Warner House is a renovated apartment offering an open, loft-like living space by Inside Out Architecture, located in the Clerkenwell section of central London. The renovation was carried out on behalf of a couple, which entailed removing interior walls of the 2,583 square foot apartment.
From the architect: Following the success of a number of London refurbishment projects, Inside Out Architecture was appointed to redesign the interior layout of a unique apartment space in Clerkenwell, Central London, in early 2012.
The existing building has an intriguingly tactile industrial structure, with exposed concrete beams and columns throughout its interior. These original structural elements proved far more captivating than the apartment’s existing interior, and IOA’s subsequent intervention sought to enhance their prominence.
Work began by stripping the old apartment back to its basic shell and exposing the dramatic geometry of the concrete beams. A number of spaces – including a TV room, two bedrooms, separate family and guest bathrooms, a utility room and an adaptable guest bedroom – were then “inserted” into this hollow shell.
These inserts came in the form of numerous bespoke joinery pieces, designed with a light touch and simple smooth finishes to contrast with, and hence emphasise, the strength of the textured concrete structure. By stopping these joinery inserts short of the overhead beams, the architects expressed them as something secondary to the structure. It was then possible to step these partitions back at high level to align with concrete beam junctions. This enabled the creation of a suitable layout in plan while ensuring that full acoustic separation was achieved in a way that respected the complex soffit geometry. Despite their simple expression, the joinery pieces house a wealth of concealed functions including fold out beds, integrated radiators, storage units, kitchen appliances, glazed screens, curtain recesses, sliding partitions and the entire family bathroom.
In the living area a bespoke island kitchen was introduced to provide a focal point for activity within a large open plan space. A suspended aluminium profile provided functional downlighting while simultaneously uplighting the concrete soffit to create a comfortable warm atmosphere, giving the clients the flexibility they require.
In combination, the project’s lighting, tones and textures collude to create a series of tranquil domestic spaces amidst the bustle of central London.
Photos: Jim Stephenson
House Little Venice is a matt black zinc and glass contemporary building attached to a former coach house designed by James Wells Architects, located in Little Venice, London. Bounded by secret walled gardens, this new residential building replaces a derelict warehouse that had once been a joinery shop for an antique furniture company. The interior design of the new home acknowledges the industrial heritage of the site with bespoke fixtures and unusual finishes, employing the best of British craftsmanship.
From the architect: The west garden is accessed through French windows from the coach house and is planted in the Victorian Romantic style with an auricula theatre. The east garden is accessed via a hydraulic glass panel and responds to the modernist lines of the new building with structured planting, floating levels, steel water features and specially designed concrete furniture. The garden is thus made to feel like an external room – an extension of the main living space.
A discreet door in a side wall off a quiet side street provides the entrance to this extraordinary one bedroom house. An unassuming Victorian coach house built of London stock brick with exposed timber trusses has been retained and restored to provide a bedroom suite while the rest of the house has been newly built. The entire project took eighteen months to complete due to structural requirements as well as the bespoke nature of the details, one-off fixtures and finishes.
To the rear is a surprising, modern space bathed in natural light from a hydraulic pivoting wall of glass and a large skylight. The structure and mechanics are exposed and steelwork is left unfinished; polished concrete combines with black brickwork to create a post-industrial setting. The structural glass floor allows natural light and a visual link to an underground library and screening room below.
In the coach house the sleeping quarters are set in a theatrical dark space with an Alice in Wonderland play on scale. Dramatic double height wall panelling, exposed timber trusses, reclaimed parquet floors from the demolished warehouse and an oversized roaring fireplace are lit by a vast 1960s chandelier of cast yellow and white glass. Exposed engineered winches and cable mechanisms raise a bespoke metal and glass lantern and a plasma screen.
A deliberate duality contrasts the moods of the private and public areas. A massive pivoting brick wall finished in engineering brickwork links these two contrasting worlds.
The underground library and screening room showcases a chestnut leather conversation pit is sunk into the polished concrete floor embraced by the soft glow from the surrounding shelves of books and artifacts.
Photos: Courtesy of James Wells Architects
This project involved the conversion of a Shoreditch Warehouse by Chris Dyson Architects to create a family home, located in Shoreditch, a district in the historic East End of London, England. The proposal included the removal of a modern shed to the rear and a reinstatement of a courtyard at the rear of the property to bring natural light into the bedroom and en-suite. The industrial style home is comprised of 5,381 square feet (500 square meters) of living space.
To bring light deeper into the ground floor study space an existing lantern roof-light was replaced, walk on roof-light fitted flush with the adjacent new terrace. Inclined translucent panels installed below a new mesh access stair brings light even deeper into the plan.
A new timber privacy screen was introduced to shield views and noise to neighbouring properties while the enjoyment of the terrace and courtyard is experienced internally with the introduction of double glazed steel framed doors at ground level and double pivot doors to the new terrace.
CDA was founded in 2004 by Chris Dyson, a former senior designer at Sir James Stirling and Michael Wilford Associates, and more recently at Sir Terry Farrell and Partners. The practice is based in the historic Spitalfields area of London, where Dyson has lived and worked for 20 years, and where many of the practice’s early projects are located.
Photos: Peter Londers
This luxury warehouse apartment has been designed by Fine Edge Designs, located in Soho, a district in the west end of London, England, United Kingdom. The highly skilled craftsmen were responsible for all of the cabinets, AV unit in the living room, cupboard/wardrobe doors, steel resin sliding doors, open shelving unit and the bathroom vanities and shower units.
Walnut vanity unit.
Steel resin door and geometric cupboard doors in matt lacquer.
Fine Edge Designs Ltd are a bespoke furniture and architectural joinery company based in London. We specialize in high end residential fitted and freestanding furniture. Whether you are looking for a handcrafted kitchen, fitted bedroom furniture, bathroom or a one off piece of furniture that can be enjoyed for generations to come our talented craftsmen and cabinet makers will build furniture to your exact requirements. By commissioning Fine Edge Designs you can be assured that our high level of quality and standards will be maintained throughout the project and design process and that our attention to detail will never be compromised.
Photos: James Balston – Photographer
This traditional historic home with an eclectic interior was substantially repaired in 2011 by architect and owner Chris Dyson Architects, located in the heart of London, England. The house was bought from a leather coat manufacturer in 1997. The aim at the outset was to concentrate on the building’s history and place in Spitalfields a unique quarter of Georgian London, with respect for the immediate context. A number of found and reclaimed items have been incorporated into the interior and exterior to provide the authentic detailing of the period.
From the architect: The roof of the house was in serious need of repair and was replaced with a new mansard roof construction; this room forms the master bedroom suite. The façade of the house has been returned to a design of 1725 with timber sashes windows and decorative brickwork to reveals. The interior of the house had lost its’ original features in the 1930’s when the house had been extensively remodeled to create workshops. Substantial changes were carried out to make this into a family home in keeping with the domestic character of Princelet Street.
Panelled rooms have been restored to the ground and first floor reception rooms returning character, scale and proportion to this family home. A fern garden at the rear provides a pleasant filigree pattern of light and shade and privacy from the surrounding properties.
The primary aim has been to flood the lower rooms of the house with daylight, particularly at the rear of the property, creating a connection with the outside garden and the reception rooms within. A deep sense of calm and stillness pervades this house; an oasis in such close proximity to the financial heart of the city of London.
The rear section of the ground-floor reception room functions as a more formal dining area. The table is a gate-legged design from Dyson’s father-in-law; it can be folded to make a multifunctional space. Dyson occasionally hosts art shows in the house, inviting artists to display their work.
The corridor outside the reception room leads to a staircase down to the kitchen area.
The holes in the staircase are vents for the storage below and are interesting visual details that draw the eye upward.
The basement, formerly a storage area and boiler room, was converted into a kitchen over about four months. Dyson designed it with the aim of creating a space that felt welcoming and warm. To keep the room as light as possible, given it’s on the basement level, Dyson used gloss paint to enhance the light and bounce it around the room. The flooring is hard-wearing rubber.
For the dining area next to the kitchen, Dyson designed custom shelving to house the family’s collection of plates from Holland and China. Its function and aesthetic are similar to those of a Welsh dresser, but it has a less fussy feel. Dyson also designed the American black walnut table. It was made by Matthew Hilton, who designed the dining chairs.
The living room on this floor is more spacious than the reception room on the ground floor. Dyson found the two columns on either side of the fireplace at an architectural antiques and salvage store in Oxfordshire. The fireplace is made of wood painted to have a marble effect. Paneling, wooden shutters and cast iron heritage radiators complete the historic feel of the room. The space above the fireplace holds a secret bookcase.
The rear half of the room is a quiet nook that can be used for studying or relaxing. It leads out to a balcony, which allows light to flood the space. The Crittall door provides an interesting industrial twist on the classical feel of the rest of the room.
The home has access to outdoor space on three levels; a fern garden occupies two levels, and the first floor has a balcony.
On the second floor are two bedrooms and a family bathroom, and a staircase leads to the master suite on the third floor. Dyson replaced all of the banisters in the house; the new ones are softwood with a mahogany finish. The clock is a 17th-century French piece with a hand-painted wood effect.
Photos: Alex James
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