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Six centuries of Grade II*-listed history have been reconsidered and carefully updated to allow modern life to flourish. The entrance has transformed into a welcoming and impressive double-height entrance hall. The living areas have been re-focussed around the Elizabethan central courtyard, framed by fourteenth-century chapel and sixteenth century stables, opened up through a new five-metre high sash window in the stair hall.
The open contemporary kitchen takes centre stage in the 1920’s panelled room. With French doors facing south, bespoke crafted cabinets, brass flourishes and two slabs of rare Italian marble, the kitchen feels full of life. Cleverly concealed in the kitchen wall, a secret door leads through to the panelled dining room.
Upstairs the master bedroom has a generous new vaulted and marble-framed bathroom to one side, and a panelled cedar and leather dressing room to the other. New bathrooms have been installed throughout.
A backstair with a leather wrapped handrail leads between robust new arched openings under an oval skylight to tie the house together.
Having featured as of Martin Vanger’s ultra-modern, minimalistic residence in ‘The Girl with the Dragon Tattoo’, the holiday home is represented in the film as an impeccable, pristine, clinical house in order to be a facade for Vanger’s sick dark mind, however its open light filled design is put aside in the film in order to create a sense of a cool, modernistic and claustrophobic atmosphere suitable for the secret dark mind of the character.
