Scotland is a place formed by fantasy and legend, where each ridge and manor recounts a story. On the remote Kintyre landmass, settled among rustic ranches and the west drift’s beating waves, one meandering property has the kind of fanciful air that gets a handle on straight of a fantasy.
“While its remoteness is an asylum, its incredible excellence is a ceaseless wellspring of bliss,” says Tom Helme, the previous enhancement counselor to the National Trust and onetime co-proprietor in charge of restoring faction most loved paint organization Farrow and Ball, who obtained the 7,500-section of land Carskiey home with accomplice and plan colleague Lisa Ephson on something beyond an impulse. Helme had grown up holidaying in Scotland, and he nearly shut on a comparative home in the zone years sooner. “Tom was searching for some place where appropriate cultivating networks still get by, inside perspective of the sea—also the mind blowing light that the west bank of Scotland is popular for,” says Ephson of the cliffside property, whose nine miles envelop a 1908 Edwardian chateau, a shore house, and an Aberdeen Angus steers cultivate that adjoin the ocean.
Fortunately, the house’s bones remained fundamentally unblemished, its slate rooftop kept set up throughout the only remaining century on account of strong copper nails and its durable oak and stone ground surface euphorically free of decay—even on these soggy shores. The main concessions to present day life: completely refreshed pipes, electrical, and warming frameworks—all things being equal, utilizing mindfully reestablished radiators—and in addition a tasteful redesign that figures out how to keep up the Edwardian soul of the property.
For a verifiable preservationist, there is maybe no more prominent satisfaction than breathing life into an old house, and Helme savored articulating his mark style to the 19,000-square-foot manor, which was fittingly worked by materials beneficiary Kate Boyd and her industrialist spouse James. Depending on his Farrow and Ball foundation, Helme blended a progression of custom paints that give each room warmth and chronicled reverberation. “The look depends on a desire to greet and friendly, not stuffy or formal,” says Helme. “The most imperative thing for me in brightening is that it not feel scaring.” To that end, he and Ephson, a previous mold insider, fused a significant part of the current furnishings—four-notice beds and upholstered rockers—including present day pieces like the B&B Italia couch in the front room, a Fortuny organize light on a stair arrival, and an accumulation of Fornasetti printing plates, and enhanced what embroidered works of art and materials they could rescue with progressively congenial hand-drawn textures from Fermoie, the material organization Helme established with school companion and previous Farrow and Ball co-proprietor Martin Ephson.