 traffic jams. But this year I took the trip in my new family sports wagon, which got me there with next to no backache and averaged 59mpg. A good start. On this particular visit up north, there was to be a first. I would be staying overnight on an island just off the North West coast, Handa Island. The entire tract is a Scottish Highland Trust Reserve with no human inhabitants, other than a reserve warden and a few volunteers during breeding season when around 100,000 seabirds visit the island. Technically, staying on the island is forbidden. But after some communications with the Scottish Wildlife Trust, permission was granted for me and a friend to stay one night on the island. This would allow us to catch the best morning and evening light, with the island to ourselves. Actually getting on the island proved even trickier than getting permission to stay there. During breeding season, daily boat trips take a limited number of visitors to and from the island. Unfortunately, on the morning of our trip there was a problem with the boat – all trips were cancelled. I wondered if a Golden Eagle had sabotaged it. Refusing to be beaten, we managed to enlist a local fisherman who could take us out to the island and pick us up again… but in four days time. Not our original plan, but what the hell. The next four days were some of the best I have ever experienced in Scotland: exceptional weather and wonderful views of the island’s wildlife. I felt lucky to spend the extra time on the island and capture some images I was proud of. The photos you’re seeing here.

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Moon

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Moon

WHO ARE MOON? OUR ETHOS 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. For us, design goes far beyond how something looks. It’s how it’s built and how it works – function and form. You need to consider the whole picture to create something great. Something that makes you proud and still works brilliantly years down the line. The designs are only as good as the man banging in the nails. Or, as we like to call them, the craftsmen. We might draw something beautiful on paper, but without a good team of people to realise it, that’s all it will ever be. Designers and builders working together. It might not sound radical but, in industry terms, it is. And the results are telling. The process runs smoother, the design is more considered, the difficult becomes more achievable. Better on every level.

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HOW WE WORK

R E D E F I N I N G VA L U E

The journey always starts with you. It’s your project, your vision.

Budget. One small word that can cause a few awkward

So, before we can start any design work, we make sure we know

conversations. For us, agreeing a budget comes down to what you

what you have in mind.

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

We build what we design. This means we need to know it will work. If the design is flawed or something isn’t possible, we have

Building an extension that has little design quality, uses poor

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

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

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

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

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

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

misrepresentation or getting buried under a mountain of emails. A

brief.

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

Moon always raises the issue of budget early in proceedings.

boardroom – constant communication.

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

From the off, we’re ready to go. And once the build has started

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

you’ll find the process smooth. Our working drawings detail all

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

your wants and wishes. This means our build team can get on

expectations.

with their work of making it all happen, with no daily meetings to

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

decide where the light switches should go. Any issues – and there

the local builder in the rusty van. But we can guarantee it will

are always one or two – are quickly sorted out, redesigned and

be painstakingly designed, beautifully built and you’ll enjoy the

we’re off again.

journey. That’s what we consider good value.

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TO BE CONTINUED... As these pages testify: it’s been a busy past 12 months for Moon. Not just designing houses and building homes, but exploring the world, indulging in our passions and collaborating with other talented folk who inspire us. But 2015 is still young. With a series of design + build projects that push the boundaries of possibility, through to working on a new restaurant from ﬁt out to branding – exciting times lie ahead. And as Moon continues to grow, we hope to collaborate with more creative people, shaping our own little pockets of the south west. Keep an eye out for our sign… We are the architect. We are the builder.

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 info@moondesignandbuild.co.uk moondesignandbuild.co.uk

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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 2016 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

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Exceptional Quality

Exceptional Value

Exceptional Service

Exceptional Design

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