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After graduating from design school in the late 1980s, Alda Pereira started her own firm, specializing in creating luxury residences, along with multiunit dwellings, restaurants and hotel suites. The design motif that unites all her spaces? Modern lines, a judicious use of colour and classic finishes. The Globe asked Pereira to walk us through one of her recent projects: A light-filled family home in Langley, B.C., that’s primed for entertaining.

For this family house in Langley, B.C., Alda Pereira wanted to keep a strong connection between the inside and outside and nature. (Photos by Ema Peter)

The design brief: Built on a 50-acre property, this house is the main residence of my clients. Three boys later, the owners had outgrown the original old farmhouse (still located on the property) and subsequently built this new house to suit the family’s sensibilities. (He is a builder who values workmanship, woodcraft and simplicity.)

The aim of the project was to provide a space where entertaining took a top priority. I wanted to create a relaxed, but sophisticated environment for their friends and family to enjoy.

The challenge: Incorporating the materials into a seamless expression that reflected their functions and aesthetics – to achieve an effortless but luxurious simplicity.

What worked well: The wood construction is fir and the architectural framework is very imposing, which necessitated the restraint in the colour palette. As a counterpart to this structure, I used rough-hewn, well-worn materials.

In your other projects, colour seems to play a big role. Here you pare things back to neutrals and white. Did the home’s surroundings play a role in that decision?

The natural setting and surroundings were definitely a consideration in the selection of the materials. There is a strong connection between the inside and outside and nature. Authenticity of materials, as well as rough-hewn antiques, were used to convey this sense of earthiness and timelessness.

There is an interesting layering to the textures in the great room – the rough grey stone, the wood, the textures of the rug and leather. How did you go about building such an interplay of rough and smooth and soft?

The common thread to these natural materials is their tactical qualities. The slate/stone is at once smooth but has a rough-hewn quality. The natural calf leather on the Danish 1930s chairs is very patinaed, which makes it look very lived-in. The “sable” rug is a deep piled wool that looks like fur. The Belgian linen on the sofas also establishes the play between luxury and simplicity. These materials convey accessibility and warmth.

Favourite space in this project: The cantina is a great space where people gather to cook and/or drink wine from the adjacent wine cellar. The owners make their own preserves, break down freshly caught fish and game in this space, as well as huge vats of spaghetti sauces made to donate to food banks.

Your design rule: Honesty with materials is the oldest rule I follow.

The design rule you were happy to break with this project:I try very hard to not have too many rules.

Design pet peeve: My mantra is concept, concept. I tend to talk clients through to clarity in the process.

Any advice to clients embarking on a design project of their own?

Be fearless, trust your instincts. Let the big picture guide the project, but not to forget the importance of the minutiae.

This interview has been condensed and edited by Kathryn Hayward.