
No reflected light. Every source lands on a matt surface and stops.
One high slot at the threshold, one west window in the main room, one low pendant over the table. Nothing is uplit, because a matt ceiling gives nothing back. The result is a room that is dim at the edges by design and never flat.

Rammed clay, unglazed terracotta, lime plaster. Nothing sealed to a shine.
The clay is rammed on site in 120mm lifts and left unsealed above the splash line. Terracotta is laid with a 12mm joint and waxed, not lacquered. Lime plaster carries the upper walls one tone lighter than the floor.

One block anchors each room; everything else is low and soft.
A cast bench, a plinth table, a clay dining top: each room gets exactly one heavy, solid gesture. Around it, seating drops to 600mm so the wall stays the tallest thing in view.

Undyed linen, ash and terracotta. One glazed object, and only one.
Upholstery is a single undyed linen across every seat so the eye reads shape rather than colour. Frames are ash, left raw. The ceramic lamp is the sole glazed piece in the curation and it sits where it will catch the last of the west light.














