Tamsin Saunders Transforms a Garden Shed into an Artistic Retreat

Tamsin Saunders, the renowned British interior designer, draws inspiration from her childhood spent amidst the scenic South Downs, the picturesque hills that cascade into steep chalk cliffs along England’s southeast coast. The rugged allure of nature’s patterns and textures left an indelible mark on her, fostering a lifelong affinity for foraged treasures. Now, at the age of 52, Saunders has translated this passion into her studio, Home & Found, established in 2013, where she specializes in sensitively renovating homes, often belonging to artists and makers, by incorporating the unique elements she uncovers.

Her latest project, her own London home, reveals an unconventional heritage. A two-story, red brick terrace house, built as public housing in the 1930s in the semi-rural village of Ham, came with an unexpected feature—a spacious garden with five sheds. Among them, Saunders retained one situated at the back of the yard, harboring dreams of transforming it into a creative sanctuary. The pandemic intensified this desire, prompting her to collaborate with retired architect friend Edward Potter to create a 220-square-foot rustic haven, reminiscent of old wooden barns and the serene ambiance of Manitoga, the Modernist home and studio of American designer Russel Wright in New York’s Hudson Valley.

Although affectionately referred to as the Shed, the building now resembles a charming cottage. Nestled within a lush landscape of echinacea, aster, nigella, and Japanese anemone, the shed is adorned with unpainted oak planks, hand-oxidized by Saunders to achieve a weathered effect. Inside, skylights bathe the space in natural light, creating a treehouse-like atmosphere. The walls, painted in earthy browns inspired by bark and leaves, showcase decorative potato prints with motifs referencing Moorish carvings at the Alhambra palace and geometric patterns from St. Enodoc’s 15th-century rood screens buried beneath Cornwall’s sand dunes for over three centuries.

The furniture inside is an eclectic blend of antique pieces, contributing to the shed’s unique charm. A midcentury bobbin-legged French table anchors a seating area, while a vintage Ercol bench adorned with jewel-toned ewe cloth and raffia cushions adds a touch of vibrancy. A 19th-century Black Forest cupboard made from split pine branches, Majorcan baskets from the 1930s, and a reclaimed bakery shelf with ceramic pots and wooden bowls creates a harmonious tableau.

Saunders, along with her daughter Freya, has transformed the space into a haven for solitude and creativity. Decorative lamps for Saunders’ housewares line are hand-decorated by Freya, while the shed serves as a refuge for reading and painting. The room, bathed in the slanting light of early evening, exudes what Saunders describes as an “Andrew Wyeth air,” reminiscent of the painter’s intimate portrayals of private spaces.

Though the shed has seamlessly become a part of Saunders’ home, she believes its evolution is ongoing, much like her favorite tide-smoothed pebbles, gaining beauty with the passage of time. The shed stands not just as a physical structure but as a testament to Saunders’ ability to weave together nature, history, and personal expression into a tranquil retreat.