The many moods of Faradays

Marble makes the first impression. Creamy white threaded with dark, expressive veining stretches across the ground floor and climbs the central staircase to Level One. At its base, curved edges give the stone a surprisingly fluid outline. Dark timber balustrades follow the ascent, their warmth setting off the drama of the marble. There is plenty to look at before you have even reached the first landing.

Against the heritage setting, this combination feels entirely at home. Stone brings a sense of occasion; timber makes it inviting. Repeating the marble across the floor and stairs gives the entrance a lovely continuity, allowing the eye to follow its pattern through the space.

Head downstairs and the atmosphere changes. Black walls, exposed concrete and cooler tones give the basement a harder edge. Here, the stair is angular and emphatic, with concrete planes, marks left in its surface and a distinctly brutalist character. Overhead, exposed structure adds to the industrial mood, while illuminated displays pick out objects against the dark surroundings.

Art, sculptural pieces and a collection of records add another layer. We liked the shift in pace: polished stone above, raw concrete below, with each level confident enough to have its own character. A place to browse vinyl feels particularly well suited to this part of the store.

Back on the ground floor, some of our favourite decisions are tucked behind the fitting-room curtains. Black leather chairs sourced from Mr. Bigglesworthy through Good Form sit within a palette of cream fabric and pale carpet. Their strong geometry and stitched surfaces give these small spaces a point of interest. Even somewhere this private, there is a piece of furniture worth looking at closely.

Upstairs, Lottie’s brings a softer kind of theatre. The interiors by Izzard Design include rounded chairs in a muted grey-mauve, finished with fringe around the base. It is a delightful detail: a little movement at floor level, a little flourish beneath an otherwise composed silhouette.

Deep maroon marble tables, streaked with white, carry the store’s material language into the restaurant with a richer colour. Large windows look onto Queen Street, putting the life of the city alongside the dining room. Stone, upholstery and daylight make a very good combination.

At the entrance to Lottie’s, a richly figured timber display wall offers another reason to slow down. Its swirling grain is a feature in itself, forming a warm backdrop to sculptural objects and ceramics. The pieces are given room to hold your attention, with some already marked sold when we visited.

Then there are the details you experience together: the staff uniforms, the setting of the room and, during our visit, a live pianist playing in the background. They give Lottie’s the sense of an occasion, even in the middle of the day.

Flowers appear throughout the store. White blooms rise through cascading greenery; elsewhere, pink flowers pick up the colours of a table arranged with patterned china, green glass and a pink iced cake. These moments bring softness and a welcome sense of play to the stone and timber.

At Faradays, there is pleasure in looking a little closer. The staircase earns its attention. So does the fringe on a chair and the seat behind a fitting-room curtain. It is the kind of detail we love uncovering on ArchiPro, alongside the people and pieces behind it. Explore more interiors by Izzard Design and the contemporary and vintage furniture curated by Good Form for ideas to bring into your own spaces.