The 1930s house was originally built on sloping ground, which left the living spaces at the back hanging one storey over the garden.

The architects came up with an extension in the style of an orangery, with double-height windows to draw light into the lower levels.

An oak staircase is bordered by a screen of vertical strips of oak which mirror the steel frames of the glazing.

A glass balustrade has been positioned on the other side of the stairs, allowing light to reach into the rooms behind.

An unusual double-height white door leads out to the back garden.

Projects by Liddicoat & Goldhill we've previously featured include another glazed extension to a period house in London as well as the architects' own home which makes use of black bricks and white marble.

See all our stories about residential extensions »

Photographs are by Keith Collie.

Here's some more information from the architects:

The family moved to their 1930s house in Southfields in 1989. Since then, they has gradually outgrown the house: in 2011 they asked Liddicoat & Goldhill to adapt it to theirs and their four teenage sons’ ever-evolving needs.

The original house, one of a collection built on a hill overlooking south London, apparently ignored the sloping ground on which it was built. Viewed from the street, it sits comfortably on the site. But at the rear, the living spaces hang one storey above the mature garden - they are left aloof and separate.

This disconnection was also felt inside: the large basement spaces were dimly lit and truncated from the upper parts of the house.

Liddicoat & Goldhill’s solution is conceived as an Orangery. By stripping away the lower part of the rear facade, the Architects created space for this new double-height extension, floating half-way between the ground floor and basement.

The Orangery acts as a lantern, gathering sunlight into the living spaces deep within the house.

The kitchen is afforded wide views over the verdant rear gardens, while the split levels allow for separate and private operation of each of the living spaces.

Slender steel-framed glazing gives the new structure a sense of fine fragility, while the handmade oak furniture, staircase and kitchen - designed specifically for the project by the architects - creates a continuity between the new spaces and the old.

Project Particulars:
Site: London, SW18
Architect: Liddicoat & Goldhill LLP
Main Contractor: Considerate Building
Structural Engineers: Fluid Structures
Completion date: March 2012
Extension floor area: 56m2
About Liddicoat & Goldhill

Architects David Liddicoat & Sophie Goldhill are focused on making. Their interest lies in the haptic and the imagined, the poetry of practical things. They work with humble materials in contested environments to create the unexpected.

Their work has been critically acclaimed and published and exhibited worldwide. Named as one of Wallpaper* Magazine’s ‘Future 30’ in 2009, they were longlisted for Young Architect of the Year Award in 2011.

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Liddicoat & Goldhill appeared first on Dezeen.

Designed in Hackney: London borough of Hackney architects Liddicoat & Goldhill have completed a garden cabin with a zigzagging facade that angles south towards the sun.

Located in the garden of a north London townhouse, the wooden pavilion has brick walls surrounding three of its sides.

The saw-toothed front elevation creates one large south-facing window, which maximises natural daylight and passive solar heating to the interior.

As well as the garden room, which the client uses as a space for both work and entertaining, the cabin accommodates a shower room and a storage shed.

David Liddicoat and Sophie Goldhill founded their studio on Ramsgate Street, Dalston, in 2009. We first featured them on Dezeen shortly after, as they completed a glazed addition to a 17th Century house, then again when they designed and built their own home.

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Designed in Hackney is a Dezeen initiative to showcase world-class architecture and design created in the borough, which is one of the five host boroughs for the London 2012 Olympic Games as well as being home to Dezeen’s offices. We’ll publish buildings, interiors and objects that have been designed in Hackney each day until the games this summer.

More information and details of how to get involved can be found at www.designedinhackney.com.

Photography is by Tom Gildon.

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British architects Liddicoat & Goldhill constructed their own north London home using black engineering bricks and slabs of white marble.

Named the Shadow House, the two-storey building is located on the compact site of a former parking garage.

Walls inside the house are of the same dark brickwork as the exterior and contrast with a stark white concrete floor.

Larch beams supporting the ceilings of both floors remain exposed inside every room and bare light bulbs hang from them.

Household appliances including the television and washing machine are concealed inside specially designed cupboards in the ground floor living rooms.

A bedroom and library occupy the first floor, as does a bathroom with a glazed ceiling.

Above: photograph is by Tom Gildon

This house was nominated for the 2011 Manser Medal, which was won by another north London house – see our earlier story about the winner here.

Photography is by Keith Collie, apart from where otherwise stated.

Above: photograph is by Tom Gildon

The following text was written by Liddicoat & Goldhill:

About The Shadow House

Because our budget was so tight, we planned to carry out as much work as possible ourselves and limited our palette to primary materials. We found these limits liberating rather than restricting: there is great poetry in practical things, so we reveled in finding simple means of assembling the house. It is built inside and out in slim-format Dutch engineering brick, a robust material with a delicate black glaze. Interior structure and window reveals are in raw larch, while polished concrete floors flow between each of the rooms.

One small luxury we allowed was to buy two slabs of bookmatched Statuarietto marble, which we used throughout house as a reflective contrast to the brick walls. The whole design revolves around this play of light & dark; carefully controlled moments of intensity and quiet shadow. We wanted to create interior spaces with maximum emotional effect. The bright first floor bathroom has a huge sheer glass ceiling (which needed to be craned into place) that contrasts with the intense atmosphere of the living spaces.

Above: photograph is by Tom Gildon

We created the sensation of being outside; showering in full sunshine or bathing under the stars. We playfully carved space into the walls for everyday clutter; the TV and its cables are concealed behind a black glass wall, the loo roll has its own marble niche, the washing machine is in a secret cupboard behind the loo, discreet storage fills every spare corner while the kitchen extract is buried into the brickwork. In order to give a sense of space to what could feel like very constrained rooms, it was important for us to modulate the section and vary the ceiling heights. By changing the floor level and building roofs at different heights we created a range from 3m in the living room to 2.1m in the entrance area.

Above: photograph is by Tom Gildon

This allowed us to give each space its own sound quality and sense of cosiness or airiness. Just building a house doesn’t make a home: we also designed our fittings and furnishings; the minimalist Zero larch bedframe; kitchen cabinetry in elm, stainless steel, marble and spray lacquered matt doors; The Shadow Lamp, a granite and laser-cut timber table light; soft furnishings using amazing African fabrics, Nyaradza bedspread and Akwasidee cushions.

How We Made The Project Happen

The Shadow House is our own home, but is also an experiment in making a generic small city house. While working for other practices, we designed luxurious houses for private clients and worked on complex urban social housing developments; we were keen to extend this experience into building more modest single houses. Finding a site was an exhausting process. We cycled around London, exploring the backstreets and peering over fences, looking for a forgotten scrap of land. We knew we could only afford a site that was too challenging for developers or ‘Grand Designs’ hopefuls.

We eventually discovered a derelict parking garage - home to rats, foxes and local junkies - just behind the Kings Cross goods yards in NW1. At only 390sqft, it seemed almost impossibly small. Our task was made even harder by its location in the fiercely-protected Camden Square Conservation Area, and by the previous owner’s failed attempts to win Planning Permission. We knew the project could only become a reality through our skills of designing in historic areas, and negotiating with neighbours and local Planners. Our time and energy were our greatest resources, so we re-drew the design constantly to eliminate costs, and carried out much of the work with our own bare hands.

Architect and Main Contractor: Liddicoat & Goldhill LLP
Site: 38a St. Paul’s Crescent, London, NW1 9TN
Client, Architect and Main Contractor: David Liddicoat & Sophie Goldhill
Structural Engineers: Peter Kelsey Associates
Completion date: Winter 2011
Gross internal floor area: 77m2
Total construction cost: £210,000

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London architects Liddicoat & Goldhill have completed a glazed addition to a 17th Century house in north London.

Called the Weather Room, the new element unites two wings of the house and opens onto gardens.

Adhesive LED tape, a low-energy lighting system, is housed within the structural steel frame.

Photographs are by Keith Collie.

Here's some more information from Liddicoat & Goldhill:

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The Weather room

White Lodge is a Grade II-listed house in Monken Hadley, North London. The oldest parts date to the 17th Century, and inchoate additions and alterations have taken place periodically ever since.

The Weather Room is the latest layer added to this historic building. The brief was to reunite disconnected wings of the house and open the building to its extensive gardens.

The form of the new space was dictated by the strictures of working on a listed building in a very tightly controlled Conservation Area.

The detail of the construction became the focus, and a close working relationship developed between the architect, the contractor, the engineer and the steelwork contractor. Much time was spent at the steelwork contractor’s workshop, where each component and connection was drawn, prototyped and refined.

The structure of the room is simple; powder-coated steel glazing bars form a portal frame which supports the structural double-glazing over. Steel was chosen to allow very fine (45mm) sight lines through to the garden, while still being capable of bearing people and scaffolding on the roof to allow maintenance of the windows and roofs above.

The glazing bars were hand-made by welding a ‘sandwich’ of bright steel flats together.

A narrow rebate was created to the inside of the bars, allowing installation of an adhesive LED light tape. This highly-efficient, low- energy lighting system solved the conundrum of providing even, atmospheric light in a space with a glazed ceiling without obtrusive luminaries. The resultant effect is of warm ribbons of light glowing from the sharp edge of the steel.

The interior is tempered by the external condition; the structure plays a crucial role in this relationship.

By day, it animates the space through the play of light and shadow from the glass and steel flats. As night falls, concealed blades of light within the steel succeed the sun and the space develops an entirely different character.

Structural Engineer : Lyons O'Neill
Photographer : Keith Collie

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