Where better to start than with Alice in Wonderland, Wind in the Willows or the Secret Garden? Imagine a house with a hidden, metal studded front door hidden in the bushes. We recently created just such a passageway for a client on the coast near Chichester, England. Although it doesn’t involve a magical kingdom, the key idea was building an extension that hides behind an old garden wall. Literal translation of ideas is one approach but another is capturing of atmospheres and events, similar to the way scenes from films capture an emotion or experience we identify with.

There are plentiful examples where imaginary scenes can be translated into reality. Who has not thought of Aladdin’s cave when design a snug, cosy media room or Rapunzel’s tower or Treasure Island’s tree house when creating a bedroom? Robert Adam wanted to be an artist before becoming an architect and was inspired by Gothic fantasies, old ruins, imaginary places and tales of old Italian buildings. Places, studying buildings from history and previous lifetimes where children’s stories are often set are default starting points.

Rarely are children’s stories set in the present. The imagination seems to work better in the past although science fiction would argue for the future. An example of such a children’s story is Louis Carroll’s Alice in Wonderland, which is full of extreme spatial experiences such as Alice shrinking and falling fast through the rabbit’s hole, landing in a hallway with seemingly unending locked doors. She is puzzled, thwarted and confused. Ever had this experience with entering buildings? Carroll’s humour and his surrealist creation bring such pleasure. To escape is a great release; to dream and not quite understand is in some ways like visiting Venice, Machu Picchu or Gaudi’s Parc Guell.

One of the most memorable scenes in the book is the Mad Hatter’s Tea party, with the long table, white cloth, orderly cups and saucers offset by egotistical, high impact companions with extreme clothes. Everyone is chattering but no one is engaging in real conversation. No room, cries the March Hare, Mad Hatter and Doormouse There’s plenty, retorts Alice as she takes a seat. Alice quickly retreats from the madness and re-enters the wood.

After a consultation with the Caterpillar, she soon comes upon a house where the Duchess is feeding a baby. As our heroine enters the kitchen, the cook takes the cauldron of soup off the fire and then showers Alice with saucepans, plates and dishes. Taking no notice of the flying debris, the Queen announces her famous command, ‘Off with her head!’.

Tenniel’s illustration of this scene is dominated by the Queen’s oversized head, but you can see the vestiges of a kitchen around them. I speculate what kind of kitchen Lewis Carroll’s and his illustrator would have made for Alice. Witty chaos maybe, unpredictable meals made of strange Marinetti-like ingredients, a lot of talking, including speculation about the world’s geometry, and strange Harry Potter-like magic going on in the background. Plates flying through the air, magic carpets, talking chandeliers, clocks that run backwards and anthropomorphic animals gathered around the table.

Throughout Carroll’s story, the accelerated speed of events and unexpected changes of scale provide challenging experiences of space. Fast moving conversations and a variety of perching places remind me of the joys of large families and big rooms. The open fire and the cat curled up on the floor suggest a sort of normality.

If anyone reading this wants to sketch their imaginary Alice in Wonderland kitchen, I will post it here. Meanwhile I have booked my tickets for the Portsmouth premiere of Tim Burton’s cinematic interpretation of Carroll’s tale. I can’t wait to see how Burton and his creative team have imagined the interiors, although in some ways I would like to keep my unformed and innocent imaginings. Carroll’s writing, although energetic and full of colour and content, left an openness to the imagination that makes room for all of us.

 
Brizo launched three new products: Venuto with clean, modern; Virage, a fluid, gentle twist that is also quirky and unexpected; Talo, inspired by organic shapes with hints of steam punk.

All are chock full of technological features as well. SmartTouch replaces grip handles, while Magnedock is a pull-down, handheld nozzle, kept in place by a magnet. Do we really need this new technology for taps? From an environmental perspective, it is crucial way of limiting water use.
 
There are witty touches too. Talo, which is inspired by bluebell shapes, has a vase for holding fresh herbs or flowers. Who would of thought of this to include behind your sink? There is also a bathroom collection in the same style where shelf brackets and a tilting wall mirror add surprise to their faucet collection.
 
Never before did I realize I needed a education in taps and faucets or enjoy it so much, along with the twenty other design bloggers from all over the USA who flew in to share the same experience. Brizo is a company that welds fashion into implements that control water. Sound ridiculous? Not anymore.
 

We probably know why they look the same, too. ‘No time for real design and no demand for original design’. Market research is often the excuse of the unimaginative for not doing something. I experienced this during my days at Smallbone. The Unfitted Kitchen did not have a market before we created one – and now freestanding furniture is happily back in our design lexicon. We took an intuitive risk.

Think of what great product designers have done to advance design. These include Mark Newsome, Thomas Heatherwick or Marcel Wanders, or architects such as Frank Gehry and Glenn Murcutt. The big fashion houses do the same thing everyday – they create edgy designs that people love, or at the very least will wear. Details first seen on the catwalk become part of our daily design vocabulary a few seasons later.

Why can’t we kitchen designers learn a little from these guys? On Friday Feb 12, during Jason Wu’s fashion show during New York Fashion Week, I have a chance to ask him what the kitchen industry could learn from what he does.

It is possible to solve a brief well, be original and sell your ideas to a client regardless of the size of the budget. You have to do four things: take the client through an unblocking process to establish a unique and personal brief; be prepared to say ‘no’ on occasion; communicate your ideas well; and have a passionate understanding of your craft.

*Please note the title of the blog is a dialectical tribute to Ian Dury’s song Reasons to Be Cheerful Part 3.

As back rooms that were places of work for women, where the unremitting daily tasks of caring and providing were carried out, kitchens were not places of fun or leisure, but were rather more of duty and purpose. As household tasks are now increasingly shared between both genders, the contemporary kitchen has become a place where we can mix our domestic activities with enjoyable ones such as chatting, snacking or reading the newspaper.

In these happier kitchen times, our spaces are tailored to suit our instinctive needs – space, light, communication and nature. The kitchen is now a liberated space. So what’s next? What behaviours will influence how kitchen designers create  the kitchen of the future? To predict or anticipate this we need to look at how we live in and utilise the whole house.

Rooms have broken down their ‘use’ barriers, essentially become more multipurpose and open plan. Their conventional labels don’t necessarily apply anymore. Technology (and I say this with care because I have always been a bit of a sceptic regarding claims that it changes us as people) is playing a big role.

The proliferation of iPods, 3G phones and laptops democratically spreads the use of technology to allow it everywhere in the house. Every room can now be a media room, work room, game room or reading room, although not a kitchen! The cellular structure of the house is disintegrating and the kitchen is not just not exempt, but at the forefront.

Over the last few decades, the kitchen has been the most active room in the house in terms of evolutionary use. Dining rooms fell under the remit of the kitchen twenty years ago, being relocated to the front of the house. The various functions of the living room have also accrued over a similar time frame and now hallways, gardens and multimedia are in the orbit of the kitchen.

Five socio-economic forces that might account for these changes include: shortage of time because both men and women work: women’s liberation (if you are in doubt of this look at kitchens in Asia or the Middle East); open plan living with its addiction to light space; less formal social attitudes and behaviours; the widespread adoption of central heating; and changed attitudes about food and cooking.

Stay tuned for more on the evolution of the post-culinary kitchen.

Does home design need fashion? A need for renewal and fresh thinking is always welcome. On the other hand, the more we become aware of ecological damage and shortage of resources, the more we need to make longevity a priority. We need changing landscapes. Summer, winter and spring would have to be invented if they did not already exist.

The relationship between fashion and design is historical. Would the French Aristocratic women have come up with Recocco style – the first fashion inspired movement that affected interiors? Osbert Lancaster’s feast of send-ups in ‘Here of All Places,’ the most famous historical cartoons of interior styles, demonstrates an easy transfer of style ideas between home décor and fashion.

Fashion me a kitchen that picks up the chatter of contemporary conversations, but don’t let it take over the design. Plan the kitchen to work around our instincts, look carefully at new research coming from a solid foundation like neuroscience and then, for icing on the cake use, use objects of decor that can be changed easily. Add you own utensils, the clutter of a busy household, and the necessary accroutrements of survival,  and you will quickly be in touch with the land of now. For me that is the essence of being fashionable.

Here’s an expanded version I originally did for the Sunday Times (UK) on how you can get more out of your kitchen this Christmas. These are things any family can do and are particularly helpful if you are short on space or want as harmonious a festive break as possible.

• Cook a few things that aren’t normally on the menu because it takes you to another place, free. I describe this as food travelling. Christmas becomes more of a special occasion if the food is thought about, loved and provides a taste of something exotic. Try and get everyone in the household involved in the planning.
• Use a recipe book, since the author has done the inventing, thinking and measuring for you. We use Elizabeth David’s Christmas. It’s chock full of out-of the-ordinary ideas. I might be biased because she was my aunt and she cooked for us during my childhood, but it is the only cookbook I know of dedicated to Christmas.
• Eye contact allows for conversation so when you cook and prep do it facing into the room.
• The pace makes a difference to the enjoyment and sense of satisfaction of cooking. If you create a sense of order, starting with sharp knifes, accessable recipe instructions and well laid out utensils cooking becomes a pleasure, a craft not a grind and the pace can be more easily sustained.
• Cook Christmas day lunch the day before so you don’t have to cook twice on the same day. Serve the different dishes like tapas, putting them on display for all to take in. (This should allow the cook to earn brownie points and escape the washing up.)
• Cook together. Accept help from anyone keen to be join in. Adapt your kitchen to have two prep zones by using the table or bringing in a temporary one on trestles.
• Buy a low height, compact, low height camping gas ring that sits on any surface. This creates an instant cooking space. Most hardware stores stock them for the price of a take away meal.
• Get some fresh air. Wining and dining can quickly turn to overindulgence, and my family always finds it refreshing to walk off a feast, especially on Christmas day between lunch and dinner.
• Gather holly or evergreen branches and spray with silver or gold paint. Tuck them behind pictures or mirrors; tape them onto shelves or dressers.
• Bring out various sized bowls and fill to overflowing with produce, whether nuts, aubergines or tangerines. Spruce up your window sill, shelf, or dresser. Signs of harvest and abundance make a reassuring and beautiful addition to the Christmas well being.
• Small dining tables are intimate – don’t be afraid of getting cosy with your neighbour. It encourages camaraderie, but make sure there is enough room for the food!
• Your eyes can make your mouth water. Make sure you have somewhere to plate and serve. If necessary bring in a trolley (cart for our USA readers) from another room.
• If your table is too small, extend it by buying a sheet of cheap ply 8mm thick and cut it to (any) shape you like. Then all you need is a tablecloth and you are all set for dinner with extended family and friends - with space for decorations, candles, big serving plates, and that fine china on its annual outing.
• For dinner, dress up in something posh. Iconic fancy or vintage dress for dinner makes it feel important, theatrical even slightly absurd, but memorable.
• Traditional fare for Christmas dinner is straight forward. Meat – whether turkey or goose with spiced up bread sauce and gravy – and two vegetable dishes is the norm. We still enjoy child-friendly desserts; it makes us recall Christmases past. We usually luxuriate in home made ice cream and biscuits, the former made in advance but not churned until we sit down to the second course (texture is everything). Fine wines for each course, favourite old glasses and candles everywhere, crackers to nibble on and lots of chat about the year past.
• You can live comfortably on the leftovers for several days, so cook generous quantities of everything. One of the joys is they only need reheating. The cook can take a break and meals eaten casually without much pre-planning. (In other words, try to get some relaxation during your winter holidays).
• Hibernate. Think of the kitchen of Ratty’s in Wind in the Willows (above) which feels so modest, reassuring and safe from the world above. Fall into a sleepy routine of book reading, games, TV viewing, preferably around a fire, with plenty of time for strolls.

‘In London, where there is a shortage of space and where the homes are more intensively used, most of our clients have abandoned dining rooms in favour of open-plan living,’ says the celebrated kitchen and dining-room designer Johnny Grey, author of Kitchen Culture.

‘But our clients with country properties tend to persevere with a dining room, even if they only use it on special occasions.’

For many, the kitchen has become a living room where you can cook.

‘The requirement is for a big, social area where there is a culinary space. People in cities generally lead hectic lives, and there’s less chance for families to spend time together. So in this context it’s crucial to have open-plan living, where everyone is in the same space,’ says Grey.

Read the whole article here.

Our version of “Rough Luxe” uses design to hold together a series of very individual pieces of furniture, some of which are antiques, bric a brac and found pieces, combined with the application of principles based on neuroscience – you might call this instinct-based design. “Rough” in this context means a focus on texture, using solid, natural materials and finishes. Here you can see an example of a kitchen we designed for a family of six. They wanted something unostentatious that reflected their love of textures and colour.

The finishes in the cabinetry and furniture we used evoke texture and age. This is an example of how we celebrate wear and enjoyment of tear and embrace irregular and hand made imperfections in the construction of furniture and fittings.

The other component of “Rough Luxe” is of course luxury. Luxury means our bodies are quietly taken care of. In neuroscience terms, the design responds to our hard-wired needs. Elements of this include efficient but hidden ergonomics, long views, natural light and the relaxing effect of seeing nature and keeping in tune with the time of day. We also design to maximize ease of movement, ’soft geometry’ and other body support mechanisms like non-slip surfaces and worktops at the proper height.

Here you can see how we’ve applied some of these principles using freestanding furniture in the center of the kitchen.

The circular shape of the peninsula allows your body to move around without having to make sharp turns or walk at a specific angle to meet a straight line/edge. It also has no sharp corners so does not alert peripheral vision and its link with the brain’s fight and flight mechanism.

Finally, it’s also important that the space reflects the personalities of our clients. The incorporation of clutter and happiness-inducing objects allows one to feel at home. Here you can see how the client has used her own wallpaper and freestanding pieces and put her individual stamp upon the style and taste of the room.

According to leading sociologists, it is the lack of participation that has led to the downfall of Thanksgiving. And the cure for this lazy malaise? It seems that the principle of ‘action absorbing anxiety’ has demonstrated that if each member of the family has a specific task at hand, a bonding synergy will be generated that has healthy neurological implications for all. In other words, get them involved.

The role of kitchen designer is integral to the success of this objective. If we look at the typical suburban floor plan, the fragmentation of active rooms has only reaffirmed the archaic gender boundary. This aged stereotype of women preparing food in the kitchen while the men watch football in the living room has yet to evaporate in the majority of Americans homes. In this layout, the sterile dining room becomes a transient pause for food and drink, a no man’s land between kitchen and living. As designers, we must recognize the importance of breaking down these boundaries, both physically and mentally.

It is our duty to create spaces that emphasize this seamless flow between functions, visually linking us as a family unit and encouraging democratic planning on all levels. A kitchen layout must be flexible enough to support several activities at once and allow the passive observer to interact if desired. It can be said that food preparation is a stronger bonding experience than eating itself.

Think foreplay. It is this very anticipation in the fulfillment of a desire that makes the activity so powerful. Isolating individuals from this process can only lead to detachment on a larger scale. This active living space should be a welcoming environment for all. Transforming this concept of task into something much bigger than work is the challenge set forth.

Perhaps we should learn to dine in the midst of our own kitchens? Once upon a time it was the norm. There’s a thought, Thanksgiving every night.

*Editor’s note: this blog post by Kevin was originally published last year, but we thought we’d revisit it in celebration of the holiday.

No longer. Boris is a hero for highlighting that space is essential to human dignity. Even though we are in a period of financial restraint, he has taken a stand for quality and basic standards, recognising that house walls last for not just a generation, but more like a century or even longer when constructed well.

These Parker Morris standards are not hugely generous, so how can we get the most out of them, now that our lifestyles are less formal and more amenable to open-plan spaces? As kitchens are no longer separate, back rooms but rather the hub of family life, we have been presented with a unique opportunity for spatial liberation.

The Unfitted Kitchen reduces the visual definition of the kitchen, as its esprit-de-cours is that of a living room. It uses free standing, non-generic, non-matching furniture and architectural fittings, in a relaxed, but ergonomic way and fits easily into many room types. This enables even small apartments to be opened up, dwellers to escape the oppressiveness of small rooms, bringing an air of civility to how one lives in them.

Dwellers can enjoy the sociability of family living through having at least one space that is big enough for multiple activities. The sense of ease associated with open plan layouts, mostly found in larger homes, could become available to all. How ironic that its takes a politician to do something that no architect or designer could have done that nonetheless is so integral to the quality of future, urban home design. Now it is up to us designers to ensure that the public get more dignified homes as and when they are built.