Gosling Interior & Furniture Design

ost innovative designs. Gosling is a great supporter of British craftsmen and works tirelessly to ensure the traditional skills are given the opportunity to flourish with the spotlight on them. Pushing the boundaries of the use of materials is a passion and this can be seen in the world’s first every carbon fibre yacht furniture. Tim supports the work of fine vellum workers and straw marquetry experts and is continually exploring, researching and experimenting with new materials and new techniques. Gosling commissions range from private individuals, hotels, super yachts and commercial headquarters. The brief may be for the entire space or an individual piece or pieces of furniture. Which ever it is, Tim likes to get involved with the architectural and design team from the very beginning to ensure the team has a sense of the scale. Tim always has a pencil close at hand and still adheres to tradition by producing hand sketched, line drawings of the project. This enviable skill enables the team to have an instant visual example of the space and ensures the client and designers are on the ‘same page.’ It has also led to the publishing of a wonderful book of sketches called ’London Secrets, A Draughtsman’s Guide’. In 2015 Tim designed the stunning new flagship Jaeger Le-Coultre in Bond Street. Another recent commission involved the design of a London home in the style of the lavish interior of the passenger ship SS Normandie. In the entrance hall hangs a stunning chandelier commissioned from Sharon Marston, which features fine Venetian glass and fibre optics. The fluid form represents the movement of the sea and perfectly enhances the curved staircase and inlaid flooring. The attention to detail in a Gosling design is awe-inspiring. Thames and Hudson published Tim’s latest book Classic Contemporary; The DNA of Furniture and Design in October 2015. ‘Every time you sit on a chair or a table, it has a language of it’s own and a story which we should endeavour to decode. My book explores this language and deciphers the different design periods and styles. I am concerned that traditional furniture design’s own language will be written out of the dictionary if we do not continue to use it.”