In the home

Every room, one steward.

A wall by the front door, the television in the drawing room, a tablet on the study desk and the phone in your pocket. Each shows only what that room needs.

A Georgian entrance hall at dusk, with the wall panel set into green panelling beside the front door.

The hall at dusk. The wall panel sits in the panelling beside the door. Example household

The wall panel in the hall, showing who is home, what was noticed and the diary.

I. The hall

A wall by the front door.

An iPad set into the panelling, readable from two metres. In the morning it shows who is home, what was noticed overnight and the day ahead; in the evening, the doors, the lights and tomorrow.

Tap a tile for the detail behind it, or speak. Anything it cannot show, you ask.

Screen iPad, landscape or portrait

Scenes Morning, evening and the office

Touch 56 pt targets, every action by hand too

II. The drawing room

The house, from the sofa.

The television shows the evening at ten feet: who is in, what is playing, the doors and tomorrow’s diary, driven by the remote.

Ask, or let a routine do it: the gate camera sits over the film for ninety seconds, then steps aside.

The house, in full

A panelled drawing room in the evening, the television showing the house at a glance.

III. The study

The business, on the desk.

In a business space the office scene puts takings, the bank position and what needs you on a tablet beside the blotter. The household never sees the books, and your steward moves between the two only when you ask.

A woman writing at a leather-topped desk in a book-lined study, the office scene on a tablet beside her. — The office scene Takings, position and what needs you

A man on a call in an oak-panelled study, the office scene open on his laptop. — On the laptop The same scene in a browser

The estate, in full

IV. The kitchen

Morning, in portrait.

A portrait screen by the larder: the school run, the weather, what is arriving today and the cheapest hour to run the dishwasher.

Each screen keeps its own orientation. A scene laid out for the hall reflows for the kitchen, tiles in the same order.

A painted country kitchen in morning light, a portrait screen on the wall beside the larder.

A boot room with waxed jackets and boots, a wall panel beside the coats.

V. The boot room

Leaving, in one tap.

By the back door, Leaving home: lights off, the heating down, the doors locked and the alarm set. Each step is read back before it runs, and nothing that asks first runs without you.

Routines

VI. The bedroom

Quiet at night.

Nothing lights the phone after dark unless it matters. Bedtime asks once, then locks the doors and sets the alarm.

“Nothing happens until you approve.”

A phone on a walnut bedside table at night, asking to run Bedtime.

A hand holding a phone on a gravel drive at dusk, the house lit behind, the phone asking to lock the back door.

VII. The drive

Answered from anywhere.

Arriving or leaving, the same approvals reach your phone: a lock, a payment, a guest at the gate. One plain line, then Approve or Not now.

Your phone tells the house when you are near, so arriving and leaving can do the rest.

VIII. In town

A second home, the same steward.

A flat in town is its own space, with its own screens and its own rules. From your phone, one private thread asks each of your homes and businesses on your behalf.

The steward, in full

A riverside penthouse living room at night, the television showing the evening view of the house.

A pale stone Georgian country house at blue hour, its windows lit.

A steward for the whole estate.

Tell us a little about your house and your business. We will be in touch.

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