Located in the county of Suffolk, Long Farm is a three-storey family residence clad in a mixture of regional materials that includes terracotta roof tiles, lime mortar and timber details.

"We wanted to make a building that belonged on the site," says Lucy Marston. "Familiar building elements and materials were carefully composed to create a house that is clearly of its time, but with an identity firmly routed in its locale. It was intended to be immediately recognisable as a Suffolk house that feels at home on the farm."

Skylights are lined up along both sides of the roof, while large windows cover all four elevations, allowing light to filter into the house at different times of day.

A similar materials palette continues through the interior. Martson explains: "Whitewashed brickwork, painted timber linings and exposed ceiling beams were used to give honest depth, texture and character to a modern interior."

The client works as a writer and requested quiet spaces for working as well as larger areas for entertaining guests or spending time as a family.

Marston thus added a a series of rooms on the ground floor that can be opened out to create a large living room or subdivided to create a "snug", a reading room and a playroom for the children. There's also a study across the corridor.

A large kitchen is located at the opposite end of this floor and features a dining table that can seat up to ten people, as well as a traditional farmhouse sink and a double stove.

Four bedrooms occupy the first floor and include two master bedrooms with private bathrooms, plus a pair of children's rooms that can be combined to form one large room.

"The clients wanted to build a simple, modest building that would adapt to accommodate them as the family developed," says the architect.

Other rural English houses featured on Dezeen include a converted stable block in Hampshire and a stone house on the Isle of Man. See more houses in the UK.

Photography is by Jack Hobhouse.

Here's the full project description from Lucy Marston:

Long Farm, Suffolk

Long Farm is a new family home in rural Suffolk, England. The house sits high among a group of existing farm buildings, facing east across salt marshes and open fields, towards the sea.

We wanted to make a building that 'belonged' on the site and so the design emerged from its context. The steeply pitched roof and linear form were influenced by the traditional 'long house' form that can be seen throughout that part of the country.

Familiar building elements and materials - a corner chimney, brick and lime mortar, teracotta tiles and timber - were carefully composed to create a house that is clearly of its time, but with an identity firmly routed in its locale. It was intended to be immediately recognisable as a Suffolk house that feels at home on the farm.

Capturing the unique views around the house, in all directions was key. From the dawn in the east over the sea to sunset over the reed beds to the far west, windows and rooflights were placed precisely to track the sun and and views throughout the course of the day. Windows were kept large to frame dramatic views, but balanced with the occupants' domestic desire for enclosure, privacy and warmth.

Internally, the vernacular references continue: a super-sized inglenook in the sitting room, a generous hall and landing that almost become rooms, window sills deep enough to sit in and a 'farmhouse kitchen' arranged around a large family table. Whitewashed brickwork, painted timber linings and exposed ceiling beams were used to give honest depth, texture and character to a modern interior.

The house was designed to accommodate a family of four with guests, with room for different age groups to carry out activities in different parts of the house.

As a writer with young children, the client had conflicting requirements, requiring solitude in order to work and also sociable interlinked spaces for the everyday bustle of sociable family life and frequent visitors.

The plan, an update of the traditional single room depth long house layout, was developed as a series of smaller rooms with their own identities (a playroom, a reading room, a snug).

These can be closed off and used separately with access via the hall or opened up with sliding doors to create a more fluid semi-open plan space. Likewise the childrens' bedrooms can be opened up to form one big room or closed off for privacy.

The clients wanted to build a simple, modest building that would adapt to accommodate them as the family developed. They also wanted a building that would weather well, would require little or no maintenance and minimal energy to run.

At Long Farm, we aimed to make a building that was not only robust and flexible enough to age well over time, but one that aimed to be sustainable long term in an aesthetic sense, that had a timeless or 'classic' quality to it.

Landscape Consultant: Marie Clarke, Clarke Associates
Structural Engineer: David Cantrill, JP Chick and Partners
Contractor: Robert Norman Construction

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Lucy Marston appeared first on Dezeen.

The historic Manor House Stables, once home to a Grand National-winning horse, comprised a single-storey building with brick and stone walls and a gently sloping gabled roof. AR Design Studio was tasked with transforming the Grade II listed structure into a modern home without removing any of the period features.

"The concept was to preserve the existing while making any new additions simple and pure in order to let the original character shine," explain the architects.

To retain the original timber partitions, the architects made few changes to the plan, creating rooms in the old stables and allowing a corridor to stretch out in front.

The three bedrooms are pushed to the western end of the building, while a kitchen and dining room are located in the middle and a lounge opens out to a small terrace on the eastern side.

Many of the original doors are restored inside the house, while the old timber-framed windows are replaced with modern glazing and powder-coated steel frames, and new skylights are installed to bring more light in through the roof.

Redundant features of the stables are also reused in the design. These include the old horse troughs, now used as sink basins, and tethering rings that function as towel hoops.

A polished concrete floor runs through the house, plus dark tiles line the walls and floors of each of the bathrooms.

Earlier this year a Portuguese studio also converted a stable block into a family house, while a team of Copenhagen architects previously inserted an artist's studio with an anodised aluminium roof into an old stable in Denmark.

Photography is by Martin Gardner.

Here's some more information from AR Design Studio:

Manor House Stables

Friday April 5th 1946, on a beautifully clear spring afternoon crowds cheered as the 25/1 racehorse, "Lovely Cottage", strode triumphantly past the finishing post to be crowned winner of the Grand National, the UKs largest horse race. Trained by Tommy Rayson and ridden by Captain Robert Petre at the first true Aintree Grand National race since 1940, after the Second World War, and the last to take place on a Friday, which had been the tradition since 1876.

That weekend "Lovely Cottage" returned home to the small village of Headbourne Worthy, near Winchester. He received a hero's welcome before settling in for a well-earned rest in the stables at the Manor House where he was housed.

These stables, that were once beautiful and functioning have since remained unused and have fallen into a state of dilapidation. Fortunately, this Grade 2 listed stable block, steeped in poignant historical character and narrative was not forgotten. It has been transformed into an elegant and contemporary 3 bedroom family home by RIBA award winning architects AR Design Studio.

Practice Director, Andy Ramus, discovered this piece of overlooked historical heritage while undertaking a large scale refurbishment at the Manor House and immediately recognised its potential. The team at AR could see past its existing rundown state. There was a clear potential to create a sophisticated, contemporary family home within the historical context of the building and the picturesque Hampshire countryside.

The history and character of the Stable's was very much a driving force in design and there is a firm belief at AR Design Studio that design constraints and restrictions can often create the most interesting solutions. The concept was to preserve the existing while making any new additions simple and pure in order to let the original character shine. This results in an innovative arrangement of spaces according to the Stable's existing layout, in order to maintain many of the existing exposed timber interior walls. These were then cleaned, stripped back and refurbished to reveal an exquisite amount of detailing and craftsmanship.


With the existing internal walls brought back to life, the next task was to turn the Stables into a home for the modern family and bring it into the present day. In order to respect the character of the property a clean, contemporary and neutral approach was taken to the rest of the renovation which juxtaposes perfectly with the original timber walls, allowing them to stand out as pieces of art against a beautifully simple contemporary backdrop. Many of the existing features were refurbished and re-purposed for use in the home environment; the original horse troughs were cleaned and converted for use as sink basins, the old horse ties act as towel rings in the bathrooms and original doors are preserved where possible to give a sense of real period character.

Above: floor plan - click for larger image

The Stables benefits from 3 large double bedrooms, with 2 en suite rooms to accompany a spacious family bathroom. Being a single-storey property with long continuous views, the layout was tailored and split between sleeping and living accommodation with a single constant circulation running through the entire building. The welcoming and spacious open-plan kitchen dining area is conveniently located at the heart of the home, leading into the light and roomy lounge which benefits from full height glazed doors that open out onto the sleepy village setting.

The entire property is super insulated, and the heated polished concrete floor throughout provides a functional uniformity to the spaces as well as recounting the Stable's agricultural history. New windows and roof lights fitted throughout give the whole place a warm, bright and clean feel; creating an excellent environment as a backdrop for a family home.

Above: long section - click for larger image

The finished Stables is completely transformed from its existing dilapidated condition and is now a perfectly working family home, bursting with contemporary style juxtaposed against delightful period character.

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Recent additions and extra staircases were removed to make room for the new rear extension: a larch-framed glass box that stretches along the rear elevation to create an open-plan kitchen and dining room at the lowest ground floor level. This room is double-height on one side to accommodate a staircase and mezzanine library.

As well as using Siberian larch, the architects specified pale brickwork for both interior and exterior walls. Doors and windows are framed by chunky timber surrounds, while balustrades are made from bronze.

"These materials were all chosen to provide texture and scale and to achieve a domestic intimacy, which can so easily be lost with the tendency towards abstract planes and surfaces," David Mikhail told Dezeen. "They also need to mediate between both the feel and the construction of the new and the older parts of the house, the inside and the outside."

Other additions include a pivoting wall, which links the study with a billiard room, and a new landscaped garden comprising tiered patios and built-up planting areas.

The house was first constructed in the 1830s at three times the width of most London terraces, resulting in a later conversion into three separate residences. David Mikhail Architects' job was to restore the original logic of the building so that it could again be used as a single family home.

The architects tracked down early photographs of the building and consulted other architects that had worked on the property in the 1980s to piece together plans of the original design and layout.

In front of the library is the original grand staircase, which winds up between the upper ground floor and first floor of the house. Previously there were no corridors beside this stair, but now residents can walk around it to reach the new rooms beyond.

One of these corridors leads through to a study in the north-east corner of the building. The architects extended this space to add an extra metre in length, creating a top-lit window seat beneath a large skylight. This extension also increased the size of a living room underneath.

"Our philosophy was to give the building back its dignity as a single house, and to be mindful of the likely original plan form," David Mikhail told Dezeen. "But to combine original features with modern details is a question of both philosophy and detail; it needs an absorption in both to work."

David Mikhail launched his studio in 1992. Other residential projects in London by the practice include a set of houses with triangular skylights and an extension that is just one metre wide.

See more residential extensions on Dezeen, including a barrel-vaulted addition to a farmhouse.

Photography is by Tim Crocker.

Here's some more information from David Mikhail Architects:

East London House

Introduction

The East London House is the principle house of a picturesque development built in the 1830s and Grade 2 Listed. At 16m, it is the width of three typical London houses. The original house had been subdivided into three units, with an uneasy relationship to the garden. A glass conservatory to the rear gave the only rear access via an internal spiral staircase. These multiple alterations over time changed what was once a grand home into a jumble of dark, disconnected rooms, with no meaningful access to the large garden.

Client brief

This was to re-establish the elegance of the original, whilst removing the feeling of their being separate dwellings. At the same time, to inject a fresh, modern feel, maximising natural light and harnessing the potential of a large rear garden. The clients have children and other family members often stay. They had several ideas about how the house could function, but guidance was sought on how to connect the various levels and to make sense of the warren of rooms and staircases.

Spatial Strategies

Spatial remodelling has focused on the rear, the basement and the attic. The garden has also been designed by David Mikhail Architects (with planting by Jane Brockbank) and is the other major addition to the building. Much of the remainder of the work was about meticulously restoring the original, with recent works such as staircases and extensions removed. Upper ground and first floors were refurbished to respect the original. For example, one wall has been rebuilt on the upper ground floor to concord with the original plan form, making resultantly smaller, but more usable rooms. (Study/Billiards rooms). The basement and rear garden were excavated to give level access and a sense of openness to the landscape while the gentle terracing of the garden avoids the sense of being underground. The garden forms two spaces, a formal walled garden with water features and raised beds, and beyond it a rougher area for play, with garden sheds and turf.

Upon entering the house the original sweeping staircase is now presented in its original form, with the entrance hallway fully restored. Originally there were no views through beyond the stair, and no real connection to the garden, but now the stair hall is a prelude to the main event. Moving forward either side of the stair, you pass through the rear wall of the main house into a naturally lit double-height library with views to the garden and a bronze staircase down to the dining area. We were keen that this journey from the old to the new was explicitly experienced. The extension itself is a modern open-plan kitchen and dining space giving full views of the garden, with the junction between old and new highlighted through the use of linear flat roof lights.

Planning constraints

Although many original-styled features were present, some were later additions. Unfortunately, many records had been lost. We tracked down the local architects that had worked on the terrace in the 1980s and also used images from the Metropolitan Archive. We were able to use their records to form an understanding of where original details lay, and presented this knowledge to planners in the form of a room-by-room analysis. The extension was designed to clearly differentiate the new from the old, making our own works legible in the future. Even so, the design challenge of such a strategy is to do so in a way that resonates with the scale and sensibility of the original.

Materials and construction

The rear-half of the basement and rear garden was excavated and underpinned to increase head height and accessibility. The extension is a predominately timber and steel structure. Where two-storey, steel gives way to posts and beams of laminated Larch, forming a timber portal frame. The engineering required to achieve such a thin library floor was challenging.

All the timber used in the project is a white-oiled Siberian Larch, including the bespoke sliding doors designed by the architects, the floors the joinery and the external cladding. A white brick with light-grey lime mortar is used inside and out. Metalwork and ironmongery is bronze. A specialist precision metalwork company, where joints are glued rather than welded, constructed the fine bronze stair.

Above: basement floor plan - click for larger image

Above: ground floor plan - click for larger image

Above: first floor plan - click for larger image

Above: second floor plan - click for larger image

Above: third floor plan - click for larger image

Above: cross-section - click for larger image

Above: rear elevation - click for larger image

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Nicknamed the Gingerbread House by neighbours, the two-storey house sits behind the reconstructed wall of a former Victorian box factory and its tall windows overlap the mismatched brickwork.

"I and the planners were keen to retain something of the original building envelope," Laura Dewe Mathews told Dezeen. "The pale grey/blue bricks were part of the workshop when I bought it and the clean London stock bricks were infills."

The architect drew inspiration from decorative vernacular architecture in Russia to design the cedar-shingle facade, then added windows framed by thick galvanised steel surrounds.

"I was keen that the cladding somehow softened the sharp silhouette of the overall, stylised building form and thought the round 'fancy butts' might achieve this," she said. "Contemporary architecture can often be perceived to be severe and alienating and I wanted to avoid that. I hope the balance of the sharp galvanised steel window reveals and cills versus the round singles manages to be more friendly."

To avoid overlooking neighbouring houses, all windows had to be placed on the north-facing street elevation, so Dewe Mathews also added a large skylight to bring in natural light from above.

A double-height kitchen and dining room sits below this skylight on one side of the house and opens out to a small patio. The adjoining two-storey structure contains a living room on the ground floor, plus a bedroom, bathroom and small study upstairs.

Walls and ceilings are lined with timber panels, while a resin floor runs throughout the house.

The building was the winner of the AJ Small Projects Awards 2013. Also nominated was a wooden folly that cantilevers across a garden lake and a reed-covered tower that functions as a camera obscura.

Scale-like facades have featured in a few buildings over the last year, including a university building in Melbourne and an apartment block in alpine Slovenia.

Photography is by Chloe Dewe Mathews.

Above: the original site

Here's a project description from Laura Dewe Mathews:

Box House / "Gingerbread House"

This is the first new build project by Laura Dewe Mathews. The motivation for the project was to create a domestic set of spaces with generous proportions and lots of natural light while working with a limited budget.

Above: ground floor plan - click above for larger image

The site was originally part of the garden of an early Victorian end of terrace house in Hackney. It was first built on in the 1880s, to provide Mr Alfred Chinn (the then resident of the end of terrace house) with space for his box factory, making wooden boxes for perfume and jewellery.

Above: first floor plan - click above for larger image

In discovering the history of the site, Laura Dewe Mathews was drawn to assemble yet another box inside the original envelope of the factory.

Above: cross section through kitchen and dining room

The one bed, new-build house was recently completed using a cross-laminated timber super structure, placed inside the existing perimeter brickwork walls and rising up out of them. The timber structure has been left exposed internally. Externally the palette of materials is limited to the original and infill brickwork, round "fancy-butt" western red cedar shingles and galvanised steel flashings, window frames and window reveals. The soft shape of the shingles contrasting with the crisp edges of the galvanized steel.

Above: cross section through living room and bedroom

The form of the proposal was a response to tricky site constraints, common for urban developments in already built up areas. The neighbours’ rights to sunlight, daylight and privacy needed to be respected. Consequently the only elevation that could have any windows was the north facing, pavement fronted elevation. The proposal counters this with large south facing roof-lights; added to this, light is brought into the main living spaces via a new private yard.

Above: front elevation

At 80msq the result is a small yet generously proportioned house. At ground floor level it retains the openness of the original workshop while feeling a sense of separation from the street immediately adjacent.

Above: side elevations

Structural engineer: Tall Engineers
Main contractor: J & C Meadows, now incorporated within IMS Building Solutions

Above: rear elevation

Sub contractor/suppliers:
KLH – cross laminated timber super structure
Stratum – resin flooring
Vincent timber – cedar shingle supplier
The Rooflight Company – roof light supplier
Roy Middleton – bespoke joinery including kitchen
MPM engineering – stainless steel to kitchen

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by Laura Dewe Mathews appeared first on Dezeen.

Overlooking a lake in Great Windsor Park, Berkshire, the boathouse was once the royal boat keeper’s lodgings but now operates as a writer's retreat.

Alex Cochrane Architects stripped out the interior of the building but retained its A-frame timber beams, which had to be sandblasted due to damage from nesting birds.

Large casement windows have been added to the southwest elevation, while folding doors open onto the new balcony. Roundel windows also allow light to reach the exposed roof structure.

"We wanted to open up the two gable elevations to daylight and views without changing too greatly the historical appearance of the boathouse and its internal timber structure," Cochrane told Dezeen.

"We also wanted to include a cantilevered balcony that would 'float' over the lake, and in doing so had to tie back a series of steel beams to the original framework positioned in the centre of the boathouse," he added. "This was a complicated exercise given the fragility of the existing structure."

The entrance to the boathouse leads into the kitchen and living area, which also contains a built-in sofa and desk under the window.

The shower, toilet and dressing areas are placed in the centre of building and divided by sliding doors and mirrors, while the bedroom at the far end leads to the balcony overlooking the lake.

A low-level joinery unit runs the length of the building, serving as a bookshelf and reclined seating, with a dressing table incorporated at the bedroom end.

Oak veneer panels have been used throughout the interior, including the kitchen units and bed as well as the walls and doors of the bathroom.

A ground source heat pump from the lake supplies the heating coils beneath the Douglas fir floorboards.

We recently reported on Alex Cochrane Architects' redesign of the menswear department of Selfridges in London.

We've also featured a boathouse in Norway with folding flaps in its facade and another in Texas with a waterfall cascading from its upper storey.

See all our stories about boathouses »
See all our stories about British houses »

Here's some more information from the architects:

Alex Cochrane Architects were offered the opportunity to design and oversee the comprehensive restoration and remodelling of a Victorian Boathouse overlooking the lake of Virginia Water in Windsor Great Park, Berkshire.

The top floor of The Boathouse, once the Royal Boat Keeper’s lodgings, now serves as a spectacular all-inclusive retreat taking advantage of one of the most outstanding settings of the south east of England. The ground floor maintains its purpose of housing boats with two large timber doors opening outwards onto the lake.

Proposal:

It seemed appropriate that The Boathouse, an independent but redundant structure, set in isolation on the banks of a lake and surrounded by unparalleled natural beauty, should be revived as an ultimate place of refuge, inspiration and reflection away from the demands of city life.

ACA proposed a number of extensive changes to the structure. These included the substantial opening up of the two end elevations with new and larger windows, the addition of a new timber balcony that would 'float' directly over the lake and the complete stripping out of an obsolete interior for a contemporary open plan arrangement of three interlocking 'living' zones. In addition, we were able to deliver an environmentally sustainable approach towards the heating of The Boathouse.

Architecture / Main works:

The interior fabric was completely stripped out revealing a surprisingly sound A-frame structure that until then had been hidden from view. Years of neglect and nesting birds had nevertheless taken their toll requiring the A-frames to be sandblasted exposing the true warmth and texture of the wood. These repetitive structures now serve as key historical and functional elements of the design.

The two white painted timber boarded end elevations were extensively opened up to allow light to penetrate the darkest areas of the Boathouse while ensuring a more transparent relationship between the interior and its natural setting. Larger period style casement windows were added on the southwest elevation and new period style folding doors now open wide onto the new cantilevered balcony.

Roundel windows were added at both end elevations providing for further light at ridge level while celebrating the newly exposed roof structure and elevated heights.

Altering of the external appearance had to be very measured. Surprisingly the structure was not listed, but any unsympathetic alterations to its original form would risk reversing years of history, royal associations and familiarity for those using the park. Any contemporary design solutions would be reserved for The Boathouse interior.

All the casement windows, doors and their respective frames were replaced along the long elevations due to rot and worm. A conservationist approach was adopted for any existing element that needed replacing in order to maintain the period appearance of the Boathouse within its natural setting.

The floor structure was far from level and inadequate to support the proposed interior elements and the cantilevered structure supporting the balcony so there was little alternative but to replace the joists in their entirety with new ones.

There was no local supply of gas but Virginia Water Lake presented itself as a fine opportunity to provide constant heat throughout the year by way of a ground source heat pump. The Crown Estate were in full support for this ecological approach of laying 300m of ground loops 2m deep on the lake bed. The heat generated from the lake would supply the under floor heating coils beneath solid timber flooring.

Additionally, the removal of all the internal linings allowed for high levels of insulation to wrap around the perimeter walls, roof structure and between the floor joists increasing the sustainability credentials of the refurbishment.

Fit-out / Arrangement:

The interior is divided into three open zones providing the essential means that one might wish for in everyday life such as sleeping, reading, bathing, resting, working and eating.

A multi purpose low-level joinery unit runs the full length of The Boathouse connecting these three zones. This joinery unit predominantly serves as a library while two upholstered reclining benches are advantageously integrated below the windowsills and a vanity desk is incorporated at bedroom end of The Boathouse.

Upon entering The Boathouse one arrives in the cooking, eating, writing and seating area. This zone remains open plan with a degree of flexibility allowing the various activities to take their course. A large low-level table provides a central location where these activities can merge.

The middle zone is further divided into a series of interlocking but ultimately separate spaces including the shower, changing, loo and vanity areas. The design allows for a dynamic relationship between all four parts while addressing the conflicting attributes of privacy and transparency in the form of concealed sliding doors and mirrors.

The third zone is the resting and sleeping area where a large bed lies at the center, looking out over the cantilevered balcony and onto the lake. When the folding glass doors are open, one absorbs the unsurpassed views of Virginia Water and Windsor Great Park. It is here that the romanticism of The Boathouse interior and its relationship within its natural setting is most profound.

Materials:

The Boathouse design was very much material led. Contemporary design solutions were incorporated within the project and building process but traditional and natural materials were preferred. The goal was to offer a warmer atmosphere that might be expected in a retreat of a former age. It was also essential that the pallet of materials remained restrained to underline the clarity and simplicity of the interior elements and the spaces.

Straight-grained oak veneered panels were generally the material of choice with full-size honed Carrara marble slabs introduced in the shower area as well as for the kitchen and vanity surfaces. Dinesen Douglas floorboards were chosen due to their solidity, long lengths, wide widths and a livelier grain that would be the perfect complementary material against the more uniformed grain of the oak joinery units.

In keeping with the minimalist aesthetic, honed Basalt hearths provided an earthy colour and depth to two fireplaces that are otherwise without any decorative detail. Mirrors line the tall cupboard doors and sliding vanity panel serving a practical purpose as their reflections playfully confuse the arrangements of certain parts of the interior. Great attention was given to even the smallest of components. Bespoke solutions were provided for door handles, lighting, switches and even the toilet flush.

Very fine detailing and precision in the fabrication process were key in defining the purity and quiet sophistication of the interior elements. In order to achieve such an acute level of precision, the joinery and fabricated elements were constructed in workshops and later assembled on site.

Furniture & Lighting:

Nearly all the furniture is bespoke and integral to the design of The Boathouse interior. Two chaise long sofas come together to form a large bed, the reclining seats below the windowsills appear to be carved out of the bookshelf unit, the main seating area returns to form a writing desk and a very large low level table serves a number of functions: it can be an eating or entertaining surface or a platform for books and objects.

A number of free-standing chairs inhabit the interior including Gio Ponti’s Super Leggera, Norman Cherner’s plywood chairs and the Hans Wagner CH25 all preferred for their pared down aesthetic.
Erco track lighting provides directive light from high level, cage lights with bronze bulb holders are suspended above the low-level joinery table and a gold plated Ball Light by Michael Anastassiades hovers above the changing area bench.

Objects and Art:

In line with a less-is-more approach and where emptiness is actually celebrated, the selection of artwork has been purposely limited. A seascape photograph entitled Hurricane by Clifford Ross is appropriately positioned above the bed and facing the lake while William Peers’ sculptures from his 100 Days and Flow series inhabit parts of The Boathouse.

All accessories have been chosen to serve a practical purpose whether it be Andrew Bird’s log baskets from Great Yarmouth, Liam O’Neill turned wood bowls from Co. Galway or Fiamma Montagu’s ceramic tableware and vases.

Project Team, Suppliers and Contributors
Client: Galewest Investments
Architects: Alex Cochrane Architects, London
Project Management: Clinton Cowley for Galewest Investments, Berkshire
Main Contractor: Robert’s Building Company, Surrey
Joinery: John Baulkwill for Opus Magnum, London
Stonework: David Jones for Verona Marble, Kingston
Floorer: Peter Moyces for Cavendish Floors, Chiswick
Sculptures: William Peers, Devon
Ceramics / Tableware: Fiamma Montagu, Oxfordshire
Tatami mats: Wabi Sabi, West Sussex
Freestanding Furniture: Supplied by Aram, London.
Lighting: Ball Light by Michael Anastassiades, Sigmar, London Filament lighting and accessories, Urban Cottage Industries Track lighting, Erco, London

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Alex Cochrane Architects appeared first on Dezeen.