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      Will Gamble Architects modernises London Victorian house with “soft minimalism” interiors

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      UK studio Will Gamble Architects has extended and modernised a Victorian house in south London, using curved shapes and a palette of natural materials to create a calm and minimalist aesthetic.

      The clients – a married couple looking to create their forever home – asked Will Gamble Architects to oversee the transformation of the semi-detached house in Putney into a serene sanctuary.
      Architecture firm Proctor & Shaw initially developed the planning drawings before Gamble’s studio was appointed to develop a cohesive interior design service throughout the home, including technical drawings and revised spatial layouts for the upper floors.
      Will Gamble Architects has extended and modernised a south London Victorian houseTo fufil the clients’ request for increased space, a rear and attic extension was added.
      “We were keen to maximise space and light as much as possible through clever design solutions,” architect Will Gamble told Dezeen.

      “This was particularly relevant over the upper floors where the brief called for four bedrooms and three bathrooms which a conventional layout couldn’t accommodate.”
      Gamble’s “soft minimalism” approach is defined by gentle tonal huesGamble applied an approach he described as “soft minimalism” throughout the interiors, utilising a restrained palette of textural materials to ensure consistency across all floors.
      “Soft minimalism is defined by curved lines, gentle tonal hues, natural materials and carefully curated spaces,” said the architect. “This aesthetic allowed us to deliver a highly bespoke project tailored to our clients’ needs.”
      Muted colours enhancing the “soft minimalism” aesthetic include whites and pinksArched niches, curved walls and a bespoke staircase with semi-circular landings, circular spindles and a turned-oak rail contribute to an aesthetic defined by a gentle geometry.
      Muted colours including warm whites and soft pinks provide a soft and coherent backdrop, while more textured materials including pippy oak and richly veined marble add personality to some of the spaces.

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      The new staircase was illuminated by an oval roof light that continues the theme of gentle, round forms. The roof light casts natural light deep into the floor plan and is openable to allow stack ventilation to naturally cool the interior.
      Bespoke joinery brings functionality and visual interest to rooms including the main bedroom, where a headboard unit made from pippy oak provides additional storage as well as concealing the en-suite shower room.
      Textured materials like pippy oak and richly veined marble add flare to certain spacesThe bespoke bed and headboard with integrated wardrobes are centrally located within the room to maximise the available space. The en suite contains a pair of marble-clad vanities either side of a walk-in shower.
      Pippy oak was used elsewhere in the house for furniture including bedside tables and built-in storage. The wood’s distinctive knots and knot clusters stand out whilst complementing the other natural materials.
      “The ‘cats paw’ pattern of the pippy oak adds a decadence to the otherwise muted material palette,” Gamble added. “We used this unique material in key areas to help establish a hierarchy across the spaces throughout the project.”
      A pippy oak headboard unit in the main bedroom conceals the en-suite shower roomAs part of the renovation project, the building’s historic fabric was thermally upgraded to reduce energy consumption and create a more comfortable environment. A home automation system was also incorporated that minimises visible light switches and contributes to the uncluttered, minimalist interiors.
      According to Gamble, the owners were interested in “achieving a high-quality finish driven by an acute attention to detail”, which led to a highly bespoke project tailored to their exact requirements.
      Will Gamble established his London-based studio in 2018 after working for architectural practices Farrells and Francis Philips Architects. The office specialises in sensitively retrofitting existing buildings through contemporary architectural interventions.
      The studio’s previous projects include a home built within the ruins of a 17-century parchment factory in Northamptonshire and a glass-walled extension to a Georgian house in Leicestershire.

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      Archmongers celebrates “raw beauty of brutalist concrete” in Trellick Tower apartment refresh

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      Newly exposed concrete walls are paired with a matching terrazzo in this sensitive home renovation by London studio Archmongers in North Kensington’s Trellick Tower.

      Led by architects Margaret Bursa and Johan Hybschmann, Archmongers reworked a duplex apartment on the 23rd and 24th floors of the listed 31-storey tower block.
      Archmongers has renovated a Trellick Tower apartmentThe design stays true to the original layout and materials palette but some small adjustments help to emphasise the building’s brutalist character.
      Bursa and Hybschmann chose to expose the coarse concrete aggregate walls, while new fixtures and surfaces are made from industrial-style materials in complementary tones.
      Materials were chosen complement the newly exposed concreteThe effect is most striking in the kitchen, where the speckled brown and cream terrazzo sits alongside brushed stainless steel counters, white cabinets and matt-black linoleum flooring.

      Archmongers designed the home for a client who divides their time between London, Italy and Switzerland.
      “Our client was looking for a refurbishment which was true to the simplicity and modesty of the original fit-out,” Bursa told Dezeen.
      Matt-black linoleum provides flooringThe aim, she said, was to embrace “the raw beauty of brutalist concrete” and emphasise “the use of honest materials in every intricate detail”.
      “The contemporary update is drawn from the original architecture,” she said.

      Trellick Tower apartment revamped to resemble “cool concrete loft”

      “We exposed the in-situ cast concrete walls in the living spaces and on the stairs, adding material richness to the interiors and linking to the course aggregate concrete of the exterior facade.”
      Completed in 1972, Trellick Tower was designed by Hungarian-British architect Ernö Goldfinger and famously features a separate staircase tower connected to the apartment floors by enclosed bridges.
      A secondary doorway was replaced with an internal window to create extra storageArchmongers made few changes to the apartment layout, which they described as “very efficiently designed”.
      The largest intervention closed up a secondary doorway that previously led through to the kitchen, instead creating an internal window above additional storage and counter space.
      The same material palette features in the living roomAn adjustment was also made on the upper level, where some of the space from the cloakroom was reallocated to make room for an extra shower.
      In bathrooms on both floors, tap and shower fittings sourced from Italian manufacturer Fantini Balocchi provide flashes of bright red and yellow that reference the coloured tiles found throughout Trellick Tower.
      Bathrooms feature white tiles with putty-coloured grout and brown terrazzo”The communal hallways of Trellick Tower each have a different tiled colour theme, which inspired our use of colour,” Bursa explained.
      Warm tones emanate from other surfaces in these rooms, including a terrazzo with the tone of walnut wood and white tiles outlined by putty-coloured grout.
      Tap and shower fittings provide flashes of bright red and yellowThe Trellick apartment is the latest in a series of mid-century renovations that Archmongers has completed and not the first to feature in a famous estate.
      Past projects include reworks of a duplex in the 1950s-built Golden Lane Estate and an apartment in the Barbican, as well as a revamp of a 1960s terrace.
      A new hand-carved walnut handrail was added to the staircaseHere, the building’s Grade II* listing meant that Archmongers was required to retain the original metal lightswitches, even though they couldn’t be certified after the electrics were rewired.
      “There are now two sets of light switches; one new and one original but no longer working,” Bursa said.
      Other sensitive additions include a new hand-carved walnut handrail for the staircase, which runs parallel to the modernist-style metal and timber balustrade.
      The duplex is located on the 23rd and 24th floors of Trellick Tower”Preserving the architectural integrity of the building was paramount,” Bursa added.
      “The Trellick Tower project serves as both an homage to the building’s historical significance and a timeless update that elevates its legacy to new heights.”
      The photography is by French + Tye.

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      Max Radford Gallery opens London showroom to get people “in front of real objects”

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      Max Radford Gallery has opened a permanent space in east London that shows collectible designs from its past shows, including pieces by Carsten in der Elst and Amelia Stevens.

      Located in Hackney Downs, the showroom displays works that the gallery first showed at Belgium’s Collectible design fair, as well as pieces from earlier exhibitions.
      The showroom is located in east LondonBy combining works from different stages of its designers’ careers, the gallery aims to showcase how the artists it works with have developed over the years.
      “It’s a privilege to be able to track a designer’s development and change in their practice across a few pieces in the same space,” founder Max Radford told Dezeen.
      It features pieces by 15 designersThe gallery, which launched in 2020 during the Covid-19 pandemic, focuses on emerging artists. By opening a physical space, it hopes to also help them reach a bigger audience.

      “The Max Radford Gallery seeks to platform emerging creatives who are working in the grayscale between art and design with a London-centric focus,” Radford said.
      “This has always been the particular area that the gallery has been engaged with and stems from a need for physical spaces to see these types of works in London, rather than just on social media – as the only option was when the gallery was beginning.”
      Collectible furniture designs are on display at the galleryAmong the artists showing in the space are In der Elst, whom the gallery had previously included in its Hard Knocks show, and Stevens, who took part in Max Radford Gallery’s exhibition at the Aram Gallery.
      The new space also showcases furniture and accessories by designers Georgia Merritt, Fred Thompson, Grace Prince, Nic Sanderson, Inga Tilda, Eddie Olin, EJR Barnes, Ty Locke, LS Gomma, Natalia Tifantilyi, Andrew Pierce Scott, Louie Isaaman-Jones and Matthew Verdon.

      Aram and Max Radford Gallery showcase emerging designers in Now 4 Then exhibition

      Max Radford Gallery is now located in a minimalist studio, which its founder intends to keep as a paired-back space.
      “The showroom is a beautiful white-painted studio space with just over half of the floor plan having triple height up to skylights, producing beautiful changing light across the day,” Radford said.
      “We haven’t made any architectural changes to the space and are not sure that we will, potentially with the exception of some sort of temporary mezzanine in the triple height space for an exhibition-specific installation,” he added.
      Max Radford Gallery focuses on emerging designersBy opening a permanent gallery, Radford wants to support London’s community of emerging designers.
      “It’s for the community aspect that is introduced by the communal use of creative space; there is a burgeoning community of designers and artists in London with lots of crossovers through universities and workshops that support and raise up its members,” he said.
      “Facilitating a space for communities like this to express and interact seems like a key aspect to supporting what is going on here in London currently,” he added.
      The showroom features pieces from previous exhibitionsHe also hopes that the physical aspect of the space will encourage people to see design pieces in person.
      “It’s as simple as getting people in front of real objects, not just heavily retouched or rendered images of them,” Radford concluded.
      The photography is by Richard Round Turner.

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      Webb Yates creates structural stone frame for Royal Academy summer exhibition

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      A post-tensioned stone frame by engineering firm Webb Yates is among the exhibits in the architecture rooms of this year’s Royal Academy of Arts summer exhibition, curated by London studio Assemble.

      Webb Yates worked with The Stonemasonry Company to create a frame made from cored cylinders of waste limestone joined together with tensioned steel rods, aiming to showcase stone as a modern, low-carbon structural material.
      It is one of the many pieces displayed at the annual Royal Academy of Arts summer exhibition, which is open until 18 August, and is part of the architecture section curated by Assemble around the theme “spaces for making”.
      A post-tensioned stone frame is on display at the Royal Academy summer exhibition”Webb Yates and The Stonemasonry Company have been advocating a return to stone structure to reduce carbon and pollution,” Webb Yates cofounder Steve Webb told Dezeen.
      “Many people construe this as a suggestion to return to the massive stone structures of the past but we want to reimagine how stone can be used by modern engineers and stone masons.”

      “The pylon demonstrates how post-tensioning slim stone elements can achieve strength and rigidity at a fraction of the carbon cost,” he continued.
      Webb Yates Engineers used steel rods to connect cored limestone cylindersDisplayed in the octagonal central hall at The Royal Academy of Arts, the stone structure is imagined as an alternative to building with steel, Webb explained.
      “Imagine crane masts, bridges or space frames like the Eden Centre and Stadium Australia being formed with stone elements instead of steel,” he said.
      “With a world-saving 75 per cent carbon reduction, inherent durability and fire resistance, we can put waste stone to use and make some really pretty structures.”
      Assemble curated two rooms at the exhibitionThe stone structure is displayed alongside architectural models, material samples, drawings and photographs in the architecture rooms – a regular feature at the annual summer exhibition, which also showcases various mediums of art.
      Other stone pieces in the show included a model of Artefact’s Brick from Stone installation and a column segment designed by Palestinian architects AAU Anastas, which is made up of a bulging piece of stone sandwiched between two stone fragments taken from a demolished building in Bethlehem.
      One gallery is designed as an industrial storage spaceAssemble, which was elected a member of the Royal Academy of Arts in 2022, arranged the architecture exhibit across two rooms.
      Aiming to reflect the profession’s working processes, the central hall is curated as a studio-like display of works and the adjacent gallery is designed to appear like an architectural storage space, with exhibition pieces displayed on industrial shelving.

      Why aren’t more architects using stone as a building material?

      “We wanted to approach the two rooms slightly differently and show architecture in the space that it’s usually made,” Assemble’s Kaye Song told Dezeen.
      “We’re used to seeing architecture models and drawings presented in such a pristine way but that’s not usually the context you view finished architecture works,” Song added.
      “One gallery we’ve turned into an industrial storage-like space using off-the-shelf products like palette racking and wall-mounted brackets, and the other room has taken an artist’s studio approach.”
      Exhibits are displayed on industrial shelvingHanging from a skylight in the central hall are sheets made of biomaterials by artists Jessie French and Shanelle Ueyama. Surrounding them are mosaic panels by volunteers at the Hackney Mosaic Project and a glass sculpture by designer Yinka Ilori.
      In the adjacent room on the industrial shelving, which will be reused elsewhere after the exhibition closes, is a set of tools by sculptor James Capper, architecture models and casts by architecture studio Stanton Williams and rammed-earth stools by ceramic artist Lyson Marchessault.
      AAU Anastas also contributed stone exhibits to the exhibitionAssemble founding member Maria Lisogorskaya explained that a wide range of designs from different types of makers, not just architects, were chosen to create an engaging exhibition.
      “We wanted to showcase the breadth of the profession with models, tools, material samples and community projects, not just individual projects,” said Lisogorskaya.
      Tools by James Capper are among the other exhibits”There’s a range of people; there’s architects, product designers, structural engineers, fashion designers, musicians, scientists, community organisations,” Lisogorskaya continued.
      “We wanted to have a really broad net of people together under one roof to make for a more dynamic show.”
      Also taking place is the London Festival of Architecture, for which an eclectic range of benches has been installed on the Royal Docks and Unknown Works has constructed The Armadillo pavilion from eucalyptus wood.
      The photography is by Kaye Song.
      The Royal Academy of Arts summer exhibition takes place from 18 June to 18 August 2024 at Burlington House in London. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.

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      “Proud Mancunian” Norman Foster to renovate Manchester United training ground

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      Architecture studio Foster + Partners has begun work renovating the interiors of the men’s first-team building at Manchester United’s Carrington training complex.

      The renovation of the training ground located around six miles from the club’s Old Trafford home stadium commenced yesterday and is being led by Foster + Partners founder Norman Foster, who is from Manchester.
      Born in Reddish in 1935, Foster described the design as capturing “the spirit of industry, grit and ambition that exemplifies both Manchester and Manchester United”.
      “As a proud Mancunian, it is a particular honour for me to see Foster + Partners given this responsibility,” he added.
      Foster + Partners will renovate the men’s first-team building at CarringtonThe project will include a complete interior refurbishment of the building, transforming it into what Manchester United described as a “world-class football facility”.

      Foster + Partners will initially focus on creating more streamlined interiors for the gym, as well as medical, nutrition and recovery areas.
      Renders show sandy-hued interiorsRenders released by Foster + Partners show sandy-hued, open-plan spaces illuminated by floor-to-ceiling glazing and filled with potted plants.
      “When we conducted a thorough review of the Carrington training facilities and met with our men’s first team players, it was clear the standards had fallen below some of our peers,” explained club co-owner Jim Ratcliffe.
      “This project will ensure Manchester United’s training ground is once more renovated to the highest standards,” he added.

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      The renovation is the latest stage in wider developments at Carrington, where the Manchester United Women and Academy building opened in October 2023.
      The Foster + Partners project is set to last through the next football season, although temporary adaptations will be made to the rest of the Carrington site to accommodate player and staff needs during the renovation period.
      The studio has designed the architecture for previously completed sports venues including London’s Wembley Stadium, which opened in 2007, and the more recent Lusail Stadium in Qatar created for the FIFA 2022 World Cup.
      The renderings are courtesy of Foster + Partners. 

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      Lina Stores South Kensington designed to “evoke the rhythm” of Italian espresso bars

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      Interiors studio North End Design has applied the distinctive pistachio green synonymous with London’s popular Italian delicatessen and restaurant chain Lina Stores to the company’s newly opened branch in South Kensington.

      Positioned on the corner of Exhibition Road and Thurloe Square, the South Kensington restaurant is the seventh outpost of the well-known deli, which opened in Soho in 1944.
      The Lina Stores team worked with local studio North End Design to create an interior that balances the chain’s history with its most recent location.
      Lina Stores South Kensington includes the brand’s distinctive pistachio green”For South Kensington specifically, we added a more elevated look to mirror the neighbourhood,” Lina Stores told Dezeen.
      The brand’s “signature” pale green clads the facade, from which the deli’s recognisable stripy awning protrudes.

      Inside, the designers centred the restaurant around an open kitchen counter and coffee bar that wraps one side of the eatery and is topped with dark timber and stainless steel.
      The designers centred the restaurant around an open kitchen counterThis feature was chosen to reference the hustle and bustle found in traditional Roman and Milanese espresso bars.
      “These bars tend to be at the centre of their communities, which is very much how we see our restaurants and delicatessen when we open in a new neighbourhood,” explained the brand.
      Mismatched bentwood chairs provide seatingMismatched bentwood chairs and deep green banquettes were arranged around rectilinear tiled tables to create seating areas across the restaurant, which features a ceiling painted the same distinctive pistachio as the facade.
      Plump, leather-upholstered stools with fat cream-hued piping were also positioned at the bar – the focal point of the eatery where “everything happens”.
      Black and white photography and newspaper cuttings line the wallsThe team dressed the space with steel columns and beams – taking cues from classical Milanese colonnades – and painted them dark green “to evoke the rhythm of the architecture of Milan”, said Lina Stores.
      Chequerboard flooring features throughout the space, finished in a mixture of dark green mosaic and terrazzo tiles.
      Gloss lacquered sapele wall panelling matches the dark timber of the chairsGloss lacquered sapele wall panelling matches the dark timber of the dining chairs, while second-hand Tuscan credenzas and cabinets were sourced as waiter stations.
      “They were included for an elevated, vintage look,” Lina Stores said.
      Chequerboard flooring features throughout the spaceAcross the restaurant’s walls, a selection of vintage Italian black and white photography was combined with framed newspaper cuttings documenting Lina Stores’ history.
      “The collection and positioning of the artwork throughout the space has a spontaneous feel to it, like a wall at an old cafe that’s been added to organically over time,” explained the brand.

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      North End Design also added “opaline” globe lighting to the eatery, in a nod to the same bulbs illuminating Lina Stores’ original Brewer Street deli.
      “We take an individual approach to each one of our locations so no Lina Stores restaurant and delicatessen looks the same,” said the brand.
      “While all the restaurants are very much inspired by our first delicatessen, we see them as extensions and a way to further develop and bring in different elements of Italian design.”
      Globe lighting nods to the Brewer Street deliArchitecture studio Red Deer designed the first of the Lina Stores restaurants on Greek Street, minutes from the original deli. French designer Olivier Delannoy recently created the interiors for Daroco restaurant located just around the corner.
      The photography is by Adam Firman. 

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      Tutto Bene balances steel and mirrors with wood and leather in Nightingale restaurant

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      Design studio Tutto Bene drew on “the sombre elegance of theatre and museum lobby cafes” when creating the interiors for the Nightingale restaurant in London.

      The 60-square-metre space, which opens to a courtyard in London’s Mayfair neighbourhood, references Viennese coffee houses, known locally as Kaffeehäuser.
      “We thought London is missing spaces with the atmosphere that we know Kaffeehäuser for,” Tutto Bene co-founder Oskar Kohnen told Dezeen.
      Nightingale’s interior draws on Vienna’s coffee housesNightingale’s “stage-like” dining room was also informed by “the sombre elegance of theatre and museum lobby cafes”, Kohnen said.
      “Nightingale’s sloped ceiling, abundant drops of fabric curtains, as well as the curtain-like wall panelling play on this idea,” he explained.

      The restaurant has a colour palette that emphasises green and cream colours, with a floor made of cement tiles in various green hues.
      A pale green floor contrasts with white wallsCream-coloured walls and curtains contrast against silvery details, with a monolithic stainless-steel bar functioning as the room’s centrepiece.
      “The courtyard plant life suggested the green colour,” studio co-founder Felizia Berchtold told Dezeen.
      “Based on this we added light and shadow through layers of black and white,” she added. “The surfaces interacting with the daylight create an abundance of hues in an overall calm tonality. It’s simple but dramatic.”
      Tutto Bene added a stainless-steel counter as a centrepieceMirrored, tiled columns add to the theatrical feel of the space, for which Berchtold also designed the sculptural Satellite Pendant, a spinning chandelier.
      It was manufactured by the Austrian brand Kalmar, which has a history of designing lights for Viennese coffee houses, and features pleated cream lampshades that orbit around a steel axis.

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      “I initially drew the lamp during my travels in Japan last spring,” Berchtold said.
      “It was inspired by paintings of sea roses and the craft of fan making, as well as ideas around motion and dance. We developed the design together throughout the year.”
      Felizia Berchtold designed the Satellite Pendant lamp for the restaurantKalmar’s vintage glass scones decorate the mirrored glass columns, while Tutto Bene’s angular Sketch lamp sits on the wait station and its round Oblo lights can be found on the ridged walls.
      The studio also worked with a variety of materials to give the space a tactile feel.
      Nightingale features tables made from burl wood and stainless steel, which was also used for the bar and as a detail on the wait station, where it contrasts against swathes of cream cloth.
      The studio also designed the furniture for the spaceTutto Bene’s Cafe Chair, made from stained wood and saddle leather, was used for seating along with wooden benches in the same style.
      “The material palette balances crisp and formal materials such as steel and tiles with texture and playful warmth, resembled in the ever-changing drapes of fabric, the burl wood tables and saddle leather chairs,” Berchtold said.
      Tutto Bene recently created a Streamline Moderne-informed New York store for eyewear brand Cubitts. Also in Mayfair, design studio Pirajean Lees designed an Arts-and-Crafts inspired restaurant called 20 Berkeley.
      The photography is by Ludovic Balay.

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      Tabitha Isobel gives London townhouse a “surprising and bold” makeover

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      Designer Tabitha Organ combined natural materials with metal details to transform this London townhouse into a home with a “slightly futuristic” feel for a client who loves entertaining.

      The five-storey property on St Pauls Road had recently been renovated by a developer using poor-quality finishes, so the client – a young tech entrepreneur and first-time homeowner – asked Organ’s studio Tabitha Isobel to create a more bespoke interior.
      The brief called for a scheme that retains the Victorian house’s original features, whilst layering vintage pieces and contemporary design to create spaces with a distinct character.
      Tabitha Isobel transformed the Victorian north London townhouse”The client wanted a home that would be surprising and bold but also timeless,” Organ told Dezeen. “Amongst his peers, he is a frequent host of parties so he wanted an interior that would be a backdrop to these and bring a certain entertaining ‘vibe’.”
      Some of the original details that survived the previous renovation included detailed mouldings and the wooden window shutters in the living areas.

      Organ sought to emphasise these elements by introducing a carefully chosen palette of complementary colours and materials. Other spaces received a more expressive treatment, including the golden-toned cinema and DJ room in the basement.
      The five-storey property’s renovation adopts a “slightly futuristic” feelThe main architectural interventions occurred on the first floor, where previously disjointed spaces were reorganised to create a large bedroom with an adjoining bathroom and dressing area.
      The bedroom, which has windows on two sides due to the property’s end-of-terrace location, is connected to the bathroom by a walk-through wardrobe containing bespoke cabinetry built from naturally patterned burr walnut.
      New bespoke features include an adjoining walk-through wardrobeThe house’s main living areas are unified by the consistent application of green hues and metal details, which featured in an image of a kitchen given to Organ by the client as inspiration at the beginning of the project.
      “As the living and dining area is open plan with the kitchen, we introduced a Verde Guaco Green fireplace surround that sits on the same elevation as the kitchen so the tones speak to each other,” Organ explained.
      “We also chose a green velvet sofa from Maison Dara that is positioned in line with the kitchen, helping the spaces to feel connected.”
      Green hues and metal details inform the house’s living areasThe designer added that the combination of natural materials and metal surfaces contributes to the scheme’s sense of timelessness while creating a juxtaposition of textures and finishes that adds visual interest to the design.
      “As part of the concept, we wanted the spaces to have a slightly futuristic feel to them,” she pointed out. “Metals are timeless materials and I find they lift palettes, bringing them to life and creating a richness through reflection and depth.”

      Unknown Works brightens Victorian townhouse with dusty pink extension

      Metal and wood combine in a bespoke solution designed to conceal the television above the fireplace. Eight hand-carved wooden panels are set within a brushed aluminium frame that incorporates bi-fold doors that open to reveal the TV.
      Throughout the home, textiles provide a further textural contrast to the hard metal surfaces. This approach is encapsulated by a vintage metal-framed armchair in the living room that was reupholstered in a boldly patterned fabric by UK brand Schumacher.
      A reupholstered metal-framed armchair provides textural contrastWhile the living area and bedroom are predominantly monochrome, there are moments of bright colour elsewhere in the home – particularly in the en-suite shower room.
      Organ chose terracotta tiles with different scales to bring a sense of richness and warmth to the space. The walk-in shower is lined with cobalt blue tiles intended to introduce a surprising element.
      Terracotta tiles in the en suite shower room provide a sense of richness and warmthA cinema room located on the basement level was designed to resemble a moodily lit members’ club, with a cotton moire wall covering matched to a high-gloss painted ceiling and mid-gloss cabinetry.
      The room is used for hosting parties and includes a concealed home bar with stainless steel shelves set in front of a bronze-tinted mirror.
      Marble and metal wall lights illuminate the textured walls as well as a velvet sofa with oversized cushions, a vintage coffee table and a bespoke walnut DJ console crafted by furniture maker Spinback.
      The cinema room conceals a stainless steel home bar in front of a bronze-tinted mirrorOrgan founded Tabitha Isobel in 2023 after working for a decade as an interior designer for London-based studios Conran + Partners and Sella Concept.
      The designer’s approach focuses on combining historical and contemporary elements to create timeless spaces driven by authenticity rather than trends.
      Other creative townhouse transformations include a Brussels home with a skylit atrium and a London home that was given a 1970s-style makeover.
      The photography is by Genevieve Lutkin.

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