Over the years I have developed a practice which bridges the gap between architect and client. I offer a completely bespoke design service, bringing together specialised designers and craftspeople to realise carefully considered historical building renovation and conservation. I work intensely with my clients to find design solutions which are both historically informed and which also give a sense of ease and simplicity. My approach is the building equivalent of the Slow Food Movement; good local ingredients, skilfully crafted. The antidote to modern quick build techniques.

With historic buildings, a thorough understanding of the fabric of the building and also its socio-economic context is key to creating good and respectful design solutions. Understanding client expectations; what a building is capable of delivering within the confines of listing and other planning constraints, is also an important element of every project for me.

I am always mindful of the environmental impact of building but equally passionate about the emotional impact that buildings, interiors, gardens and the wider landscape have on our lives. Sustainability and harmony are inextricably linked. Our wellbeing is heavily dependent on healthy surroundings; aesthetic, social and environmental. Skilful design and a considered choice of materials can create spaces that have the power to positively influence our lives.

My childhood was spent in South Africa where from an early age, I was drawn to the simplicity, economy and elegance of Dutch and British colonial design. I read Classics and History of Art and Architecture at the University of Natal, Pietermarizburg before studying as a post graduate at the Guildhall in London.

Now based in West Wales, my fascination with the vernacular and the essentially ‘provincial’ continues. The manner in which classical design elements have permeated from far flung cultural centres and have been absorbed into local traditions, is a constant source of inspiration and delight. The beauty of vernacular building most often lies in an organic use of locally available materials and the traditions which have developed to exploit these.

My work draws largely on these influences as I self-consciously strive to avoid passing trends, opting wherever possible for a timeless simplicity which is neither in nor out of the prevailing fashion.