A two-storey Victorian house in west London, built in 1860, comprising a living room, kitchen-diner, studio and WC on the ground floor, with four bedrooms (two en suite) and a bathroom upstairs.
The kitchen is without doubt the pièce de résistance of this home.
The clean lines and minimal looks of the cabinetry are softened by the rich, textural warmth of herringbone oak floors and the energetic patterning of a white Quartzite worktop and kitchen island. TheQuartzite imitates the feel of marble, but it is much more hard-wearing.
Double-height paned French doors were installed rather than sliding bi-folds to avoid the space feeling too modern.
Double-height French doors allow light to flood into the dining space (pictured top), creating alow-key luxe style.
This classic double-fronted 19th-century house in a leafy suburb of west London hasunusualproportions. It's only one room deep, but very wide.
With its south-facing garden, tumbledown conservatory at the back – complete with a resident 150-year-old vine originally from Hampton Court – there was enough space to build a two-storey kitchen, bedroom and bathroom extension that wouldn’t affect the light quality.
The renovations stayed true to the house’s original proportions and detailing – from the soothing neutral colour palette to replicating the cornicing and restoring the balustrades. Against this relaxed backdrop, the vibrant colours in the artwork really pop.
Luxe, natural materials such as oak, stone and marble feature throughout – with special handcrafted pieces made by designers John Galvin for Faolchú and Tom Faulkner.
Opposite the living room is a studio. Teamed together are modern and antique lights and classic vintage Saarinen chairs, alongside Alexis Turner’s taxidermy rooks and gazelles.
When restoring the tiling in the house, tiles were chosen with a small-scale patternthat felt authenticto the period.
This part of the new extension is warm andcosy, but very light. A gorgeous spot to lie in with the papers ona Sunday morning, the epic headboard centres the room.
Photography ⁄ Paul Massey