Search results for "Resultant listing" in Home Design Ideas
Tile Doctor LtdThis Black and White Marble tiled hallway floor at a Grade II listed property in the village of Tattenhall has quite a history. The building was constructed in 1865 and at one time it has been the home to the high sheriff of Cheshire, and the family home of Edith Wignall the daughter of Sir Henry Tate the founder of the sugar company Tate and Lyle.
In more recent years the property had been used as a council building and even a nursing home for the elderly. After a long history of decline it has now been restored to a lavish family mansion however the marble floor had suffered over the years and still need attention. The current owner had been in touch as they wanted it restoring and basically brought back to life.
As it turns out I had already planned to go to Tattenhall the following week to work on another listed building which was formerly the village bank. After discussing the Marble floor over the phone, I agreed a date and time to pop over from the bank and inspect the floor in detail. I can provide a rough quote from photographs, which has been especially useful recently, but it’s far better for all concerned if I’m able to properly survey the floor first.
The Marble floor consisted of Black and White Mable tiles laid in a diamond pattern, it wasn’t a very large area perhaps 9 square metres in total. The tiles were well worn as described but also stained and scratched. I would see they would need a deep burnish and polish to bring them back to life and then protected with a fresh sealer. Following on from that visit I was able to provide an accurate quote which was accepted, and a date agreed for my return.
The first job was to protect the surrounding heavy wooden panelling with masking film. The floor was very heavily stained yellow with deep scratches, to remove these I would have to grind the marble back until a clean fresh tile was left. To start I used a 200-grit coarse pad fitted to a weighted buffing machine, the abrasive action of the pad was lubricated with water. After inspection I found that the staining and scratches were still there, so I needed to use stronger pads, so I worked my way through a set of very coarse milling pads starting at a 50, 100 and finishing with a 200-grit pad. Again, water was used to lubricate, and the resultant slurry was removed by a powerful wet vacuum and washed down between each pad.
The milling pads had the desired effect, and I was then able to bring back the polished appearance of the Marble surface using a set of finer burnishing pads with the same process. The 400 and 800-grit pads helped to clean and remove the fine scratches left by the milling pads and then the next 1500-grit pad started to build the shine back on the marble tile.
After finishing with 1500-grit pad I washed the Marble with Tile Doctor Stone Soap and vacuumed up the residue with the wet vacuum. I left an industrial blower in place overnight to dry out the floor ready for the next morning when it would be sealed.
The next morning, I used the last of the four burnishing pads which is a very fine 3000-grit to polish the floor further. This last pad is applied dry with just a spray of water to create a high gloss finish.
When I was happy, I sealed the floor with two coats of Tile Doctor Colour Grow which is an impregnating sealer that soaks into the fine pores of the Marble to protect it from within. This product also improves colour and after application it was left to soak into the tile for five minutes before polishing off and then leaving it to dry.
The last step was to I buff the floor with a white pad. The finish was impressive, and the family were very happy with the work we had carried out. For aftercare I recommended they use Stone Soap as its designed for the regular cleaning of sealed and polished stone, as well as cleaning it also helps build the patina.
Alastair Robb
West Cheshire TIle Doctor
Milton ArchitectsThis characterful grade II listed farmhouse required some sensitive and imaginative conversion work to create new living spaces within the existing outbuildings and barn. Balancing the constraints of the existing fabric, the requirements of the conservation officer and our clients’ brief was a challenge. But as is so often the case, constraints make for stronger solutions, and we think the results are wonderful.
Milton ArchitectsThis characterful grade II listed farmhouse required some sensitive and imaginative conversion work to create new living spaces within the existing outbuildings and barn. Balancing the constraints of the existing fabric, the requirements of the conservation officer and our clients’ brief was a challenge. But as is so often the case, constraints make for stronger solutions, and we think the results are wonderful.
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Milton ArchitectsThis characterful grade II listed farmhouse required some sensitive and imaginative conversion work to create new living spaces within the existing outbuildings and barn. Balancing the constraints of the existing fabric, the requirements of the conservation officer and our clients’ brief was a challenge. But as is so often the case, constraints make for stronger solutions, and we think the results are wonderful.
Milton ArchitectsThis characterful grade II listed farmhouse required some sensitive and imaginative conversion work to create new living spaces within the existing outbuildings and barn. Balancing the constraints of the existing fabric, the requirements of the conservation officer and our clients’ brief was a challenge. But as is so often the case, constraints make for stronger solutions, and we think the results are wonderful.
Milton ArchitectsThis characterful grade II listed farmhouse required some sensitive and imaginative conversion work to create new living spaces within the existing outbuildings and barn. Balancing the constraints of the existing fabric, the requirements of the conservation officer and our clients’ brief was a challenge. But as is so often the case, constraints make for stronger solutions, and we think the results are wonderful.
Milton ArchitectsThis characterful grade II listed farmhouse required some sensitive and imaginative conversion work to create new living spaces within the existing outbuildings and barn. Balancing the constraints of the existing fabric, the requirements of the conservation officer and our clients’ brief was a challenge. But as is so often the case, constraints make for stronger solutions, and we think the results are wonderful.
Milton ArchitectsThis characterful grade II listed farmhouse required some sensitive and imaginative conversion work to create new living spaces within the existing outbuildings and barn. Balancing the constraints of the existing fabric, the requirements of the conservation officer and our clients’ brief was a challenge. But as is so often the case, constraints make for stronger solutions, and we think the results are wonderful.
Milton ArchitectsThis characterful grade II listed farmhouse required some sensitive and imaginative conversion work to create new living spaces within the existing outbuildings and barn. Balancing the constraints of the existing fabric, the requirements of the conservation officer and our clients’ brief was a challenge. But as is so often the case, constraints make for stronger solutions, and we think the results are wonderful.
Milton ArchitectsThis characterful grade II listed farmhouse required some sensitive and imaginative conversion work to create new living spaces within the existing outbuildings and barn. Balancing the constraints of the existing fabric, the requirements of the conservation officer and our clients’ brief was a challenge. But as is so often the case, constraints make for stronger solutions, and we think the results are wonderful.
Milton ArchitectsThis characterful grade II listed farmhouse required some sensitive and imaginative conversion work to create new living spaces within the existing outbuildings and barn. Balancing the constraints of the existing fabric, the requirements of the conservation officer and our clients’ brief was a challenge. But as is so often the case, constraints make for stronger solutions, and we think the results are wonderful.
MOHAMMAD YAZDANIOur First Step in design process after studying the Project’s context and its surroundings, was to define each and every activity that was supposed to happen in the building at any time of night and day in a list. With a close study on the list we have developed a design program.
Afterwards with taking site climate, cultural context and privacy considerations into account, we have developed the program into a basis, shaping the general geometry of the building, considering structure and functionality. In design process we have avoided unnecessary details and formalism (form without meanings).
This building seeks a strong sense of place in its context, and it because this notion, it builds a firm connection to its surroundings. SABA Apartment’s presence in its context is of a dynamic kind, both inspired and influencing its functionality affected by the resident’s lifestyle. In this building the resident is an actor featuring in a scenario written by the architect and is well-aware of his needs and lifestyle, fulfilling them in SABA Apartment. In this building the border between inside and out has been designed in response to the cultural context of Iranian traditions emphasizing on a bold separation between interiors and exteriors in order to achieve privacy. In addition with taking its cultural context into consideration, the design develops consonant to the contemporary architecture trends. This transnational approach results in both dynamism and variety in façade changing each time according to the resident’s needs. The dynamism and control over the façade by the residents of the SABA Apartment is the result of the borderless design, which we believe is with no doubt one of the most interesting trends in the world of contemporary architecture, creates a virtual space, bonding reality and fantasy all together.
MOHAMMAD YAZDANIOur First Step in design process after studying the Project’s context and its surroundings, was to define each and every activity that was supposed to happen in the building at any time of night and day in a list. With a close study on the list we have developed a design program.
Afterwards with taking site climate, cultural context and privacy considerations into account, we have developed the program into a basis, shaping the general geometry of the building, considering structure and functionality. In design process we have avoided unnecessary details and formalism (form without meanings).
This building seeks a strong sense of place in its context, and it because this notion, it builds a firm connection to its surroundings. SABA Apartment’s presence in its context is of a dynamic kind, both inspired and influencing its functionality affected by the resident’s lifestyle. In this building the resident is an actor featuring in a scenario written by the architect and is well-aware of his needs and lifestyle, fulfilling them in SABA Apartment. In this building the border between inside and out has been designed in response to the cultural context of Iranian traditions emphasizing on a bold separation between interiors and exteriors in order to achieve privacy. In addition with taking its cultural context into consideration, the design develops consonant to the contemporary architecture trends. This transnational approach results in both dynamism and variety in façade changing each time according to the resident’s needs. The dynamism and control over the façade by the residents of the SABA Apartment is the result of the borderless design, which we believe is with no doubt one of the most interesting trends in the world of contemporary architecture, creates a virtual space, bonding reality and fantasy all together.
MOHAMMAD YAZDANIOur First Step in design process after studying the Project’s context and its surroundings, was to define each and every activity that was supposed to happen in the building at any time of night and day in a list. With a close study on the list we have developed a design program.
Afterwards with taking site climate, cultural context and privacy considerations into account, we have developed the program into a basis, shaping the general geometry of the building, considering structure and functionality. In design process we have avoided unnecessary details and formalism (form without meanings).
This building seeks a strong sense of place in its context, and it because this notion, it builds a firm connection to its surroundings. SABA Apartment’s presence in its context is of a dynamic kind, both inspired and influencing its functionality affected by the resident’s lifestyle. In this building the resident is an actor featuring in a scenario written by the architect and is well-aware of his needs and lifestyle, fulfilling them in SABA Apartment. In this building the border between inside and out has been designed in response to the cultural context of Iranian traditions emphasizing on a bold separation between interiors and exteriors in order to achieve privacy. In addition with taking its cultural context into consideration, the design develops consonant to the contemporary architecture trends. This transnational approach results in both dynamism and variety in façade changing each time according to the resident’s needs. The dynamism and control over the façade by the residents of the SABA Apartment is the result of the borderless design, which we believe is with no doubt one of the most interesting trends in the world of contemporary architecture, creates a virtual space, bonding reality and fantasy all together.
Sims HilditchA dining room designed by Sims Hilditch
Farmhouse enclosed dining room photo in Wiltshire with gray walls and a wood stove
Farmhouse enclosed dining room photo in Wiltshire with gray walls and a wood stove
Ellen Utley InteriorsThis dining room brings the outdoors in as much as possible in this listed property. The owners are keen travellers and use this space for work as well as entertainment.
Tartan HomesMarc Fowler
Large transitional l-shaped dark wood floor kitchen photo in Ottawa with an undermount sink, recessed-panel cabinets, white cabinets, granite countertops, white backsplash, mosaic tile backsplash, stainless steel appliances and an island
Large transitional l-shaped dark wood floor kitchen photo in Ottawa with an undermount sink, recessed-panel cabinets, white cabinets, granite countertops, white backsplash, mosaic tile backsplash, stainless steel appliances and an island
Diana Bastone DesignsFreestanding bathtub - mid-sized contemporary master porcelain tile and gray tile porcelain tile, double-sink and gray floor freestanding bathtub idea in Toronto with flat-panel cabinets, light wood cabinets, an undermount sink, quartz countertops, gray countertops, white walls and a built-in vanity
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