Light and Day
Reconfiguring the traditional parlour-style rooms of a Victorian coastal property in Northern Ireland transformed it into an open-plan, light-filled home ideal for modern living, discovers Marie Kelly.
“Restoring a Victorian property is a real labour of love,” explains interior designer Shauna Stewart of Derry-based Velvet Interiors, who spent 18 months transforming a three-storey, 3,000 sq ft coastal home in Donaghadee, Co Down for a family of three.
The 1890s property sat on an elevated site just a stone’s throw from the Irish Sea so the ocean was a natural jumping off point for Stewart’s interior scheme. Neither she nor her clients wanted a stereotypical coastal design though, so there are no maritime motifs, ticking stripes or driftwood tropes in this perfectly pitched interior. Instead, Stewart took subtle design cues from the natural world, choosing fixtures, fittings and finishes in organic materials such as natural stone, solid wood, wool, silk and seagrass so as to reflect the surrounding landscape, not parody it.
It was also important, Stewart felt, that her clients could enjoy the stunning ocean view from any vantage point in the house so she divided the three main ground-floor rooms – kitchen-dining room, hallway-cum-living room and family room – with bespoke Crittall glass doors in a chalky shade of white by Artizan Fabrications in Belfast. In contrast to the parlour-style rooms of traditional Victorian homes, Stewart created a bright and open modern space perfect for entertaining.
Stewart’s first task, however, was to address the very tired 1990s PVC sunroom at the back of the house. The homeowners had consulted an architect about replacing it with a dramatic extension, but when Stewart looked at it from an interior design perspective, it didn’t make sense. “People need to ask themselves if they’re gaining any purposeful living space with an extension or just square footage,” she explains. “These homeowners had plenty of room. By changing the aspect of the kitchen and reconfiguring the downstairs rooms so they connected with each other, we created a ground floor that met all of their living and storage needs.”
The sunroom was replaced with a conservatory from Hampton Conservatories in Portrush, built in solid wood and painted black. “We were really inspired by American interior designer Nate Berkus’s kitchen in New York,” Stewart says. “The black provided a punctuation to the lightness of the kitchen, bringing a sharpness and edginess to the space.”
Stewart designed all of the kitchen cabinetry, which was handmade in solid wood and finished with patina brass hardware. Natural stone was an obvious choice for the floor as the homeowners wanted underfloor heating – a huge undertaking in a Victorian property Stewart admits – and it’s a great conductor. “It feels so warm underfoot,” Stewarts says. “The entire space feels like a hug.” The earthy tones were complemented by the bronze metalwork and tan hide of the industrial-style bar stools, sourced from Nkuku, which helped give the room the kind of casual elegance the homeowners were after.
Stewart introduced a mix of task lights, lamps, and drop-down pendants to the kitchen/dining area because this space more than any other requires a considered lighting plan. “The mistake people make all the time is overlighting,” she explains. An eclectic mix ensured the space functioned well and had the appropriate atmosphere whether it was being used for cooking, eating or socialising. The variety of tactile materials added to the informal aesthetic.
The couple didn’t want their home to be too serious though so they took a playful approach to the guest WC off the utility room. “I think a downstairs loo should raise an eyebrow,” says Stewart, “so we made it quirky and fun with a Cole & Son wallpaper in Frutto Proibito.” Panelling added interest to the small space and was painted in Little Greene’s Livid. It also facilitated a practical plinth for hand soap and decorative accessories.
As the project evolved, Stewart says her clients gained confidence with colour and they chose Little Greene’s Juniper Ash for the walls of the hallway-come-living room, a warm blue that created an intimacy without overpowering the space. “Blue is also a great backdrop for artwork,” explains Stewart. The couple chose an abstract painting by Galway artist Lola Donoghue to hang over the fireplace, which is one of the house’s few original features along with the Victorian bannister and the stained glass panels in the hall door and porch.
Stewart took subtle design cues from the natural world, choosing fixtures, fittings and finishes in organic materials such as natural stone, solid wood, wool, silk and seagrass so as to reflect the surrounding landscape, not parody it.
“We had to replace the front door, but we really wanted to retain the original stained glass,” says Stewart. “Whyte & Wood created a bespoke door and worked with glazers to restore and reinstall the stained glass panel, which we then discovered was of extreme historical interest and was worth £11,500,” reveals Stewart. The stained glass panel inspired the design of the porch floor tiles, which Stewart worked on in partnership with Ceramica Etc in Bangor. “The original porch was damaged so we designed a modern take on Victorian floor tiles by emulating the shapes and colours in the stained glass.”
The couple brought only a single piece of furniture with them to their new home – a stunning grand piano, which sits majestically in this central living space. “We really had to rise to the piano in this room and create a wow factor,” explains Stewart. “It’s also the entrance to the home, so the clients wanted it to make a bold statement,” she adds. A dramatic plaster and gold pendant light sourced from Visual Comfort makes an immediate impression when you walk through the front door, while a lush raspberry velvet sofa has a regal appeal. Two armchairs covered in a blue animal print fabric inject a pop of urban cool to the elegant mix creating a contemporary contrast that feels utterly fresh. Stewart selected a textured wool and silk mix rug from Alternative Flooring to anchor the conversational space and a washed oak dresser as a rustic foil to the glamorous metallics and luxury fabrics.
The original wooden floors were too damaged to save so a traditional herringbone parquet was laid in the formal living room, a wool and seagrass runner up the stairs and a lime-wash oak panel was chosen for the family room at the front of the house, which the owners wanted to feel more relaxed. Stewart kept the palette neutral but created interest through a variety of earthy textures and greenery, adding an occasional chair covered in a handprinted fabric called Moorish Haze from Rapture & Wright to punctuate the cappuccino and mocha shades of the sofa, cushions and coffee table. Bespoke cabinets were built on either side of the fireplace and the hearth was retiled.
In the upstairs family bathroom, the homeowners wanted a classic Victorian feel, so the roll-top bath, which was original to the house, was beautifully restored and a vintage-inspired bespoke sink unit with stone top was made by local craftsmen. The floor and shower tiles are marble and Stewart recommended satin brass for the bathroom fixtures as it’s more hardwearing than a patina finish.
Like the ground floor, the upstairs was reconfigured to create a master suite with dressing room and en-suite that faces directly out to the ocean. “Whether the homeowners are lying in bed, having a shower or in their dressing room, they can see the ocean,” explains Stewart. “The palette is completely pared back. The view does all the talking here.” And that’s what makes this beautifully curated coastal home truly special and worth the labour of love.
This article was originally published in The Sunday Times Ireland, November 2024