A composition of white-rendered and slate-clad rectilinear building volumes, offset from one another horizontally and vertically and incised with frameless, rectangular glazing, references the Conical Intersect artwork of Gordon Matta-Clark.
A rectangular wall of mirror doubles the perception of the new spaces and forms in the open-plan living-kitchen-dining space of the ground floor. Ambiguously, the wood-lined interior both accentuates interiority, by recalling traditional salons and nooks, and connotes exteriority through the use of timber matching the decking outside. This perception is furthered by glimpses of garden vegetation through the frameless windows and in the mirrored wall.
On the top floor, frameless rectangular openings to the walls and roof continue the exterior design strategy of the lower floors inside a traditional mansard building form. Timber cladding to the wall separating the bedroom and bathroom, and to the built-in desk and window surround on the floor below, visually recall the ground floor.
The exterior additions to the house are articulated as rectilinear white and slate volumes, with incisions of frameless rectangular glazing.
Interior openings are frameless, with concealed doors where necessary, to appear as rectangular incisions in the original building.
Moving through the house, one looks through layers of frameless openings in the interior and exterior walls and roofs.
A mirrored wall appears as another incision in the building, and visually doubles the frameless openings in the interior and exterior.
The open-plan interior is loosely divided by rectilinear volumes that continue the language of the exterior architecture at a smaller scale, concealing storage and hidden doors.
The open-riser staircase recalls the Stack artworks of Donald Judd, but in timber to match the floor of the original Victorian house.
Fragments of the vocabulary of the new design appear in interventions throughout renovations of the house.
A timber-clad built-in desk forms a window surround to one of the frameless glazed incisions to the building envelope.
Held in door pockets, frameless interior doors enable the entrances to enclosed rooms to also appear as incisions to the interior of the building.
Materials Used:
Facade cladding: Roof Slates, Cedral Thrutone, Marley Eternit
Flooring: Porcelain Tiles, Concept Tiles UK
Flooring: Kitchen floor, Ultratop, Mapei
Doors: Aluminium, Sliding doors, IQ Glass
Windows: Composite Aluminimum and Wood, Velfac 200, Velfac
Timber window cladding: Cedar, Kiln Dried Planks, Sykes Timber
Bedroom wall finish: Plaster, Natural Plaster, Domingue Finishes
Installed by The Plaster Collective
Light switches: Bronze, 190705, Corston
Beside lights: Metal, Flo Wall Light, Lumina Italia
Bathtub: Stone resin, Picasso, Lussostone
Concrete Sink: Concrete, ‘Beau’, Woodys Concrete Co.
(designed by William Tozer Associates, manfufactured by Woodys
Concrete Co.)
Rocker chair: Wood and metal, Penguin Rocking Chair, Audo Copenhagen
Dining room chairs: Wood, Chair 209, Thonet
Concept Tiles
Osmo
Ultratop
Velfac
Skyes Timber
The Plaster Collective
Joinery Works
Lusso Stone
Corston
Lumina
Matt Wright
Ultratop
