A quiet exterior, a vivid interior
The exterior view of Margate places the house beneath an open sky and the wooded slopes around Warburton. From this distance, it appears as one modest building within a broad landscape. The interior photographs reveal a much more concentrated world of colour, pattern and objects.
The original project description attributes the cottage’s restoration to its artisan owners. That sense of personal authorship is visible in the rooms. Their choices do not follow a single neutral palette: greens, purples, reds and warm timber sit beside one another, giving each space a different emphasis.
Colour as architecture
In the bedroom, green walls surround pale metal bed frames and a window dressed in contrasting fabric. The colour makes the walls feel like an active part of the composition. Furniture is not floating in an anonymous white box; it sits within a room with a strong identity of its own.
The sitting area changes the palette again. Purple curtains frame a bank of windows, with patterned textiles gathering around the seating. In another room, a dark fireplace and deep red surfaces create a heavier centre. Jaccob McKay’s photographs retain the differences between these spaces rather than smoothing them into one consistent tint.
The pleasure of a collected room
Margate’s rooms are full of things that invite a second look: a curved chair, an ornate frame, the edge of a rug, a coloured pane of glass. The photographs establish the larger composition first, then allow those smaller elements to emerge. The effect is layered rather than chaotic because the windows, doorways and furniture still provide a clear structure.
The Margate collection is a welcome example of accommodation imagery that makes room for eccentricity. Its strongest quality is not an abstract idea of luxury but the specificity of the house itself. The colours are memorable because they belong to particular rooms, and the rooms remain connected to the leafy Warburton setting outside.
