Sometimes, the house you fall in love with is not the one you set out to find! This is a story about how a retired Londoner, Joe Levin, unexpectedly found his perfect countryside home in an 18th-century barn, completely transforming it with the help of interior designer Polly Ashman.
Joe's initial dream was for a quaint, rose-covered cottage. However, fate had a different plan. After years in London, a divorce, and retirement from the hospitality industry, Joe was ready for a new beginning in the English countryside with his dog, Winnie. He stumbled upon a five-bedroom barn conversion in South Somerset. 'I had no intention of buying a barn or any real connection with the area,' Joe admits. 'But I just walked in and thought, “this is home”.' This perfectly illustrates that sometimes, it's the house that chooses you!
But here's where it gets interesting... The barn itself was structurally sound, boasting impressive vaulted ceilings and charming local stone, a testament to its conversion about 20 years prior. However, the interior was a different story, largely adorned in a dated, 'yellowing magnolia' paint. Joe recognized the barn's immense potential but knew it was a significant project. He enlisted the expertise of interior designer Polly Ashman, founder of her London-based studio.
Polly, known for her traditional English design sensibility, aimed to create an interior that honored the building's history while seamlessly integrating modern living. 'We were quite lucky that the house was in good condition,' Polly explains. 'We didn't have to do things like rip the plumbing out, which meant we could really focus on the interiors.' This allowed them to concentrate on aesthetics and comfort.
And this is the part most people miss... Joe and Polly were keen to incorporate as many antiques as possible, believing they would prevent the house from looking too 'put together' and add character. Fortunately, the local area was a treasure trove of antique shops and auctions, yielding beautiful finds like 19th-century chairs, desks, and a kitchen table, all acquired at bargain prices.
Their collaboration also highlighted the value of supporting local makers and artisans. Joe even met his curtain maker during a dog walk! Polly discovered a local stone supplier by chance, spotting a yard on a side road. She masterfully softened the imposing central staircase by painting it in Little Greene's 'Olive Colour,' complemented by a geometric-edged stair runner and a striking abstract artwork by Mary West.
In Joe's study, an antique desk and a recovered antique chair, paired with a lamp from Bettina Ceramica, create a cozy and functional workspace.
The open-plan ground floor is cleverly divided into distinct zones for different activities. One area is dedicated to conversation and relaxation by the fire, while the other is for watching television. Both spaces are unified by identical coffee tables and sofa upholstery fabric from Linwood. To combat the coolness of the stone floors, Joe acquired around 20 vintage rugs, each with its own story. He even found a local artisan who cleaned one particularly worn rug, but crucially, chose not to restore it, preserving its authentic charm.
Given Joe's passion for growing and cooking, the kitchen received special attention. The original burl walnut wall cabinets were retained, while the lower units were adapted to accommodate a Belfast sink. A substantial island, crafted by local joiner Richard Donkersley, was painted in Edward Bulmer's 'Sang de Boeuf'.
Upstairs, the bathrooms are vibrant with colorful tile work, and the bedrooms showcase a rich tapestry of patterns from renowned designers like Robert Kime, G P & J Baker, and George Spencer. One guest bedroom features a dramatic headboard upholstered in Inchyra fabric, while local artist Ele Grafton hand-painted a delightful mural of birds and flowers onto the original wardrobe doors, breathing new life into them.
Joe's own bedroom is anchored by a Savoir bed, his one indulgence, and a bespoke headboard incorporating a wooden, fluted chest of drawers also made by Richard. Joe fondly recalls selecting maple for the drawer lining, the scent of which still delights him when he opens them.
Reflecting on his rural retreat, Joe emphasizes Polly's crucial role: 'I had a vision of a home, not a house. It was a question of finding somebody that understood me and the house so I was very fortunate to find Polly.' Together, they achieved a home that feels truly personal and perfect.
What do you think about Joe's approach to finding his home? Do you believe houses can 'find us,' or is it always a deliberate search? Share your thoughts in the comments below!
