Houzz Tour: Light Shines on a Centuries-Old London Home
Old meets new in this striking family home, where 19th-century features combine with dramatic windows and inspired details
The owners of this semidetached early-19th-century house in southeast London originally planned to build an addition at the back, but initial chats with Nimtim Architects resulted in a dramatic but respectful renovation instead. “We identified that there was more than enough space in the house,” says Tim O’Callaghan, director of Nimtim. “It was just a question of unlocking it.”
None of the work on the house needed planning permits. “This made the project happen more quickly,” O’Callaghan says. “It was completed in just less than a year from when we first walked through the door and said hello.”
At the rear, O’Callaghan didn’t want to mess with the house’s beautiful proportions. The 20-foot-high slot window was installed where two windows had been before (one on each floor), so the change was in keeping with the original architecture. “We didn’t have to put in a new lintel or do any major changes,” he says.
At the rear, O’Callaghan didn’t want to mess with the house’s beautiful proportions. The 20-foot-high slot window was installed where two windows had been before (one on each floor), so the change was in keeping with the original architecture. “We didn’t have to put in a new lintel or do any major changes,” he says.
A room at the rear of the house was sacrificed to create the double-height space. “You are removing square footage,” O’Callaghan says, “but when you add up all the corridor space that existed before the house was remodeled, it would probably be the same as the room we lost, so it balances out. Besides, in London, square footage doesn’t matter solely anymore. It’s about what makes the house a bit special.”
The owners chose the colors for the house. “They were really good at it,” O’Callaghan says. “At one stage in the project, I said, ‘We need to think about paint colors,’ and they said, ‘We’ve done it!’ They had swatches painted and had planned it all in a really sophisticated way. We might have taken a more holistic approach, whereas they had thought specifically about individual rooms.”
Wall paint: Hague Blue, Farrow & Ball; Crown Major chandelier: Nemo Lighting at Twentytwentyone
The owners chose the colors for the house. “They were really good at it,” O’Callaghan says. “At one stage in the project, I said, ‘We need to think about paint colors,’ and they said, ‘We’ve done it!’ They had swatches painted and had planned it all in a really sophisticated way. We might have taken a more holistic approach, whereas they had thought specifically about individual rooms.”
Wall paint: Hague Blue, Farrow & Ball; Crown Major chandelier: Nemo Lighting at Twentytwentyone
The family already had most of the furniture, including the bookcase, which O’Callaghan had built in and painted. “This wasn’t a project where money was no object,” he says. “It will be nice to see this house in 10 years’ time. It’s still evolving.”
The owners invested in transforming the property, then decided to take their time finding new furniture. “They would rather wait and get things gradually,” O’Callaghan says, “but part of what’s nice about the house is that it’s quite a simple space, so it allows the use of an eclectic mix of furniture.”
Indivi 2 sofa: BoConcept
The owners invested in transforming the property, then decided to take their time finding new furniture. “They would rather wait and get things gradually,” O’Callaghan says, “but part of what’s nice about the house is that it’s quite a simple space, so it allows the use of an eclectic mix of furniture.”
Indivi 2 sofa: BoConcept
The kitchen provoked lengthy discussions on how best to design and style it. The designers had suggested something in dark wood, but the owners didn’t want it to look too contemporary. “We ended up with a really nice space that’s a bit of both,” O’Callaghan says. “It’s a good example of how our working dynamic produced great results.”
“We did the initial layout of the kitchen and how it works architecturally, then introduced the owners to kitchen company Roundhouse, who developed the design in more detail,” O’Callaghan says. A mix of wenge wood and gray quartz was used on the island.
Skan pendant lights: Vibia; paint on wall with doors to balcony: Clunch by Farrow & Ball; paint on fireplace wall: Mizzle by Farrow & Ball
Skan pendant lights: Vibia; paint on wall with doors to balcony: Clunch by Farrow & Ball; paint on fireplace wall: Mizzle by Farrow & Ball
“When working with a building of this age, you have two possible approaches,” O’Callaghan says. “One option is to try to make all the walls straight, as if it’s just been built, which costs! Or you can accept things the way they are. OK, the walls aren’t straight, but you make the new things work against that backdrop. That was the ethos here. We said, that’s fine, we’ll accept the house for what it is and try to retain its spirit.”
The floorboards are the original pine, sanded down and stained. “The owners had wanted to replace all the flooring, but we suggested simply sanding the boards as a more cost-effective solution,” O’Callaghan says. “It means you have that original character coming through too.”
Chandelier: CTO Lighting; wall paint: Mizzle by Farrow & Ball
The floorboards are the original pine, sanded down and stained. “The owners had wanted to replace all the flooring, but we suggested simply sanding the boards as a more cost-effective solution,” O’Callaghan says. “It means you have that original character coming through too.”
Chandelier: CTO Lighting; wall paint: Mizzle by Farrow & Ball
The backyard, which has since been redesigned, can be glimpsed from the front door through the tall window at the rear.
Glass balustrades line the stairs and overlook the double-height space. “We did quite dramatic things, such as creating the space at the back, but then we inserted one section of the glass balustrade overlooking it into the original door frame,” O’Callaghan says. “It was about retaining the character and feel of the house while making it work for a contemporary family.”
Another glass balustrade overlooks the stairs to the lower level and replaces a solid wall. “It creates a visual connection down,” O’Callaghan says. “All the glass balustrades are the same height on this floor. It’s the kind of thing architects spend a lot of time on, but which might not be immediately obvious!”
Glass balustrades line the stairs and overlook the double-height space. “We did quite dramatic things, such as creating the space at the back, but then we inserted one section of the glass balustrade overlooking it into the original door frame,” O’Callaghan says. “It was about retaining the character and feel of the house while making it work for a contemporary family.”
Another glass balustrade overlooks the stairs to the lower level and replaces a solid wall. “It creates a visual connection down,” O’Callaghan says. “All the glass balustrades are the same height on this floor. It’s the kind of thing architects spend a lot of time on, but which might not be immediately obvious!”
When O’Callaghan first proposed this window, he thought it might have to be made of two pieces of glass. ‘‘About a week before it was due to be fitted, I asked the supplier how they were going to do the join. They said, ‘Oh no, it’s in one piece.’ It was a nice surprise!”
The balcony was adapted from the existing design and the spiral staircase was already in place — it was just shifted in position.
The balcony was adapted from the existing design and the spiral staircase was already in place — it was just shifted in position.
This original archway leads into the kitchen and dining space, which was created by knocking two rooms together. Steelwork had to be added to support the open structure.
“We had to put in steel above the archway running to the external wall,” O’Callaghan says. “There’s other steelwork in this space too. The structure is working quite hard, but it looks light and simple.”
“We had to put in steel above the archway running to the external wall,” O’Callaghan says. “There’s other steelwork in this space too. The structure is working quite hard, but it looks light and simple.”
Creating the double-height space was about more than just boosting light levels. “It was the idea of having really well-connected family space” that wraps from the basement level up to the ground floor, O’Callaghan says. The parents can cook while the children are downstairs playing, but they can easily look over the glass to check on them, creating a great feeling of connection.
The existing stairs and balustrades, which are cast iron and run throughout the house, were retained.
The original stairs running down to the basement level morph into a contemporary design that connects with the low-level bench-cum-storage on this wall. The unit is made of dark wenge wood and holds the children’s toys.
The spacious master bedroom on the second floor is decorated in soft shades that suit its Georgian heritage.
Wall paint: French Gray by Farrow & Ball
Wall paint: French Gray by Farrow & Ball
“We took two big bedrooms and turned them into something really special,” O’Callaghan says of the master suite. A dressing area designed with walnut storage and closets connects with the bathroom, which can be separated with custom Japanese sliding screens.
The master bathroom has a sense of symmetry. “We raised the bath so it’s on the same level as the sink,” O’Callaghan says. “We used a relatively cost-effective marble with a nice translucent quality, but the sheer expanse of it makes it look impressive.”
Sink: Mandarin Stone; sconce: CTO Lighting
Sink: Mandarin Stone; sconce: CTO Lighting
The stonemason who supplied the marble created the shower tray from it. The toilet is hidden behind the low wall, which also makes up part of the shower enclosure.
Shower head and faucets: HE Olby
Shower head and faucets: HE Olby
The guest bedroom was not redesigned, merely freshened up with wallpaper.
William Morris wallpaper: Pickwick Papers
William Morris wallpaper: Pickwick Papers
The second floor also contains the family bathroom. “The owners already had this free-standing bath, so we wanted to accommodate it,” O’Callaghan says.
Several new radiators were installed in the house, including in the family bathroom, but O’Callaghan sourced a close match to the existing ones. “We also moved a lot of the original rads around,” he says. “There was a lot of reuse on this project.”
Wall paint: Dead Salmon by Farrow & Ball; underside of bath paint: Brinjal, Farrow & Ball
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Wall paint: Dead Salmon by Farrow & Ball; underside of bath paint: Brinjal, Farrow & Ball
Browse more homes by style:
Apartments | Barn Homes | Colorful Homes | Contemporary Homes | Eclectic Homes | Farmhouses | Floating Homes | Guesthouses | Homes Around the World | Lofts | Midcentury Homes | Modern Homes | Ranch Homes | Small Homes | Townhouses | Traditional Homes | Transitional Homes | Vacation Homes
Houzz at a Glance
Who lives here: A couple and their two young children
Location: Southeast London
Size: Five bedrooms, three bathrooms
Architect: Nimtim Architects
“This project was about doing the most with the least and changing only what needed to be changed,” architect Tim O’Callaghan says. Therefore, some of the spaces were simply redecorated and others weren’t touched at all.
On the lower level, “it was more a question of reduction really,” O’Callaghan says. Here, two rooms were combined into one and a corridor that originally led into the house next door — the property once served as dorms for Goldsmiths college — was removed.
“There were doors to the outside there already,” O’Callaghan says. “We sourced quality slim frames to tidy up that opening and make the most of the light coming in.”
Perhaps the most striking addition is the double-height space, which is illuminated by a 20-foot-tall window. It cuts a contemporary figure at the rear of the house and works harmoniously with the generous Georgian proportions and original features. “The owners were keen to retain that sense of history, while we also wanted to bring something new to the house that they might not have considered,” O’Callaghan says.
This generated an interesting dynamic between owners and architect. “This house was very much a co-creation with the owners,” O’Callaghan says. “They were very intuitive and smart and, while they trusted us, they felt able to add their ideas and question ours. That’s the best kind of project!”