FEATURED PROJECTS
MEANT TO BE
There’s something quite magical about working with a craftsman who understands both the heart and the hands of a home. Each curve of wood, each carefully measured cut seemed to hum with warmth. It’s always a joy to work with Francois Van Zyl owner of FV Carpentry who sees beyond the blueprint, who makes a home more than just a space.
When it comes to selecting the perfect colour combinations, that’s where we step in—armed with swatches, samples, and a few well-timed suggestions. Whether it’s a kitchen cabinet door or a fabric swatch, we bring along little pieces of the vision so clients can see it come to life in front of them. Once the colours are set, we take care of the finishing touches. Thereafter, it's simply a matter of working with the client to schedule the installation and watch their vision come to life.
This project had cabinet doors with a 30-degree chamfer—an angle so slight, but it changes everything, adds an intricacy that complicates the simplicity in a way that feels intentional. Quote from Francois: “The VB team handled the preparation with an ease that hides its difficulty, that masks just how much expertise is required.”
And the result? Something more than just a beautifully finished product—something that feels as if it was meant to be in that space all along.
The coating process begins with the sealer, a delicate, translucent layer that primes the surface, much like the careful crafting of a first sentence. The undercoat follows, thick and uneven, until the sanding smooths it into something you can work with, something that hints at completion. Then, the guiding coat, a contrasting colour, revealing every flaw, every imperfection, making them stark and unavoidable. Only then can the first finishing coat take its place, a provisional version of the final thought, honed through the work of fine sanding. Finally, the last coat lands—immaculate and gleaming, yet still carrying within it the subtle trace of all that came before.
Introducing clients to the world of whites is rather like introducing them to a secret language. At first, they might not see it—the gentle distinctions, the whispers of warmth, the cool aloofness— but then, gradually, it becomes clear.
There’s the pristine brightness of a snowy morning, crisp and almost biting, the kind of white that makes you feel as if you’ve stepped into a lush hotel room where everything is spotless and new. Then there’s the buttery softness of cream, rich and inviting, like sinking into a velvet armchair with a well-loved book. Between those extremes, there are whispers of grey, hints of blue, touches of linen that make a room feel calm and considered.Each shade transforms as the day unfolds, shifting from cool to warm, just like a conversation deepening as the hours pass. What starts as a sterile ‘white’ becomes the anchor of the room, a quiet but certain elegance that carries the space through morning coffee, afternoon naps, and candlelit dinners. It’s not just about choosing a colour; it’s about finding a feeling. And when it clicks, it feels as if that particular shade of white had always belonged there.
BELONG
There are rooms that are etched forever into my mind’s private gallery; Virginia Woolf’s brilliant green bedroom at Monk’s House, Georgia O’Keefe’s modest and meditative kitchen in Abiquiú.
Each of these rooms holds something beyond design or style—they hum with life. A great room asks only that you belong. There is a kind of magic in a room like that—a place that allows you, for a moment, to consider the life you’ve lived and the one you might still create. In a world shaped by upheaval—that sense of sanctuary has, for many, become not just a luxury, but a necessity.
%20(1).png)
This panelled bedroom, designed by Gianluca Callus of Vintage Conversions Ltd. with the woodworks crafted by Futura Woodworks Ltd. embodies that very philosophy - creating a space where history and possibility seamlessly coexist. We find three hues reminiscent of the sun-kissed Maltese stone. Farrow & Ball’s Joas White No. 226 serves as a foundation, its soft, creamy undertones offering a bright and airy embrace. Farrow & Ball’s London Stone No. 6, applied on the kick board and top frame, echoes the rich, earthy tones of the land. Farrow & Ball’s Oxford Stone No. 264, used for the panel frames evokes the smooth textures of warm, sunbaked earth and the natural beauty of Maltese stone. Farrow & Ball’s Pink Cup No. 9801, a subtle, blush tone brings a playful separation to the mouldings. The harmony among the different tones was crafted through a blend of spray painting and hand finishing. Each technique intertwines beautifully, enriching the texture and depth of these warm neutrals.
