Eight things we do, photographed on real walls

The fastest way to turn a flat painted wall into something with depth. The panels are moulded PVC, 50 x 50 cm, and they go up with adhesive alone — no battens, no carpenter, no dust sheet over the whole flat. Twenty-one profiles are stocked, and twenty of them share the same module, so two patterns can be run on one wall and still line up.

Each profile comes in the same four finishes — White, Champagne Gold, Metallic Coffee and Dark Wooden. The mirror facets are moulded into the face rather than stuck on afterwards, which is why they do not lift at the edges a year later. Boxes run from 30 to 150 pieces depending on the profile.

We measure the wall, set the panels out from the centre so the cut pieces land in the corners where nobody looks, and finish external corners with a mitre or a matching trim.

We carry the complete Home Decor Architect book — WP1600 — seventy-four papers across fourteen design families, from near-plain sanded grounds through to deep botanical relief. The emboss is in the paper rather than printed onto it, so the texture survives a decade of afternoon light. The physical book sits on the counter at Rehabari and you can take a cutting away with you.

Alongside the book we print customised murals to the exact size of your wall. Send us the artwork, or pick from the design library, and we scale it so the focal point lands where the sofa or the bed will be rather than behind it. Ceilings too — a sky mural over a corridor is one of the cheapest ways to make a narrow passage feel twice as tall.

Walls have to be dry, sound and one colour before anything goes on them, so we patch and prime first. On the striated families we reverse-hang alternate drops to even out the shading, and we check every roll against one batch number before the first drop goes up.

An entrance is one wall and about four seconds of a visitor's attention, so it is the one place in a house where it is worth spending the money on a single surface. The build is usually the same: a printed marble or textured ground inside a slim metal frame, a slat or fluted return on both sides, a sculptural metal piece centred on it, and a light aimed down the face from the ceiling.

We make the metal art to order in brass and gold finishes — mandalas, leaf forms, circular and ribbed abstracts — and size it against the panel rather than picking it off a shelf and hoping. The frame is mitred on site.

The lighting matters more than the panel. A single narrow-beam downlight raking across a relief will do more than four flat downlights, which is why we set the light position before the panel goes up rather than after.

Foam wall art covers a lot of wall for very little money and almost no weight. The large panels are 1.2 x 3 metres — four by ten feet, about forty square feet each — moulded in relief so the design reads under a downlight instead of looking printed. Twelve designs are in the current book: peacocks, blossom, horses, city scenes. Designs are also made to order; bring us an image and a wall size.

The smaller foam tiles are a different job entirely — a self-adhesive brick or coffered square used to lift a kitchen corner, a stair landing or a child's room in an afternoon. They cut with scissors and stick straight to a painted wall.

Both want a flat, dry wall and adhesive across the whole back rather than blobs at the corners. Large panels take two people to lift, because a foam panel that folds keeps the crease.