An Introduction to Modern Textiles: Kit out your furniture in luxurious silk or no-frills leather,; textiles can add just as much dimension to room as art, and can be equally collectible.

Among her latest products is an upholstery line, including the Rowridge pattern, shown on a circa-1960s chair by Liverpool company Guy Rogers.

In her studio, a hank winder spins bundles of wool yarn that are then used to stitch blanket edges.

Pritchard uses her 30-year-old George Wood dobby loom to make in-house samples. The loom is of the “peg-and-lag” variety, in which a pattern is made by a machine that works from a binary code. “It’s an old workhorse,” says Pritchard, “and has done a lot of mileage over the years!”

“Design needs to have a connection to where it’s made.”—Designer Eleanor Pritchard

Patterns match those of the pillows (625 Line, Signal, and Northerly).

London-based designer Eleanor Pritchard sources Shetland lambswool from mills across the United Kingdom for her blankets, pillows, and upholstery. She designs the fabric patterns in her Deptford studio, near Greenwich, in a converted warehouse called Cockpit Studios.

Another similar tool that designers might use is a mood board, which seeks to convey the feeling or vibe of a space with images instead of the exact fabric or colors that will be used in a space. A mood board abstractly conveys inspiration, ideas, and connections that would otherwise be hard to explain using just color or words.

Inside the studio

The planks inside the house blend into those on the small porch just outside. It's a nice touch that helps marry the outdoors with the home's interior.

A covered walkway provides a sheltered passage between the main house and studio. The fire pit is used during social gatherings.

The calming grey colour scheme continues in the guest bedroom. Cushions by Eleanor Pritchard.

Cedar slats help this Ontario lake house float soundly atop still waters. Photo by: Raimund Koch

By merging typical Saigon architectural and stylistic details, architect Toan Nghiem of a21 Studio created a space that brings family together. Stacking roof layers, open flowering balconies, and an alleyway that serves as a living room, dining room, and outdoor playground are all filled with colorful, rich materials. Inside Saigon House, reclaimed and second-hand furniture lend history and spirit to the home. With so many small interior rooms and divisions between spaces, the addition of a net ceiling brings openness to the back alleyway, where the family often gathers to eat dinner. Not only does the net allow for ventilation and light, but it offers a place to play for the children, who love to climb and lounge above their parents.

Technically, this small building is not a tree house, since it’s braced at the ground by supports, but Grey didn’t want to compromise the tree, which “doesn’t have a very long lifespan,” the designer says. “So, I didn’t want to jeopardize however long that tree had with any excess baggage.”

Sitting Pretty The ground floor was originally two rooms; now it’s been transformed into one continuous space. To compensate for a low ceiling, Kiely’s team dug into the ground to create a true sunken seating section leading to the garden. Built-in sofas, an Eames rocker, a stool by G Plan, and concrete tiles outfit the space. Kiely chose a neutral charcoal finish for the Malm fireplace to balance the green linoleum floor and her own Rhododendron wallpaper in Sunflower.

Kitchen Confidential Kiely and architect Maxim Laroussi designed the kitchen unit. “I originally didn’t want an island, but I liked what we did because it feels like a piece of furniture. It’s cozy to cook around,” Kiely says. Panels of orange and olive Formica accent the 1950s-inspired piece, which houses a cooktop by Smeg. A checkerboard of closed cabinets and open shelves offers storage against the far wall for Kiely’s collection of dishes, knickknacks, cookbooks, and small appliances, like the KitchenAid stand mixer and radio by Vita Audio. The floor is green Marmoleum, selected because it feels warm underfoot. Kiely’s own Stem dish towels and ceramic storage jars add more lively color to the room.

The sinuous interior is lined with CNC-cut wooden panels that define stepped sauna seating and porthole windows.

The sauna structure includes a small deck.

A 25-foot custom bifold door made of corrugated plastic and twin-wall polycarbonate encloses an artist’s studio designed by Marc Frohn of FAR frohn&rojas.

Textile designer Orla Kiely’s renovated London Terrace House is punctuated by her distinctive palette and motifs.

The ribbon-like design affords the building three different gable profiles—one is symmetrical, while the other two lean in opposite directions.

Rose’s pottery studio opens right up to the back lawn to let the sunlight (or curious pups) inside.

A wood-burning stove from Harvia, of Finland, heats the sauna. The pavilion’s rough-cut pine walls are treated with tar, a preservative that yields a time-worn aesthetic.

Phillips designed Judith a stark white, glass-fronted art studio.

We tried to be very resourceful. You shouldn’t see any tile on the deck that had to be cut; it’s almost like a perfect puzzle,” comments the designer, Marc Frohn.

The sauna is named after Huginn and Muninn, two ravens from Norse mythology.

The structure is made entirely from treated pine, while its corrugated polycarbonate roof protects it from the elements.

Home of the Brave In the ground-floor eating area, the design team wrapped the walls in rich walnut to instill warmth often found in mid-century homes. “Sometimes one bold move is enough. Be brave with fewer statements,” Kiely advises. “Go for the big thing rather than lots of little things.” Kiely’s Upholstered Dining Chairs from her House collection surround a Danish vintage dining table. Her Gloss vases adorn the hallway console, which is also from her House line.

The Exbury Egg asks us to reexamine the way we live while carefully considering sustainability and the use of natural resources.

These tiny egg-shaped cabins are mounted onto small podiums to keep them stable.

The sauna door handle is a simple piece of driftwood. “One principle rule I followed,” says Kiehl, “was: Don’t build on outdoor space if it can work as outdoor living space. Norwegian summers are short. We want to be outdoors as much as possible.”