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      Child Studio transforms 19th-century London townhouse into Cubitts eyewear store

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      London practice Child Studio has created an “intimate and domestic atmosphere” inside this store by local eyewear brand Cubitts, which occupies a townhouse in Belgravia.

      Taking over the building’s basement and ground floor, the shop was designed to draw on both the modernist aesthetic of Cubitts’ frames and the history of Belgravia.
      Cubitts Belgravia has a front room with a cast iron fireplace (top and above)The central London neighbourhood was first established in the 1830s in line with plans by Georgian master builder Thomas Cubitt, who also gave the eyewear brand its name.
      “It was important for us to build a layered narrative for this project and to connect the townhouse architecture with the modernist ethos of the brand,” said Child Studio founders Alexy Kos and Che Huang.
      The store’s display stands are designed to look like room dividersThe studio reinstated many of the building’s Georgian design features, which had disappeared over years of renovation works.

      The original wooden floorboards were uncovered and restored, while the walls were painted a chalky yellow hue that was typical of the period.
      Most of the doorways were either extended to reach three metres in height or adorned with ornate architraves that complement the interior’s wall mouldings and cornices.
      Some of the doorways reach three metres in heightIn the store’s front room, the studio installed a cast iron fireplace that is meant to foster an “intimate and domestic atmosphere”.
      “We imagined a contemporary interpretation of a classic drawing room – an elegant living room where guests may be welcomed and entertained,” explained the studio.
      “We were particularly inspired by the pioneering designer Eileen Gray, who lived in this part of London in the early years of her career in the 1900s.”

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      On the other side of the space is a custom concertina display stand that’s meant to resemble a traditional room divider.
      This stand is lined with creamy linen-like wallpaper while another stand at the rear of the store was crafted from mahogany and finished with brass edging.
      Domestic decorative items like lamps and armchairs were placed throughout the storeOther homely design features like mirrors and upholstered armchairs were dotted throughout the store as decoration.
      There are also a number of antique light fixtures including Gray’s domed Jumo lamp and a golden leaf-shaped desk light by 1970s Italian designer Tommaso Barbi.
      This includes a leaf-like brass lamp by Italian designer Tommaso BarbiChild Studio has designed several of Cubitts’ eyewear stores across the UK.
      Among them is a branch in Leeds that takes cues from different design periods through history and an outpost in London’s Soho, which draws inspiration from the neighbourhood’s infamous sex shops.
      The photography is by Felix Speller.

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      Universal Design Studio draws on libraries and members' clubs for Euston workspace

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      London-based Universal Design Studio’s interiors for The Office Group’s latest workspace in Euston was informed by nearby buildings including the British Library.

      Called 210 Euston Road, the interior was created by Universal Design Studio together with workspace provider The Office Group (TOG’s) head of design Nasim Köerting, and nods to the many well-known institutions that are located in the same London neighbourhood.
      A cafe sits on the ground floor of the office building”Quite simply, the design was inspired by the location,” Köerting told Dezeen. “210 Euston Road is flanked by a host of influential national institutions, including the British Library, the Royal College of Physicians and the Wellcome Trust.”
      “These illustrious neighbours inspired our ambition to create a classic yet contemporary institution-like space that references the surrounding centres of learning and knowledge,” she added.
      Inside, wooden floors and decorative lamps create an organic feelThe 6,400-square-metre, seven-storey building was redeveloped to create more than 800 workspaces.

      Its ground floor houses a cafe that is open to the public, as well as a large reception and a residency space.
      Bright furniture offsets neutral wall coloursTwo of the building’s upper floors will be used as offices for individual businesses, while other floors have smaller office units as well as co-working spaces.
      To create a space that would be made to last and “reference an institution but not be institutional”, the designers looked to the architecture of buildings including the British Museum and University College London, Universal Design Studio associate director Carly Sweeney explained.
      Spaces were informed by library reading rooms”One of the hero points of the design references the traditional reading room that is found in these spaces – a library arguably being the original coworking space,” she said.
      “To echo this we created a hidden coworking lounge – this space cannot be seen from the outside and the hidden nature lends to the feeling of privilege to be there. ”
      A bar clad in dark tiles decorates the seventh-floor members’ spaceTo give each space in the large building a different feel, Universal Design Studio worked with a material palette that changes as the floors ascend, culminating in a members’ bar on the seventh floor that has a tiled bar and a ceiling made of tactile cork.
      “The public-facing ground floor is light and airy, with a ‘library’-style interior that features a cork floor, timber screens, bespoke reading lights and leather detailing on the desks,” Sweeney told Dezeen.

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      “As you travel up through the building, the seventh floor feels much more like a members’ club,” she added.
      “This space is more luxurious, there is again an abundance of light here so to create a contrast we used a darker palette. There is rich material tactility via the tiled island and upholstery.”
      The lobby has a rope-like neon light installationUniversal Design Studio’s references to the surrounding buildings in the Euston area are perhaps most notable on the ground floor, where a decorative neon light installation above the reception desk draws to mind the neon installations in the windows of the Wellcome Collection across the road.
      In a meeting room next to the lobby, decorative sculptures and vases seem to nod to the nearby British Museum, while a collection of oil paintings on the wall will be regularly replaced, like in a gallery space.
      A library-style space is livened up by an undulating ceilingThe studio also added an unusual undulating ceiling to the library-style ground floor room, creating an eye-catching detail in the room, which has an otherwise muted design with cream and wood colours.
      Specially designed slim reading lights in a purplish-blue hue add a touch of colour.
      Wooden materials are used throughout the building”As with other noteworthy institutions we wanted to create a moment that makes anyone entering the space feel grounded,” Sweeney said.
      “It is cathedral-like in its stature but also cocooning,” she said of the ceiling.
      “It allows for a change of pace in one of the most special spaces in the building. Similar in nature to other institutions such as the ceiling in the British Museum, it also creates a ‘moment’ upon entering the space.”
      The top floor has a roof terrace with a view over EustonThe building is the first TOG workspace to open since the coronavirus pandemic began and its design aimed to reflect the changing needs of the workplace once people began coming back to the office.
      “We landed on the aim to create an environment that one couldn’t replicate in the home – a space that could attract people back to the workplace without compromising freedom and flexibility,” Köerting said.
      “We achieved this by providing plenty of choice and myriad amenities.”
      TOG and Universal Design Studio designed the space during the pandemicUniversal Design Studio also created the lobby for a Hopkins Architects-designed office in the City of London, which features railway-informed terrazzo tracks on the floor.
      Other TOG locations in London include a workspace close to department store Liberty and a 1930s building with pops of colour designed by Note Design Studio.

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      Jacquemus creates surrealist interpretation of his own bathroom for Selfridges pop-up

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      French fashion designer Simon Jacquemus has opened a series of surrealist pop-up installations at London department store Selfridges, including a luxury-bag vending machine and a swimming-pool changing room.

      Titled Le Bleu, the installation occupies a number of locations across the store, including its creative retail space The Corner Shop and the Old Selfridges Hotel, a former hotel space that is now being used as a pop-up venue.
      The pop-up installations are located in and around Selfridges on Oxford StreetThe Corner Shop, which functions as the installation’s main retail space, features pale blue tiles blanketed across its interior. In its window, a large transparent tube of toothpaste spills ribbons of red and white gel.
      An oversized bathtub, sponges, shower facilities and sinks were also installed in the space, where they function as display areas for a selection of exclusive Jacquemus products and pieces from the brand’s Spring Summer 2022 collection.
      An oversized glass with a fizzing tablet is among the designsThe pop-up spaces were designed as a “surrealist reimagining of Jacquemus founder Simon Jacquemus’ very own bathroom,” Selfridges said.

      “I wanted to create crazy and unrealistic installations, all related to water and bathroom imagery,” said Jacquemus, founder of the eponymous brand.
      The designer was inspired to create one of the installations, an oversized glass, after seeing a tablet fizzing in a glass of water.
      “I also love how the giant tablet glass would also be very ‘eye calming’, a kind of visual ASMR installation in the middle of the Corner Shop,” he said.
      A 24-hour vending titled 24/24 is located behind the storeOn Edwards Mews behind Selfridges, a life-sized vending machine stocked with exclusive editions of the brand’s Chiquito and Bambino bags can be accessed for shopping 24 hours a day.
      A large circular opening marks the entrance to the space, a square room lined with five-by-five rows of bags and accessories displayed in oversized, deep blue-hued vending machines.
      Le Bleu includes three installationsAt the Old Selfridges Hotel, the final pop-up – a sensory installation titled Le Vestiaire – references swimming-pool changing rooms.
      Visitors are greeted by the now-familiar blue tiles, which cover the walls, floor and furniture of the space.

      Balenciaga wraps London store in pink faux fur to celebrate its Le Cagole “it-bag”

      A curved welcome desk was positioned in front of a tile-clad wall that holds a collection of rolled-up towels.
      Blue lockers and changing cubicles line the walls at the rear of the space and include “3D experiences” that draw on the iconography of surrealist French filmmaker Jacques Tati.
      It follows a number of installations that have taken place across Europe’s fashion capitals”Each experience is very different and playful, but my favourite would be Le Vestiaire, as it’s the first time we have invested in a space like this, with 3D experiences and crazy installations with our Jacquemus products,” said Jacquemus.
      “I wanted to recreate an accumulation of lockers with different 3D experiences inside, inspired by Jacques Tati movies.”
      Smaller installations were incorporated within the interior of lockers and behind cubicle doorsThe three pop-up installations are open from 3 May until 4 June 2022.
      The installation is the latest edition of a series of Jacquemus’ vending machine pop-ups located across Europe’s fashion capitals, including Milan and Paris.
      It was inspired by Jacques Tati filmsIn 2019, Jacquemus designed a Parisian restaurant named Oursin that featured whitewashed walls, colourful ceramics and rattan furnishings in an effort to “perpetuate summer”.
      French fashion brand Balenciaga recently transformed its Mount Street store into a temporary faux fur lined pop-up dedicated to its Le Cagole line.
      Images are courtesy of Selfridges.

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      Yinka Ilori gives London studio colourful revamp

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      Designer Yinka Ilori has collaborated with British architect Sam Jacob to give his London studio and office a bright revamp.

      Ilori worked with Jacob to transform the standard industrial-style unit into a bright and lively flexible workspace.
      Yinka Ilori collaborated with Sam Jacob to redesign his studio”We wanted to rethink what an artists’ studio is and look at how we could experiment with space to create a flexible and multifunctional environment that could respond to the different needs,” Ilori told Dezeen.
      “Yinka’s brief at the outset was a really great question about what a designer’s studio could be: how it could be a place to create but also a place to share, to host and to communicate,” added Jacob.
      Ilori’s office space is largely pinkEntirely painted in the bright tones often used within Ilori’s installations, furniture and artworks, the space is divided into three distinct zones.

      These areas, which will be used as an office, exhibition area and archive with a kitchen, are divided by curtains and sliding doors so that they can be combined into a large space.

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      “The aim was to create distinct areas in the space, and we did this using different materials from solid walls, sliding doors, felt and translucent curtains so that there is a flexibility in the way the space can be arranged,” explained Jacob.
      “Plus the way Yinka uses colour has a real effect on the definition, organisation and feel of space.”
      A transparent curtain divides two spaces”We wanted the studio to have distinct zones but at the same time be able to open or close spaces to create privacy,” explained Ilori.
      “We’ve used a number of translucent and solid curtains as well as large sliding doors to my office which means all the spaces can feel connected or we can separate different areas out,” he continued.
      “We’ve also used colour to define the function of the space so my team and my work area is dominated by pink, while the communal spaces and display spaces use blues and yellows.”
      Ilori’s office is accessed through a pair of sliding doorsOverall, Ilori believes that the collaboration with Jacob has resulted in a unique office that makes the most of the space.
      “Sam and I have quite a lot of common ground in terms of our design aesthetic so it was a really interesting experience to be able to share our ideas,” he said.
      “We were both able to see things through the others’ perspective and specialism which is what has resulted in us creating something really quite unique.”
      Furniture is stored in the archive space”We spent a lot of time discussing the space together to see how we could make it work for me,” he continued.
      “It was through those discussions that we were able to shape the design to make sure it was as practical as possible and could really function as a contemporary studio.”
      Ilori recently created a colourful maze-like installation for the V&A Dundee and designed a rainbow-coloured basketball court in Canary Wharf.
      Jacob’s recent projects include London’s Cartoon Museum, an events space for the ArtReview magazine and a contemporary neolithic shelter in Shenzhen.
      The photography is by Lewis Khan.

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      Balenciaga wraps London store in pink faux fur to celebrate its Le Cagole “it-bag”

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      Fashion brand Balenciaga has transformed its Mount Street store in London, creating a maximalist look to launch its Le Cagole collection by blanketing the interior in bright pink faux fur.

      To celebrate its popular Le Cagole bag, which references Balenciaga’s maximalist It Bags of the past, and launch the line’s collection of accessories and shoes, the entire interior of the store has been covered in fur.
      Balenciaga’s Mount Street store was lined in faux furThe brand removed its accessories, ready-to-wear collections and permanent shelving from the store and installed temporary, metal fixtures – taken from the brand’s previous projects and installations – throughout.
      Balenciaga wrapped these temporary fixtures and displays in a fluffy, bright pink faux fur chosen for its maximalist look to tie with the Le Cagole bag identity.
      Pink faux fur was used across the walls, floors and surfaces”The line, which now includes multiple bags, wallet, and shoe styles, reinvents Balenciaga codes in the tradition of maximalist It Bags of another era,” said Balenciaga.

      “Le Cagole pop-ups are in keeping with this spirit, covered entirely with bright pink fake fur. Shelves, displays, floors, seating, and even racks in the open-plan kiosks are lined in pink.”
      Le Cagole bags were placed across the fur-lined temporary displaysThe Le Cagole, which Vogue has dubbed the “new it-bag”, was designed by Balenciaga’s creative director Demna, who reinvented one of the house’s most iconic bags – the Balenciaga Motorcycle bag.
      First released in 2001 by Nicholas Ghesquiere, who led a 15-year tenure as creative director at the house from 1997 to 2012, the Motorcycle bag quickly became a staple of the 2000s.

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      Demna’s Le Cagole collection, which was first launched as a collection of handbags, has now extended into a number of different bags, shoes and purses. It takes its name from French slang that refers to an “over-the-top attitude”.
      The pieces employ the same detailing, hardware and rivets as Ghesquiere’s 2001 Motorcycle bag, which have been applied across a number of accessories including knee-high stiletto boots, mini-purses and oversized rhinestone-embellished handbags.
      The fur-lined Le Cagole pop-up is open at Balenciaga’s Mount Street store in London from April through until June 2022.
      The pop-up offers limited edition bagsBalenciaga told Dezeen that the metal fixtures and displays would be reused for future projects, and it is looking into ways in which the fur can be repurposed and reused in different contexts.
      “Each Le Cagole pop-up fixture base was made of reused metal from previous projects. After the faux fur is removed, the metal will be reused again for future projects,” it said.
      “We are currently researching the best way in which we can donate the faux fur so that it can be reused in manufacturing toys, for example.”
      The pop-up is open until JuneFor the fashion brand’s Autumn Winter 2022 collection, the house created a “snow globe” where models walked the runway in a blizzard as a comment on both the climate crisis and the Ukraine war.
      In late 2021, Balenciaga renovated its flagship store in London and debuted its “raw architecture” store aesthetic.
      Photos are courtesy of Balenciaga.

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      Pirajean Lees and Olly Bengough design “timeless” interiors for House of Koko members' club

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      Low-lit bathrooms informed by dressing rooms and a stage-kitchen-like restaurant feature in a members’ club at iconic music venue Koko, which pays homage to its theatrical past. 

      Local studio Pirajean Lees and owner and creative director of Koko Olly Bengough collaborated to create a members’ club within the London venue, which has been renovated over the past three years.
      Top: soft furnishings in Ellen’s bar control its acoustics. Above: Modular furniture that is easy to move features throughout the clubNamed The House of Koko, the members’ club consists of numerous bars, dining areas, lounges and a speakeasy arranged over several floors in a space alongside the public areas of the venue.
      The members’ club is directly connected to the refurbished 122-year-old, Grade II-listed theatre, which was renovated by architecture firm Archer Humphryes Architects.
      “The heart of the whole project is the theatre,” Bengough told Dezeen.

      A 1970s-style private dining room sits close to the main theatrePirajean Lees and Bengough took cues from Koko’s history as a music venue when designing the members’ club interiors, which intend to playfully reflect how traditional theatres used to run.
      On the first floor, The Battens Bar is a cocktail lounge that features a central banquette with punk-era red leather trim and a ceiling canopy crafted from cloth by Richmond Design Inc that has previously only been used to make speakers.
      Next to this space, there is a minimalist restaurant featuring Japandi interiors and an open-plan kitchen and dining area that was informed by the simplicity and community of old stage kitchens.
      Vinyl-listening, train-like booths create a sense of intimacyAnother bar is Ellen’s – an intimate 1940s-style speakeasy named after actor Ellen Terry, who opened Koko when it officially started as The Camden Theatre in 1900.
      The space is defined by soft furnishings that control its acoustics and a one-of-a-kind carpet with quirky illustrations of cigarettes.
      A bespoke bar in the penthouse by Pirajean LeesA private dining room with a geometric glass chandelier has panelled walls that hint at the main theatre located next to it, while dedicated vinyl-listening rooms with under-seat record storage give occupants the feeling of being in a vintage train carriage.
      “Because we inherited such a rich history of Koko, I don’t think anything contemporary or very modern would’ve allowed everything to carry on as if it had never closed and as if we had always been here,” explained Pirajean Lees co-founder Clémence Pirajean.
      The rooftop restaurant includes a funnel-like fireplaceAlso included in the members’ club is a piano room and library that are designed in the same eclectic material palette as the rest of its spaces.
      There is also a penthouse with a recording studio and a lounge with numerous hidden microphones to allow artists to record music all over the room.
      An airy roof terrace and restaurant lead to The House of Koko’s final space, an attic-like bar hidden in the venue’s famous dome, which was restored after a fire in 2020 destroyed it and extended Koko’s closure.

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      Deep olive doors informed by those that were located backstage throughout Koko in the 1920s run through the entire building and feature bespoke handles designed by Pirajean Lees.
      Bathrooms with illuminated, angular mirrors intend to give visitors the feeling of getting ready for a performance backstage in a hair and make-up room.
      Wooden joinery in various rooms also intends to reference the main theatre’s fly tower, which is a 360-degree stage and shaft formerly used to store props and scenery that was discovered during Koko’s renovation.
      A curved staircase leads to the dome bar”The thinking was let’s really go back to the past and get the past right, which sets you up to do the future in quite an interesting way,” said Bengough, describing the designers’ process.
      “Because if you make it beautiful, and timeless, and classic and all connected, then you’re like, wow, part two is as interesting and as beautiful as part one,” added Pirajean Lees co-founder James Michael Lees.
      The dome features an attic-like bar with views of the rooftop restaurantAs well as the members’ club, Pirajean Lees and Bengough also designed the interiors for two public spaces at the music venue.
      These are Cafe Koko, a pizzeria featuring a bar that doubles as a small stage for live performances and a shop selling Koko merchandise.
      Koko will officially reopen to the public on 30 April, with live streaming capabilities installed throughout the venue so that artists can reach audiences all over the world.
      Previously, Pirajean Lees also created the interiors for a jazz-age-style restaurant in a converted Dubai nightclub.
      The images are courtesy of Pirajean Lees and Olly Bengough. 

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      Studio McW carves up “post-lockdown” London home extension with darkened oak joinery

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      Umber-coloured oak joinery divides the interior of this end-of-terrace home in London’s Willesden Green, which has been extended and refurbished by local architecture firm Studio McW.

      The two-storey Aperture House now features an additional pitched-roofed volume at its rear, that can be accessed via the main home or a second, less formal entrance set at the side of the property alongside a small planted courtyard.
      A darkened oak cabinet sits under Aperture House’s pitched roofThe residence’s owners, a journalist and a psychiatrist, worked from home throughout the coronavirus lockdowns of 2020 and grew to dislike using their kitchen, which was visually cut off from the rest of the house and the outdoors.
      They tasked Clerkenwell-based Studio McW with establishing a more versatile “post-lockdown” extension that can be used for cooking, dining, working and entertaining.
      The cabinet transitions into low-lying cupboards in the kitchenStudio McW’s approach sought to find a middle ground between a more sequestered layout and a vast, open-plan space, which can often feel impersonal according to the firm’s director Greg Walton.

      “I think lockdown has certainly compounded the failures of modern open-plan living,” he told Dezeen.
      “Open-plan layouts offer little privacy and occupants can feel a bit lost in the room. Residential architecture needs to work harder to meet new demands.”
      Walls throughout the extension are finished in plasterIn the case of Aperture House, this is achieved using blocks of dark-stained oak joinery. The largest is a cabinet, which is nestled beneath the eaves of the roof and acts as a divider between the external entryway and a small dining room.
      At its centre is a rectangular opening that offers a place to perch and remove shoes on one side, while in the dining area it acts as a reading nook and an additional seat when hosting larger gatherings.
      “By using joinery to break up the spatial layout you have the opportunity to create, in the same room, separate spaces to eat, cook, welcome visitors and relax whilst still maintaining a form of connection,” Walton said.
      In front of the kitchen there is space for a lounge areaThe cabinet transitions into a low-lying oak cupboard in the kitchen, which allows residents to rustle up meals while keeping the garden, guests and each other in sight.
      To the side of the kitchen is a series of taller oak cabinets, interrupted by another nook where small appliances like the kettle and toaster can be tucked away to keep the counters free of clutter.
      Just in front of the kitchen, Studio McW made space for a lounge area where the owners can retreat to work or relax during the day.
      Another opening in the joinery provides room for small appliancesRather than installing glass doors all the way along the home’s rear facade, Studio McW opted to front the extension with a pivoting glazed panel.
      “I think the ubiquitous sliding or bifold doors across the rear of a London terrace are becoming an unromantic ideal,” Walton explained. “They don’t offer places for respite and repose, there is no shadow or play of light.”
      “In this house, openings in the new extension are set back within deep, angled brick thresholds, which are designed to focus views and draw in light at specific times of the day.”
      The extension is fronted by a pivoting glass doorAnother example of this is the off-centre skylight that punctuates the extension’s roof and casts shafts of light into the plaster-washed interior.
      “Just like in photography, the apertures in a property affect focus and exposure,” Walton said.
      “Often, the act of bringing light into a home is interpreted as putting in as many windows as possible. But in doing so you create all the characteristics of an overexposed photograph.”
      The door is set within an angled brick recessA growing number of homes are starting to reflect the effects that the coronavirus pandemic has had on people’s lifestyles.
      Earlier this year, the co-founders of Studiotwentysix added a plywood-lined loft extension to their own family home in Brighton to make room for more work and rest areas. With a similar aim, Best Practice Architecture recently converted the shed of a Seattle property into a home office and fitness room.
      The photography is by Lorenzo Zandri. 

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      Daytrip transforms east London terrace house into understated apartments

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      Design studio Daytrip has taken a less-is-more approach to the renovation and extension of this Victorian terrace house in London’s Clapton, which is now home to three separate apartments.

      The 250-square-metre Reighton Road development was designed as a “minimalist sanctuary” that could act as a blank canvas for residents’ belongings.
      A two-bedroom flat takes over Reighton Road’s ground floor and two basement levels (top and above)”A good home should be flexible and speak of its owners,” explained Hackney-based Daytrip. “The ability to cultivate and populate it over time with art, objects and personal items makes the home unique.”
      The largest of the flats has two bedrooms and takes over the building’s ground floor as well as two new subterranean levels, which are illuminated by a number of lightwells.
      Another apartment is self-contained on the building’s first floor and a third occupies the second floor and a new loft extension.

      Walls in the apartment’s kitchen are finished with tadelakt plasterIn the bottom apartment, the first basement floor accommodates a pair of spacious bedrooms, both of which were finished with poured concrete floors.
      Below that, the second subterranean level is meant to serve as a versatile studio-like space, where the residents can do home workouts or indulge in artsy hobbies.
      The kitchen’s rear wall is finished with grey bricksThe ground floor houses the apartment’s main living spaces including a new kitchen suite with handleless alabaster-white cabinetry.
      Save for a grey brick wall at the rear of the room, surfaces were washed with creamy tadelakt – a traditional lime-based plaster from Morocco.
      “It’s a purposely minimal and subdued kitchen, reserving the chaos to the cooking,” the studio said.
      The living room features white-oiled oak flooring and restored cornicingAt the front of the kitchen are wide glass doors that can be slid back to access the garden.
      London-based landscape design studio Tyler Goldfinch was brought in to give the paved outdoor space a wild, textured look using tiered planters overspilling with different types of grasses.
      There is also a silver birch tree surrounded by a circular bed of pebbles.

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      Unlike the rest of the apartment, the living room was finished with white-oiled oak flooring while the ceiling’s original cornicing was restored. These same features also appear throughout the other two apartments on the upper floors.
      To create a sense of cohesion, all three flats were styled by East London galleries Beton Brut and Modern Art Hire, which carefully curated a mix of Italian and Japanese furnishings for the development.
      The other apartments on the upper floors also feature white-oiled oak flooringMany of the pieces were crafted from velvet, boucle or raw timber, bringing a sense of warmth and tactility to the interiors.
      With this aim, all of the bathrooms were also finished with tadelakt walls and limestone floors.
      All furnishings were selected by Beton Brut and Modern Art HireThis is the second residential project in Clapton from Daytrip founders Iwan Halstead and Emily Potter.
      In 2020, the duo overhauled a five-storey townhouse in the east London district by turning its dated 1970s-style rooms into serene white-washed living spaces.
      The photography is by Jake Curtis.

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