I didnâ€™t try to second guess him. Now I think the colours work so well, itâ€™s amazing; they look so warm.â€™ While the bathroom was being built he wanted to change everything: â€˜It seemed far too small,â€™ he says. â€˜Charles fought tooth and nail. When finished, it looked so spacious – and itâ€™s now my favourite room.â€™ Itâ€™s true that Rutherfoord adopts a High Noon stance to protect his ideas. He made a protest call to Ahmed from Cape Cod when he heard that changes were being considered for the bathroom. But, although he insists that clients wait until the job is finished before casting judgement, he says he understands their last-minute panic: â€˜No matter how many originally for use as hoarding on building sites. OPPOSITE In the hall, low doorways were raised to nine feet. The doors have louvres to offer a choice of light or privacy. The desk lamp is by Garouste & Bonetti, from David Gill, ad the Roman blind with silk inserts is by Selina Chudleigh. The chair is a copy of one designed by Eliel Saarinen in 1929 AB OVE Linen curtains hide windows, act as a door to the bedroom, and create storage space in the dressing-area. Rutherfoord designed the revolving sand-blasted Perspex shelves and the copper-clad shoe-chest. The Fifties leather valet, by Hermes, isfrom Hemisphere. RIGHT In the bathroom, Bavarian roof tilesform thepanelling -theperfectfoilfor a display of French and Italian glass. The bath, panelled in oak, is sunk into the elmfloor. BELOW The cherry-wood headboard and bedside table were designed by Rutherfoord. Fabric by Manuel Canovas was used for the bed-head and bedcover drawings I make, itâ€™s hard to convey what I have in mind. I always offer to change it if the client isnâ€™t happy when Iâ€™ve finished. â€™ So far, he says, that hasnâ€™t been necessary.