1 A CRAFTED IDYLL

Where the bee sucks, there suck I: In a cowslip’s bell I lie; There I couch when owls do cry. On the bat’s back I do fly After summer merrily. Merrily, merrily shall I live now Under the blossom that hangs on the bough.

BY WILLIAM SHAKESPEARE (from The Tempest)

Our retreat idyll is a place which our imagination happily revisits time, and time again. It is a shelter for our mind to expand and creativity to be explored; a space in which we allow ourselves to wallow in fantasies and where we meet our true self. It is a place which feels acutely familiar, yet utterly otherworldly. We are intimate with the finest details of how it should be: how the atmosphere is created with the quality of light, the sounds and the smells within and without, and the textures which form its architecture. Every item within – from chair, to bowl, to handle and rug – has been chosen, crafted and curated with the greatest of care. We know how we will feel when we are there, and we radiate a sense of tranquil satisfaction.

We have invited Sam Lee – Mercury Prize nominated folk singer, conservationist, song collector and broadcaster – to share his fantasy retreat commission with architectural and furniture practice, SASA Works. Cover illustration by John Broadley for The New Craftsmen illustration John Broadley for by Cover

2 33 THE MOSS HOUSE BY SAM LEE

“So this is my imaginary design for my retreat– a dream fishing hut. That’s not a fishing hut that’s in my dreams, but a fishing hut that I visit to go fishing for dreams and ideas.

The Moss House is located on an island in a chalk stream (a very particular feature of the English countryside) and almost totally unique to Southeast England. My specific chalk stream is The River Test.

The island is surrounded by braided passages of river which are full of salmon and trout, and billows of watercress and watermint. The water is always at 10 degrees celsius which is one of the unique beauties of chalk streams. There are no bridges to reach this hut, so you have to take your shoes and socks off and wade through the 10 or so feet of fine soft gravelly, chalky, flinty river bed.

I imagine that The Moss House will be a two storey lean-to between two alder trees which are growing out of the river, on the riverbank. Alder trees have enormous height, strength and straightness so they could become the two columns on either side of the main double length, double heighted hut.

It is a three-walled hut which is always exposed to the outside. Between the two alder trees is a porch or veranda which trails off into the stream, so that the margin between where the chalky bed ends and the hut begins, is ambiguous (chalk streams never flood because there is always a constant, measured, flow out of the chalk) .

The whole hut will be made from wattle and daub which is covered with lime and woven with moss. The moss growing from the hut is a connection to one of my favourite, traditional songs which comes from Ireland – The Moss House - which talks of tumbledown homes that were the “keepers of song & story”. The roof will be thatched and made out of the reeds growing around the water.

As a recognition of the chalk landscape, inside the hut there is a beautiful white chalk hewn fireplace, which has blackened from fires, and a stone chimney.

There will be rudimentary facilities. The kitchen will have a simple basin into which water will be drawn from the river as it will be clean enough to be used for washing. There will be a set of waterbeds with reedmace and yellow flag (both types of rush) for cleaning all my grey water.

There’ll be a ladder up to a platform, above the veranda, where there will be a double bed. It will also be open on one-side and looking down over the river, with the ability to close some shutters. From up high you can watch the trout and salmon swim past, and the ducks and geese all go about their journeys. It will be as though one’s dreams could be fished out of the crystal-clear stream below. ˮ

4 5 ‘ 6 7 THE MOSS HOUSE: THE DESIGN BY SASA WORKS

‘‘We have designed the space as a poetic reflection to Sam’s words – considering the importance of craftsmanship and an architecture that listens to and cares for the land. We draw all of our projects by hand a process that allows us to dream and feel the space. Tuning in as we draw with how the lines form the structures that are designed – how they form an inter-relationship of material details that inhabit the space.

The Moss house is aligned to view the morning sun and the evening sunset, with platforms to watch the river at different times of the day. The natural materials of the wood thatch and lime will patina with time imbuing the surfaces with nature. The Moss House will be built from locally sustainably harvested timber and materials. Allowing the beauty of the form of the trees to speak in the final building. A space of contemporary style and traditional craftsmanship to allow for contemplation. ‘‘

Craig Bamford and Isik Sayarer, SASA Works, London June 2020

9 10 11 The Moss House

The Moss House calls you As A space to dream As the river speaks As the river bank speaks As the tree spirits speak As the nature sounds echo around the form

Hexagon meeting the ground Openings that capture the rays of the sun

Dreams of light and shadow at play As I transcend towards The Circle that meets the sky

A space of permeability For reflection

With Portal catching the light of the moon dreams of the stars With Landing places that Anchor the footsteps of the soles of the feet To meet the soul of the land Footsteps through streams Windows greeting the different movements of the rays of the sun v As you arrive here with all that you need

Here Held and hidden amongst calk and reeds Wrapped yet open Foundation of alder

Held by wood of oak Meeting Lime Occupied by moss With brick to hold the element of fire Shutters to be in Shutters to be out

A space where dreams float in Mixing the elements In the night and day af experience Where stillness flows creativity

12 by Craig Bamford and Isik Sayarer, SASA Works 13 MAKERS TO COMMISSION

SASA WORKS Furniture Maker and Architect, London

GARETH NEAL Furniture maker, London

AKIKO HIRAI Ceramicist, London

ANNEMARIE O’SULLIVAN Basket Maker, East Sussex

FITCH & MCANDREW Ceramicists, Scotland

THE GOOD SHEPHERD Knitter, South East England

MALGORZATA BANY Artist & Designer, South East England

14 15 SASA WORKS

Founded in 2009 by architect and maker Craig Bamford, London based SASA Works brings a holistic approach to architecture, furniture and objects. Craig works with artist Louise Isik Sayarer to create work that fuses art, architect, craftspeople, and the environment. Seeking to create a poetic and refined relationship between materials and space, SASA Works produces work which brings joy into everyday functional objects.

16 17 THE RETREAT THE FOCA SOFA SASA Works SASA Works

We invite you to commission SASA Works to create your Price: PAO The Foca Daybed by SASA Works is a sustainably-sourced Material: Douglas fir and Pitch Pine own ‘retreat’ – a space for oneself that you can journey to, piece crafted from reclaimed Douglas fir and Pitch Pine. Dimensions: physically and mentally, and simply be. Where every element, The sofa is perfectly complemented by sheepskin cushions H 63 x D 61.5 x W 182.5cm angle, detail, material, and feature would be crafted and con- and throws. The Foca Daybed is named after a Turkish Price: £5000 sidered in collaboration with SASA Works. Small or large, in fishing village Foca (pronounced ‘Focha’) located near Izmir. Lead time: a garden or a field, this is an opportunity to create an intimate The simple aesthetic of the sofa is inspired by the wooden 6–8 weeks space - close to your thoughts and nature, and entirely you decked seafront promenade, weathered by the sun, sea and own. SASA Works are ready to have the conversation with years of use. you.

19

GARETH NEAL

Gareth Neal is an East London-based furniture designer who, through material inventiveness and curiosity, has helped to shape a new era in contemporary British craft. Gareth is passionate about honouring people, process and place, working collaboratively to champion the use of indigenous materials and traditional processes. Gareth’s studio produces a variety of furniture pieces including seating, cabinetry and sculptural artworks, all with a focus on sustainability and respect to the environment.

20 21 THE BRODGAR LOUNGE CHAIR (WITH DRAWER) THE BRODGAR SIDE TABLE Gareth Neal Gareth Neal

The Brodgar Lounge Chair is the product of a collaboration Material: Oak and Straw The Brodgar Side Table by Gareth Neal and Kevin Gauld, Material: Oak and Straw between The New Craftsmen, Dalston based furniture maker Dimensions: is designed to complement the entire Brodgar Chair Dimensions: H 56 x W 46cm Gareth Neal, and traditional Orkney chair maker Kevin Gauld. H 88c x L 55 x W 72cm range, including the Lounge Chair pictured opposite. Price:£1950 Gareth travelled to Orkney in Scotland to develop the original Price: £4450 However, its shape and form also means that it functions Lead time: 10–12 weeks Brodgar Chair design with Kevin, resulting in a contemporary Lead time: beautifully as a standalone piece in a room or even as twist on this iconic piece of British furniture, which speaks deeply 10–12 weeks of place. It can be made with or without the traditional drawer a pair of bedside tables. Like the chair, it can be ordered that is fitted underneath. with or without the drawer. 23 AKIKO HIRAI

Akiko Hirai is a ceramicist making decorative artworks and tableware. Using Japanese techniques to create contemporary ceramics, her forms are simple and satisfying, with deeply textured surfaces featuring calm, cool colours. Akiko studied at The University of Westminster and Central St Martins, and she is currently the Head of Ceramics at Kensington and Chelsea College. Her studio forms part of The Chocolate Factory N16 in Stoke Newington.

24 25 BUOY LAMP Akiko Hirai

This textured pendant, by Akiko Hiria, is both calm and tactile. Material: , White Glaze Using traditional Japanese pottery techniques, Akiko lets Small size, rounded: H 30 x W 20 cm the dictate how it should be glazed and fired – this process allows her to find the ideal form for a piece. You are Price: £1100 invited to choose from a larger dome-like form (left) or Large size, dome: H 38 x W 30 cm a more rounded shape (right), but both displaying Akiko’s Price: £3800 signature faceting technique on the surface. Each light comes as standard with a 1.5-metre rope flex wired for UK standard Lead time: 8–10 weeks 230-volts. Alternative fittings are available on request. The bulb 26 not included. 27 ANNEMARIE O’SULLIVAN

Based in East Sussex, Annemarie O’Sullivan makes contemporary baskets using ancient British basket-making techniques. She grows around 20 varieties of willow, which she harvests by hand on a half-acre plot near her home. Working from a wooden studio in her garden, Annemarie creates both small-scale domestic objects and larger woven sculptures. Her baskets have been featured in The New York Times, The Irish Times, House and Garden and Country Living.

28 29 TAET LIGHT BRECK HEATHER LIGHT Annemarie O’Sullivan Annemarie O’Sullivan

Taet Light by Annemarie O’Sullivan was inspired by Anne- Material: Rye straw, Breck Heather Light by Annemarie O’Sullivan was inspired Material: Natural Heather marie’s time spent on a residency on the Orkney Islands, Dimensions: by Annemarie’s time spent on a residency on the Orkney Dimensions: organised by The New Craftsmen. Annemarie found herself Islands, organised by The New Craftsmen. “Breck” is derived H 60 x L 130 x W 130 cm H 15 x L 50 x W 50 cm drawn to the historical grains grown on Orkney, discovering from the old Orcadian word to describe shallow clay Price: £10500 Price: £2400 Rye straw was once used in the hat making industry to make ground which stunted heather grows from. Heather has Lead time: Lead time: 8–10 weeks bonnets. The natural strength of the straw, which lent itself 8–10 weeks traditionally been used in Orkney to make rope and bas- well to hat making, inspired Annemarie to use it to produce kets, and known as as a reliable material for thatching roofs. this dynamic, structural light. 30 31 FITCH & MCANDREW

Douglas Fitch & Hannah McAndrew are potters based in Scotland. Drawing great inspiration on the heritage of British slipware, their pieces showcase traditional techniques applied in a contemporary way. Using a blend of clay sourced from Devon, where Douglas lived for more than twenty years, Fitch & McAndrew often work with warm palettes of chocolate brown and honey, inspired by their local landscape. All their dishes, pots and jugs are one-off pieces, richly detailed as well as functional.

32 33 HARVEST JUG Doug Fitch & Hannah McAndrew

The inspiration for these Harvest Jugs comes from the Material: Red Earthenware with traditional Devon Harvest Jugs of the 18th and 19th century. Coloured Slips and Honey Glazes They were naively but beautifully decorated ceremonial Dimensions: H 33 x D 24 cm vessels used to share wine or cider and toast the harvest Price: £2270 gods. Employing the intense and time consuming method Lead time: of scraffito, Doug’s Harvest Jugs are richly decorated with 6–8 weeks images of the countryside around us. Personalised jugs can be commissioned with your own poem or quote (POA). 35 WASSAIL POT Doug Fitch & Hannah McAndrew

This characterful vessel is inspired by the Wassail pots that were Material: Red Earthenware with made at Ewenny in Wales in the late 1800s and early 1900s. Coloured Slips and Honey Glazes They were made to use at Wassail time (also know as harvest Dimensions: H 36 x D 24 cm time), filled with cider, ribbons tied to each of the handles and Price: £1380 taken into the orchards to offer up a toast to the trees and Lead time: welcome a good harvest the following year.The body of the pot 6–8 weeks is thrown in a rich red earthenware clay, with the handles, birds and tree decoration are all modeled in the same clay. The body of the pot, once tough enough, is covered in white clay . To finish, the whole pot is glazed in a warm yellow glaze. 37 PELLETED JUG SLIPWARE SERVING DISH Doug Fitch & Hannah McAndrew Doug Fitch & Hannah McAndrew

The Pellet Jugs are inspired by Medieval pottery which GREEN PELLETED JUG The dishes are thrown and altered on the wheel and Material: Red Earthenware derives Douglas Fitch’s interest in archeology as a boy, when Material: Red Clay, Copper Slip, Glaze decorated with slip trailed birds or fish. Perfect for a Fish he would often walk the ploughed fields of Northampton- Dimensions: H 34 x W 24 x D 24 cm Pie or fruit crumble. Decorative slip motif shown in image Small size: L 22.5 x W 20 x H 4.5 cm shire looking for pot sherds. The simple use of pellets spaced Price: £420 of fish but bespoke variations can be discussed. These dishes Price: £220 out across the forms create a dynamic pattern and texture come with a decorative slip motif of a bird or fish as shown Large size: across the surface, enhanced by the flowing glaze. These TAPERED PELLET JUG in the image but bespoke variations can be discussed (POA). L 26.5 x W 24.5 x H 4.5 cm vessels that can be used for serving liquids, displaying floral Material: Red Earthenware Clay, Slip Price: £270 arrangements or as a purely decorative piece. Dimensions: H 31 x W 17 cm Lead time: 6–8 weeks Price: £420 Lead time: 6–8 weeks 39 THE GOOD SHEPHERD

The Good Shepherd is a knitwear company founded in 2013 by RCA graduate Emily Watts. Specialising in hand knitted textiles, the brand creates intricately knitted cushions and throws imbued with a strong sense of British identity, rooted to culture, process and place. The Good Shepherd draws inspiration from the exposed, windswept landscape of the Shetland Islands, following a research trip to Shetland’s northernmost isles where much of Emily’s yarn is sourced.

40 41 LARGE SQUARE CUSHION The Good Shepherd

Inspired by a residency at the Bothy Project, these cushions Material: Blue faced Leicester Wool, bring to life images from Emily Watts’ time living in the Shetland Wool, Polyeurathane Cairngorms in Scotland. Contrasting monolithic natural forms, Detailing, Down Filling with simplified design, each piece is a reflection on seclusion Dimensions: W 65 x H 65 x D 23 cm and the desire to cuddle up and hide away. This Iomall cushion has been created using intricately knitted fabrics imbued with (approx) a strong sense of British identity; rooted to culture, process Price: £325 and place. Available in Brown & White or Grey & White. Lead time: 6–8 weeks 43 LARGE STRATHAN WOOL BLANKET FLOOR CUSHION The Good Shepherd The Good Shepherd

Large Strathan Wool Blanket by The Good Shepherd is a unique Material: Blue-faced Leicester Each cushion cover is crafted from pure British Wool, left un-dyed Material: Shetland Wool, Feather throw with hand-woven trim detailing. Inspired by a residency with and Shetland wool to showcase the natural colours, which has been sourced entirely Filling the Bothy Project (a company that creates remote bothy shelters from the Shetland Islands with some of the wool made specially Dimensions: W 185 x L 185 cm Dimensions: and spaces in Scotland), this throw brings to life Emily Watts’ time to commission in Yorkshire. Each cushion from this collection Price: £1900 H 15 x L 60 x W 60 cm living in the Cairngorms in Scotland. Contrasting monolithic natural is named after a peak in the Scottish Highlands. Available in Lead time: Price: forms, with simplified design, each piece is a reflection on seclusion 6–8 weeks Cairngorm and Braeriach Design and in Ecru, Peat, Dark Grey & £820 and that desire to cuddle up and hide away. The blanket has been Fawn colourways. Lead time: 6–8 weeks created using intricately knitted fabrics imbued with a strong sense of British identity rooted to culture, process, and place. Custom sizes can be made, POA. 45 46 47 MALGORZATA BANY

Malgorzata Bany is a London-based artist and designer specialising in Jesmonite. Working across a wide range of disciplines including sculpture, furniture and homewares her work adheres to the principles of sensuality, tactility and minimalism. Malgorzata’s work has frequently been described as blurring the lines between art and design. Having completed her MA at The Slade School of Fine Art, Malgorzata continues to work in association with the University College London to develop her own pigments and research materials.

48 49 THE JADE COLLECTION OF HANDLES Malgorzata Bany

The Jade collection of handles were designed to elevate bespoke cabinetry with smooth and abstract forms. The collection was developed by Malgorzata after time spent in the city of Florence, Italy. Inspired by Florentine architecture and the very fabric of the city itself; including the voluminous roughly carved stone facades, sharp returns of vaulted ceilings, lustre smooth surfaces of polished stone sculptures, as well as time-based effects of erosion and decay of the historical city. These smooth, pebble-like handles encapsulate the essence of Malgorzata’s visceral experience of the city. They can be ordered in three different sizes and are available in ‘shale’ (grey) or ‘marl’ (white)

50 51 JADE HANDLE (SMALL) JADE HANDLE (MEDIUM) JADE HANDLE (LARGE) Material: Jesmonite Material: Jesmonite Material: Jesmonite Size: H 5 x L 4 x W 12.5 cm Size: H 3 x L 13 x W 16 cm Size: H 3 x L 10.5 x W 33 cm Price: £200 Price: £240 Price: £280 Lead time: 4–6 weeks Lead time: 4–6 weeks Lead time: 4–6 weeks 52 54 55 COMMISSIONING CRAFT AT THE NEW CRAFTSMEN

If you have seen something that belongs in your dream retreat or would like to share your ideas for commissions with us, please contact our Private Sales Manager, Nicholas Rogers.

To begin the conversation, please think about the following: 1. Choose your favourite product 2. Decide on sizing and colour, where applicable 3. Provide any reference imagery which helps bring the idea to life 4. Give us an idea of your budget 5. Let us know of an ideal delivery timeframe or any time constraints which we should take into account 6. Your preferred method of communication

Nicholas is looking forward to receiving your email. Please contact her on [email protected]

56 57 58