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      Burberry draws on minimalism at New Bond Street store

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      British luxury brand Burberry has renovated its New Bond Street store, which has been decorated with a minimalist scheme that is populated with striking contemporary furniture.

      Set on a prominent spot on the corner of New Bond Street and Conduit Street in central London, the 22,000-square-metre store is split across three levels.
      Burberry’s flagship store is located on New Bond StreetThe flagship store has a minimal open-plan interior that is characterised by stark white floor, walls and ceilings which are offset by pops of gold, blue and tones of brown.
      The fixtures of the store such as its pillars, staircase, wall displays and mirrors bring a rigid and strict geometry to the space that is complemented by a panelled ceiling which was designed to mimic the brand’s iconic check.
      It has a minimalist interior”The minimalist interior is punctuated with an eclectic mix of contemporary furniture, creating a stripped-back setting designed to spotlight key Burberry pieces,” said Burberry.

      “Overhead lighting has been crafted to replicate the iconic Burberry Check – a pattern introduced in the 1920s, referencing the brand’s rich heritage.”
      Burberry’s check was incorporated across the ceilingCeiling panels were organised in a gridded formation with spotlights set between each. Lighting strips were added to the panels at various intervals throughout the store and reference the multiple lines of the signature check.
      Throughout the store, slivers of checkered tiles punctuate the stark white floors. A classic black-and-white checkered tile covers multiple areas of the interior, zoning numerous different spaces including ready-to-wear and accessory sections.
      Other combinations of tiling include a dark brown and black rectangular tiles that are similarly organised in a checkerboard formation.

      Tom Atton Moore reinterprets imagery of knights and flora with hand-tufted Burberry installations

      In contrast to the rigid lines of the store’s more permanent fixtures, furniture brings a softer and more playful look.
      Curving sofas and armchairs were upholstered in bold shades of beige, brown and vibrant blue and placed on top of matching area rugs and carpets.
      Areas of the store were decorated with pops of colourDisplay tables in blocky shapes are carried throughout each of the store’s floors and sit alongside glass, metal and mirrored vitrines.
      Clothing rails draw on an industrial look, with the floor-to-ceiling structures reminiscent of scaffolding systems, however, set apart by their polished and reflective finish.
      Polished metals were paired with glass”We are excited to open the doors of our newly refurbished flagship store on New Bond Street in one of London and the world’s premier luxury shopping destinations,” said Burberry’s chief executive officer Jonathan Akeroyd.
      “The store showcases our beautifully crafted products in a luxury setting that connects our customers with our brand and unique heritage.”
      Blocky display units were placed throughoutIn 2022, British designer Daniel Lee was announced as Burberry’s creative director following a shock exit from Bottega Veneta. Soon after his appointment, Lee revealed the “first creative expression” under his direction in the form of an archive-inspired charging knight logo and serif logo font.
      Earlier this year, British artist Tom Atton Moore was commissioned to create a series of hand-tufted textile installations for Burberry’s Paris showroom and Rue Saint Honoré store.
      The photography is courtesy of Burberry.

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      Yinka Ilori imbues Courvoisier bar with natural beauty of Cognac region

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      A wavy canopy emerges like a fountain from this pop-up cognac bar inside Selfridges in London, designed by local designer Yinka Ilori to mimic the glistening waters of the Charente river in France’s Cognac region.

      The bar belongs to cognac brand Courvoisier and was designed to capture its hometown of Jarnac and the surrounding region, where cognac brandy is made using white grapes from one of six designated “crus” or areas.
      Courvoisier has opened a pop-up bar at SelfridgesIlori wanted to bring this bucolic setting to London’s Selfridges department store, using it to inform the colours and patterns featured throughout the space.
      “I aimed to capture the essence of Jarnac – the warmth of the sun, the rippling of water, the beautiful wildflowers and the natural beauty in the surroundings,” he told Dezeen.
      “The design pays homage to the magic and nature of Jarnac, creating a space that embodies its spirit.”

      The interior was designed by Yinka IloriThe town’s location on the Charente river is the most prominent influence, seen across the pale-blue floors, the sinuous rippling pattern on the walls and, most importantly, in the bar itself.
      Here, a circular counter was topped with a wavy blue canopy that seems to pour out of a central pillar, with the same pattern continuing down onto the base.
      Ilori also designed a limited-edition VSOP bottle for the brand”I wanted people to feel like they were surrounded by water, with it flowing both above and below them, creating a sense of immersion and tranquillity,” Ilori said.
      “The design of the canopy aims to reference the effortless flow of water, making visitors feel as though they are in the midst of a serene river.”
      The bar’s scalloped countertop picks up on the sinuous shape of the waves but provides a colourful contrast thanks to its lacquered red finish.

      Yinka Ilori draws on “unapologetic” architecture of Burkina Faso for debut pop-up shop

      Another reoccurring feature throughout the space is a cartoonish flower shape that nods to Jarnac’s wildflower fields and is found across drinks stands and upholstered benches in the seating area.
      To create a visual connection between the blue waves and the buttercup-coloured flowers, Ilori incorporated a sunset gradient that fades from yellow to soft lilac and envelops several cylindrical display stands as well as the base of the bar.
      “I was struck by the gradients in the sky in Jarnac and wanted to capture this unique visual,” Ilori said.
      A wavy pattern features across the wallsThese three repeated motifs, spanning earth, sky and water, also feature in the limited-edition bottle design that Ilori created for Courvoisier’s Very Superior Old Pale (VSOP) cognac.
      The bottles are available in four different ombre colours and displayed throughout the bar, which will stay open for three weeks until 11 September.
      The same pattern is picked up in the canopy of the barThe project forms part of Ilori’s ongoing collaboration with Courvoisier as the brand’s “ambassador of joy”.
      Last year, the designer created an immersive dining for Courvoisier in New York, designed to transport diners into a surrealist interpretation of Jarnac.
      Ilori’s colourful work is often considered as part of the New London Fabulous movement and includes a colourful skate park in Lille and The Colour Palace pavilion at the London Festival of Architecture.

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      Studio Varey Architects celebrates natural light in Notting Hill house renovation

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      London firm Studio Varey Architects has simplified this Victorian terraced house to create a light-filled home in Notting Hill, with timber-framed skylights designed to catch the sun.

      Set in the Westbourne Conservation Area, Huron House has belonged to its current owners for the last 25 years.
      Huron House is a renovated Victorian terrace in west LondonThe overhaul of the 19th-century building started as a simple ground-floor renovation to replace the kitchen and improve the connection between the house and its garden.
      However, exploratory works showed the four-storey property to be in bad structural condition, which demanded major improvement works but also gave the owners an opportunity to reimagine their period home.
      Decorative oak beams frame the skylight in the extensionThe new brief to Studio Varey Architects included a full house renovation and interior design, with special emphasis on the bathrooms as well as custom joinery and the rebuilding of the 1990s rear extension to create a new open-plan kitchen and dining room.

      “Our goal was to create an open-plan living space and bring lots of natural light into the ground floor, helping it to feel more inviting and better suited to entertaining friends and family,” the studio told Dezeen.
      A simple white staircase leads upstairsThe property sits on a rough east-west axis, giving it the potential to achieve great light levels throughout the day, with the sun moving from the back of the house in the morning to the front in the afternoon.
      “We wanted to ensure this natural light was captured through the architecture and design of the spaces,” the studio said.
      On the ground floor, Studio Varey Architects removed a structural post that supported the building but divided the back wall.
      A skylight illuminates the top-floor bathroomThis has been replaced with a steel frame, which allowed the studio to introduce slimline aluminium sliding doors that now run along the whole back of the property.
      An existing skylight in the flat roof here was enlarged and framed with oak beams, pulling more light into the centre of the hybrid kitchen-dining space.
      “Natural light cascades into the back of the house, while the introduction of oak beams created a feature that plays with the light as it travels through the property,” the studio said.

      Office S&M uses colour and geometry to create Graphic House in London

      The whole staircase was replaced and positioned further away from the home’s large rear windows, creating a lightwell funnels sun into the lower floors.
      On the top floor, an existing bathroom was fully renovated. Situated in the middle of the top floor it featured no windows save for a small skylight, meaning that light levels were totally inadequate.
      Here, Studio Varey Architects cut back the ceiling to create a multifaceted surface clad in birch plywood – its colour knocked back with a wash of soft white – to bounce light around the space.
      The ceiling was cut back to allow more light into the interior”We created a splayed ceiling that increased the height of the space, allowing for the playful integration of materials to emphasise the new angles,” the studio said.
      “Naturally finished birch ply, leading from the skylight down into Tadelakt walls, beautifully captures sunlight creating a special warmth in the space.”
      Oak forms bookcases in the sitting romWhite oak can be found throughout the house in the form of built-in joinery from bookcases and wardrobes, as well as in the feature beams of the extension.
      “We wanted to simplify the material palette and keep it light, both in appearance and number of elements we used,” the studio said.
      “This was done to emphasise the quality of the materials themselves, highlight the craftsmanship of the work and establish a visual link between the interior spaces throughout the home.”
      Oak joinery features in the primary bedroomPolished concrete, used for the floor at ground level, is underlaid with underfloor heating and provides a durable surface that is easy to clean for the owners after walking their dog.
      Other recently renovated houses in London include Sunderland Road House by 2LG, which features pastel-painted corniced ceilings, and Graphic House by Office S&M, which is defined by graphic shapes and bold hues.
      The photography is by Taran Wilkhu.

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      Most Architecture creates micro factory with “everything on display” for Charge Cars

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      UK studio Most Architecture has converted an industrial shed in west London into an all-black-and-white showroom and production facility for electric car start-up Charge Cars.

      Created to manufacture Charge Cars’ first vehicle the ’67 – an all-electric version of the 1960s Ford Mustang Fastback built using components from electric vehicle brand Arrival – the facility also acts as an office and showroom.
      Most Architecture has created a factory for electric car start-up Charge Cars”Charge designs and makes its unique cars in a single facility,” said Most Architecture founder Olga McMurdo. “Like an open-kitchen restaurant, everything is on display to the staff and customers.”
      “So we created an environment that allows immediate access to every aspect of the process from design through to production,” she told Dezeen. “The factory, and all of its contents, are at once an agile design and manufacturing centre, a customer showroom, and a design statement.”
      The building is arranged around the workshopThe facility in Stockley Close, west London, was designed around the idea of promoting a connection between Charge Cars’ clients and the engineers building and customising the cars.

      At its centre is a large open workshop where the cars are built and customised, which is overlooked by various offices and meeting spaces.
      Charge Cars’ ’67 will be manufactured in the factory”Our client came to us with an ambition to re-define a classic design icon using cutting-edge electric vehicle technology and to create a customer experience that engenders a visceral response to the product, and the process of creating it,” said McMurdo.
      “Their space had to accommodate both the manufacturing and the design process, facilitating teamwork and recreation, testing, a showroom, and areas for customer engagement,” she continued.
      “All that had to happen within one architectural volume, and so the primary challenge was to facilitate all of these activities simultaneously and symbiotically, whilst projecting a clear and coherent design statement reflecting the client’s philosophy.”
      Office spaces overlook the workshopUnlike the majority of car factories, the Charge Cars facility was designed so that its customers can visit at any time to observe how the vehicle is designed and assembled.
      “Charge wanted the customer journey to be mapped out by the design of the building,” said McMurdo.

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      “The customer’s access to, and experience of, the factory is an integral part of the product,” she continued.
      “They have a personal relationship with the engineers that are making their car, and are able to see the car as it is being constructed.”
      The Charge Cars factory is almost entirely black and whiteMost Architecture designed the spaces with a stripped-back aesthetic united by a largely white and black colour palette, including a black light fixture above the building’s entrance.
      “The white and the black amplify each other by contrast, representing the fusion of a laboratory and a garage, and the constant dynamic between research and production,” explained McMurdo.
      “Using this pallet we also wanted to make an impactful design statement on entry to the building. The result was a large anamorphic light fixture, which coalesces into a Feynman diagram from a single vantage point, becoming a composition of independent pieces.”
      Cars are designed, built and tested at the facilityOther recent electric car factories featured on Dezeen include a black steel and glass facility designed by Snøhetta for car brand Polestar in Chengdu, China. In Sweden, Danish architecture studio Cobe is designing a development centre for Chinese car manufacturer Geely, which it describes as a “chamber of secrets”.
      The photography is by Paul Riddle.
      Project credits:
      Client: Charge CarsLead architect: Most ArchitectureInterior concepts: Evgeniy BulatnikovMechanical engineer: AironElectrical engineer: Smart Techno SystemsStructural engineer: HLS StructuralLighting: Gaismas MagijaBuilding control: The Building InspectorsWind consultant: Buro HappoldFire engineer: QFSMCDM advisor: Andrew Goddard AssociatesMain contractor: Hansa GroupSteel mezzanine contractor: System Store SolutionsLighting manufacturer: Esse-Ci

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      Bottega Veneta channels Veneto design sensibilities at Sloane Street store

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      Fashion brand Bottega Veneta has opened a store on London’s Sloane Street that draws on materials, furniture and design techniques from Italy’s Veneto region.

      Located at the base of a nine-storey 1920s red brick apartment complex, the store sits behind a white-rendered frontage with doric column-style detailings.
      The store is located on Sloane StreetIt was opened as the first store to implement Matthieu Blazy’s vision for the brand and its physical retail locations, following his appointment as Bottega Veneta’s creative director in 2021.
      The interior was designed using materials, furniture and furnishings associated with the Veneto region where the brand was founded – the northeastern area of Italy that encompasses the land between the Dolomite Mountains and the Adriatic Sea and contains the city of Venice.
      It is the first store under the creative direction of Matthieu Blazy”Bottega Veneta’s identity is not only reflected in the furniture, but throughout the space, creating its uniquely warm atmosphere,” Bottega Veneta said of the store.

      Upon entering the space, visitors are met by a largely open interior. This is zoned by four large, curved wooden volumes that were inserted at the centre of the store and introduce a loose symmetry to the division and organisation of the space.
      It was inspired by the Veneto regionThese wooden volumes are constructed from dark wood and have a multi-faceted design, incorporating protruding elements and geometric cut-outs that are fitted with shelving for use as display areas for the brand’s accessories and footwear.
      Beyond subtly zoning the ground floor of the store into three distinct areas, the wooden volumes also create a series of intimate spaces and rooms tucked behind, within and between each of their adjacent structures.

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      The floor of the store was blanketed in terrazzo, a material chosen for its ties to Venice, the brand said.
      The movement of water informed the design of the terrazzo, which has an oscillating look that was achieved through the use of four different stones – Bardiglio, Carrara, Verde Alpi, and Grigio Carnico.
      Terrazzo covers the floor of the storeLouvred veined stone panels framed in a brassy metal trim line the front and rear of the store and provide additional depth and colour to the interior.
      Where not used as decorative panelling, smaller brass-framed louvred panels are also used as mirrors that can be twisted and turned to reflect and face various parts of the store.
      Dark wood volumes divide the space in the storeWoven sofas and armchairs nod to the Intrecciato woven accessories and garments that the brand has become known for. The furniture pieces were constructed from leather in hues of green, brown and black and paired with a forest green rug.
      Sculpted wooden side tables and hard furnishings are scattered throughout the interior.
      Woven leather furniture is used throughoutA staircase, tucked to the side of the store, is clad in the same stone that covers the floors and lined in glass and brass to tie it in with the structural fixtures that can be found throughout the interior.
      At this year’s Milan design week, Bottega Veneta unveiled a collaboration with Italian designer Gaetano Pesce that saw him design his first-ever handbag.
      Prior to their collaboration on accessories, Pesce created a swirling resin set comprised of 400 custom chairs and a pooling multi-coloured floor for Bottega Veneta’s Spring Summer 2023 show.
      The photography is courtesy of Bottega Veneta.

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      Tate Modern’s Corner cafe revamped to be less “Herzog & de Meuron-y”

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      Architecture studio Holland Harvey has overhauled the ground-floor cafe at the Tate Modern in London so it doubles as the gallery’s first late-night bar.

      Tucked away in the museum’s northwest corner, the interior of the Corner cafe was originally designed in 2000 when Herzog & de Meuron created a home for the UK’s national collection of modern art inside the disused power station on the Southbank.
      Corner is a new cafe and bar at the Tate ModenSince then, the Tate had made no changes to the space until Holland Harvey was brought on board to refresh the interior at the start of 2022.
      “It was quite a cold space,” the studio’s co-founder Richard Holland told Dezeen. “All very Herzog & de Meuron-y.”
      “They’re amazing at what they do in so many ways,” he continued. “But this was not their best food and beverage space.”

      A grey stone bar forms the centrepiece of the roomHolland Harvey stripped back many of the cafe’s hard, reflective finishes, sanding away the black gloss paint on the floors to reveal the parquet underneath and removing the mirrored glass that Herzog & de Meuron had used to enclose the building’s original riveted columns.
      Fluorescent lights were replaced with more muted spots by London studio There’s Light, while the dropped ceiling above the bar was rounded off and covered in foam insulation to soften the interior – both visually and acoustically.
      Otherwise, many of the cafe’s core elements including the servicing as well as the kitchen and toilets remained largely untouched to prevent excessive waste and maintain the integrity of the building.
      “You don’t really want to mess around with the servicing because 12 feet above your head is a Picasso,” Holland said. “So it was pretty light touch.”
      The cafe backs onto the Tate’s Turbine Hall. Photo by Edward BishopThe biggest intervention came in the form of a newly added riverside entrance, allowing passersby to stroll straight into Corner rather than having to take the long way through the gallery.
      At the other end of the open-plan room, a door leads directly into Tate’s famous Turbine Hall, effectively linking it with the public spaces of the Southbank.
      Stone seating banquettes double as impromptu climbing frames”The Turbine Hall is one of the most successful public spaces in London,” Holland said. “It’s one of the few indoor places you can go, where people happily sit down on the floor in the middle of the day.”
      “And obviously, the Southbank is an amazing public offering as well,” he continued. “So this felt like an opportunity to connect the two, which led a lot of the thinking around the design.”
      With the idea of extending the public realm, many of the newly added pieces are robust and fixed in place, much like street furniture. Among them are the double-sided Vicenza Stone banquettes, which can also serve as impromptu climbing frames for young children.

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      Holland Harvey created a number of other seating areas throughout Corner to suit different accessibility needs, with a focus on supporting local manufacturers and small businesses while reducing waste wherever possible.
      Corner’s long sharing tables and benches were made by marginalised young people from west London as part of a carpentry apprenticeship programme run by social enterprise Goldfinger, using trees that were felled by local authorities to stop the spread of ash dieback.
      “Every table has the coordinates of where the tree has felled on it, so there’s a provenance to the furniture,” Holland said.
      The chairs were taken from Tate’s own storage and refinishedThe chairs, meanwhile, were salvaged from the gallery’s own storage before being refinished and reupholstered, while the smaller tables were made by Brighton company Spared using waste coffee grounds from Tate’s other cafes.
      These were baked at a low temperature to remove any moisture before being mixed with oyster shells and a water-based gypsum binder.
      Although the resulting pieces aren’t fully circular since they can’t be recycled, Holland hopes they tell a story about the value that can be found in waste.
      Waste coffee grounds from the gallery’s other cafes were turned into table tops”We’re by no means saying that it’s an exemplar project in that sense,” he explained. “We were just trying to find opportunities to tell stories through all the different elements rather than just going to the large corporate suppliers.”
      “And that’s really our wider impact: people realising that there’s a different way to procure a table. Imagine if all of Tate’s furniture moving forward is made by Goldfinger,” he continued.
      The cafe also has high counter seating for remote workingIn the evenings, the space can be transitioned into a bar and events space by switching to warmer, higher-contrast lighting, while a section of the central banquette can be turned into a raised DJ booth by pressing a button that is hidden under the cushions.
      “This place can get quite wild in the evening,” Holland said.
      Timber shelves are used to display productsThe last significant amendment to the Tate Modern building was Herzog & de Meuron’s Switch House extension, which opened to the public in 2016.
      The building contains a gift shop designed by Amsterdam studio UXUS, alongside various galleries and a viewing level on the top floor, which is currently closed to the public after Tate lost a high-profile privacy lawsuit brought by the inhabitants of a neighbouring residential tower.
      The photography is by Jack Hobhouse unless otherwise stated.

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      Piles of green-hued books characterise London Aesop store

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      The interior of London’s most recent Aesop store in Marylebone was organised to reference a bookshop and features bespoke timber cabinetry by furniture designer Sebastian Cox.

      Skincare brand Aesop’s in-house design team created the concept for the Marylebone store, which recently relocated from its original home in the London neighbourhood to Marylebone High Street.
      The Marylebone store features piles of green booksThe team took “material references” from the British Library on Euston Road and attempted to emulate the layout of traditional bookshops by choosing warm timbers and towering piles of pale green books to decorate the interior.
      Divided into a main shop and an area for personal skin consultations, the L-shaped store features handmade cabinetry by Cox throughout.
      Olivier Cousy added frescos to the ceiling troughsThe shelving is defined by gently rounded edges, which Cox crafted from lime-washed oak and stained with linseed oil to enhance the timber’s warm appearance.

      He designed the cabinetry with flexible joinery that would allow the furniture to be disassembled and transferred elsewhere if needed.
      Sebastian Cox designed timber cabinetry throughout the interiorOversized rattan lampshades were also chosen for the main shop area, which displays uniform rows of Aesop products and includes large, metallic communal sinks built into the timber cabinetry.
      The store’s also features ceiling troughs with custom-made geometric frescos by artist Olivier Cousy.

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      Cousy was informed by Marylebone’s many green squares when painting the designs, which are geometric arrangements of autumnal colours – compositions that take cues from expressionist artist Paul Klee’s 1922 work Tower in Orange and Green.
      “Architecturally, our design method is to connect to the context of the locale, weaving ourselves into its fabric,” said Aesop chief customer officer Suzanne Santos.
      Wooden sinks characterise the skin consultation areaIn the skin consultation area, a sandy-hued, floor-to-ceiling curtain can be pulled to give customers privacy while geometric timber sinks were built into the space’s cabinetry.
      Known for its array of stores that pay homage to their individual locations, Aesop’s other outlets include a branch in London’s Piccadilly Arcade with marble fixtures that filmmaker Luca Guadagnino designed to reference the area’s jewellery boutiques, and a Cambridge store by British studio JamesPlumb with hemp and bulrush accents that nod to the nearby River Cam.
      The photography is by Alixe Lay. 

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      Whittaker Parsons crowns North London mews house with “bolthole” extension

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      Using a combination of copper, larch and structural insulated panels, architecture firm Whittaker Parsons has added an additional storey to a contemporary mews house in Stoke Newington to house a bedroom suite.

      Originally built in 2005, the property belongs to a couple with two older children, who have lived here for the last decade.
      Whittaker Parsons added an additional storey to a London mews houseThe family asked Whittaker Parsons to provide more space with the addition of a loft, as well as to revamp the lower floors including the studio on the second floor, which was reconfigured to create a well-proportioned workspace complete with its own library.
      Daylight floods the new third storey, bouncing off lime-plastered walls while carefully positioned windows provide views of tree canopies and across rear gardens from window seats and the bespoke bed.
      “We set out to design a beautiful, healthy, serene retreat, in which the homeowners could immerse themselves in the beauty of natural materials, a bolthole in the middle of north London,” Whittaker Parsons told Dezeen.

      The extension is accessed via a larch-clad staircaseWith efficiency and quality in mind, the studio used prefabricated structural insulated panels (SIPs) to construct the additional storey, with the aim of minimising waste and saving time.
      “Compared to standard timber construction, it is simpler to control the quality of onsite workmanship and achieve a more robust, air-tight building envelope,” the team explained.
      Generous windows provide views of the surrounding areaExternally, the extension is set back from the street elevation and finished in materials that mirror the surrounding architecture, including black-stained timber cladding, brick slips and patinated copper to tie in with the copper facade on the second floor below.
      Internally, the triangular arrangement of the larch beams was developed to work with the load path of the existing building and the irregular form of the loft.
      “The intention was to make visible and celebrate the structural effort that went into creating this new space,” Whittaker Parsons explained.
      Integrated window seats provide a place to restThe practice created a tranquil master bedroom with a larch-clad and lime-rendered interior, bespoke larch bed frame and walk-in wardrobe made from low-formaldehyde furniture board.
      As the unsealed lime plaster wall finish cures, the lime will absorb almost as much carbon as was emitted in its production, the studio claims.
      “Lime render is a calming tactile material, characterful and soft,” said Whittaker Parsons. “It is a low-carbon alternative to gypsum plaster. It’s also a hygroscopic material, so it naturally moderates the moisture level in the bedroom.”

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      Used alongside the render, white oiled larch panelling spans the spaces between the exposed larch beams, improving acoustic absorption.
      “Often in bedrooms, the ceiling is the most important yet neglected surface,” the studio said. “The larch adds a sense of warmth, calm, and character to the space, creating an articulated ceiling at the top of the house – almost a reward for climbing all those stairs.”
      Whittaker Parsons also created a custom larch-wood bed for the interiorIn the adjoining skylit shower room, fluted travertine tiles line the walls, enveloping the shower area and complementing the travertine floor tiles.
      “The roof light to the shower oversails the fluted travertine tiles, creating the impression that one is showering outside under the sky,” said Whittaker Parsons.
      The basin, splashback and vanity unit are formed from unsealed Calacatta Rosato marble, which according to the studio provides a lower-carbon alternative to fired tiles.
      The vanity in the adjoining bathroom is formed from Calacatta Rosato marbleOverall, Whittaker Parsons says the project is “exceptionally low-carbon”, with the bulk of its embodied emissions coming from the triple glazing, thermal insulation and a single steel beam used to create the opening for the staircase.
      Founded by Matthew Whittaker and Camilla Parsons in 2015, Whittaker Parsons has completed a number of projects in the British capital including The Naked House, which was longlisted for sustainable interior of the year at the 2021 Dezeen Awards.
      The marble is paired with fluted travertine tilesOther sustainably-minded extensions in London include Low Energy House in Muswell Hill, designed by local studio Architecture for London founder for its founder Ben Ridley.
      The photography is by Jim Stephenson.

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