Woodhill Hall — Otterburn

At the end of the pink seating area, the upholstered back rises almost to the ceiling and returns along both sides. It creates a clearly defined alcove around the seats and the small central table.

Diamond buttoning repeats across the tall panels. The seat surfaces below are comparatively simple, so the detail is concentrated above them. A black pendant light hangs in front, giving a strong contrast to the bright upholstery.

The wider photograph shows how this taller arrangement anchors the end of the room. The pink colour appears again in the smaller chairs, drawing the separate pieces into the same setting.

Along the illustrated wall, individual pink chairs take a more compact form. Their rounded backs are divided by vertical seams, giving each chair a clear outline without repeating the banquette’s diamond pattern.

The chairs are spaced between metal tray tables, with their dark feet visible above the patterned floor. The repeated upholstery colour links them to the taller seating at the far end, while the different back shapes give them their own identity.

The photographs show the value of viewing pieces together: the curved chairs, plain seat surfaces and tall buttoned panels all contribute to the room at different scales.

The green setting introduces a different atmosphere. A high-backed banquette follows the corner, with matching green upholstery on the lower seating along the surrounding walls. Timber boards, plants and crate-style tables complete the scene.

The fabric has a strongly varied surface, with lighter and darker areas visible across both the seats and backs. Buttoning adds another layer of depth, particularly on the taller panels. Against the timber and stone, the upholstered areas read as broad, soft surfaces.

The wide view also shows the changes in height within the room. The raised corner arrangement and the lower sofa share a colour and texture, helping them relate across the space.

The close-up views reveal details that are less obvious in the wider room photographs. The green fabric changes in tone across the seat and back, while the buttoned areas form shallow folds and a repeating pattern of light and shadow.

Nearby, timber grain, metal planters and leafy plants provide very different textures. Their presence makes the softness of the upholstery more noticeable. A small yellow stand adds another colour without becoming part of the main seating palette.

These details show why the finished story needs both wide photographs and closer views: one explains the arrangement, while the other lets the upholstery itself take the focus.

The separate chair, photographed in the grounds, pairs a blue-grey upholstered seat with a botanical outer back. The visible timber legs keep its structure distinct from the fabric surfaces.

From this side-and-back view, the pattern is a prominent feature. The quieter seat colour balances it, allowing the two fabrics to play different roles within one piece. The chair offers a smaller-scale detail alongside the larger banquette arrangements shown elsewhere in the project.

Its setting also gives a glimpse of Woodhill Hall beyond the interiors: clipped hedges, stonework and a brightly painted dog sculpture. The full gallery keeps that wider context alongside the furniture photographs.