Houzz Tour: A Faded Home Gains Light, Flow and Historical Details
Moving the staircase in this Victorian home unlocked an improved layout as well as adding locally inspired character
When Lizzie Fraher of Fraher & Findlay took on the design of this derelict house, she looked to its previously industrial location in London’s King’s Cross for inspiration, particularly for the striking new steel staircase, which now runs through the centre of the building, transforming the layout. “The house had no connection to the garden and very poor connection between all levels of the building,” Lizzie says. Not any more.
As part of a full renovation, the house got a rear extension and a new light-flooded double-height room, a loft conversion and an enhanced sense of connection between the spaces. Throughout, pale oiled ash joinery is punctuated by black metal detailing that references nearby St Pancras station. In terms of sustainability, the house was fully insulated internally, with upgraded glazing and an insulating, wildlife-friendly green roof on the new extension.
As part of a full renovation, the house got a rear extension and a new light-flooded double-height room, a loft conversion and an enhanced sense of connection between the spaces. Throughout, pale oiled ash joinery is punctuated by black metal detailing that references nearby St Pancras station. In terms of sustainability, the house was fully insulated internally, with upgraded glazing and an insulating, wildlife-friendly green roof on the new extension.
The shape of the new extension is echoed in the garden. “The angular design creates a hidden seating space and gives a bit of what’s called ‘complex geometry’,” Lizzie explains. “The more complex it is – ie, the more there is to look at – the more there is for the eye to take in and so the bigger it feels.”
The space also has a Corten steel water feature at the back.
Rusted steel panel, Paneltech Systems.
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The space also has a Corten steel water feature at the back.
Rusted steel panel, Paneltech Systems.
Find reviewed architects and interior designers in your area on Houzz.
The crumbling original two-storey outrigger was demolished and the top half rebuilt above the new extension. It has new glazing in a deliberately contemporary style. “We wanted it so that you could very easily read the extension as being a new part of the building,” Lizzie explains.
The refurbishment also included a mansard loft conversion – unusual for a conservation area. “We got it,” she says, “because we made a joint application with the neighbours,” arguing the design would re-establish a consistent roofline across the back of the houses.
Pivot door, Meronden Designs.
The refurbishment also included a mansard loft conversion – unusual for a conservation area. “We got it,” she says, “because we made a joint application with the neighbours,” arguing the design would re-establish a consistent roofline across the back of the houses.
Pivot door, Meronden Designs.
Inside the extension, the dramatic effect of the glazing becomes clearer. An up and over rooflight stretches the space and draws the outside in. The green upholstery of the bench seat enhances the effect.
The space is carefully designed to be purposeful, with everything bespoke. “Because nothing is challenging the space, it feels bigger,” Lizzie says. Joinery in oiled ash adds warmth while keeping the aesthetic pale and airy.
Bespoke dining table and chairs, Shape London. Walls painted in Joanna, Little Greene.
The space is carefully designed to be purposeful, with everything bespoke. “Because nothing is challenging the space, it feels bigger,” Lizzie says. Joinery in oiled ash adds warmth while keeping the aesthetic pale and airy.
Bespoke dining table and chairs, Shape London. Walls painted in Joanna, Little Greene.
The homeowner worked with a local antique and art dealer to add artwork and decorative pieces.
Head sculptures by Genc Mulliqi, Galeria Kalo. Banquette fabric, Élitis. Kitchen lighting, Fritz Hansen.
Head sculptures by Genc Mulliqi, Galeria Kalo. Banquette fabric, Élitis. Kitchen lighting, Fritz Hansen.
The clean-lined bespoke kitchen has oiled ash fronts with cut-out handles, while the worktops, waterfall island and splashback are all marble. The marble runs into the wall of units, continuing the line across the room.
The floor is polished concrete, while brass pendants inject warmth.
Bespoke kitchen, Shape London. Range cooker, Smeg. Marble worktops and splashback, Surrey Marble & Granite.
The floor is polished concrete, while brass pendants inject warmth.
Bespoke kitchen, Shape London. Range cooker, Smeg. Marble worktops and splashback, Surrey Marble & Granite.
The continued worktop runs under a breakfast station. “Visually, it suggests something’s happening behind it,” Lizzie says.
There’s more concealed storage in the base units…
…as well as within the island, which also contains the sink, an integrated dishwasher and a wine fridge.
You can see the upper wall of the house in this view. There are multiple skylights, but, as the sun hits the front of the building most of the day, this room remains cool.
“This is something to be mindful of,” Lizzie says. “It’s one of the benefits of working with an architect who’s trained to design buildings that sit well within their environments, assessing their orientation and surroundings, as well as their potential for solar gain and overheating. It’s also about harnessing that power [of the sun] to make the building as passive as possible.”
Also visible from this angle is the double height of the space. The next floor starts just behind the shelves on the left and the visible part here is a study.
“This is something to be mindful of,” Lizzie says. “It’s one of the benefits of working with an architect who’s trained to design buildings that sit well within their environments, assessing their orientation and surroundings, as well as their potential for solar gain and overheating. It’s also about harnessing that power [of the sun] to make the building as passive as possible.”
Also visible from this angle is the double height of the space. The next floor starts just behind the shelves on the left and the visible part here is a study.
The dark wood detail on this bespoke ash cabinet is American black walnut. The colour ties into black detailing around the rest of the house referencing the formerly industrial local area. The walnut is hand-beaten and the dimples highlight the craftsmanship by referencing hand tools.
The interior of the cabinet is designed as a bar, with storage for a variety of glasses and bottles.
At the far end of the kitchen is the new staircase, with the area in front intended as a snug. The tall cupboard is for coats.
Next to that the cavity has been turned into pull-out storage.
Just the other side of the staircase, at the front of the house, is another snug, with the potential to double as a study.
The room features more bespoke joinery to maximise the space. “We took an original tongue-and-groove – a very Victorian detail – but made it contemporary, particularly with the oak-lined recessed handles.”
Walls painted in Joanna, Little Greene.
The room features more bespoke joinery to maximise the space. “We took an original tongue-and-groove – a very Victorian detail – but made it contemporary, particularly with the oak-lined recessed handles.”
Walls painted in Joanna, Little Greene.
The cabinetry also contains a little reading nook under the stairs.
One of the most significant structural alterations to the internal layout was the relocation of the staircase, seen here on the ground floor – one level up from the kitchen.
Originally, as is traditional in a house of this era, the staircase hugged the hallway wall and ran front to back. The result of the traditional orientation is that you get one big room at the front and a small room behind. Lizzie’s new staircase runs across the house and is bang in the middle of it, which creates more evenly sized rooms.
The powder-coated steel balustrade, stretching from floor to ceiling, references the area’s early Victorian industrial buildings and nearby St Pancras railway station. The design also allows light to flow through the structure.
The glass door on the left leads to a newly created lobby and the front door.
Originally, as is traditional in a house of this era, the staircase hugged the hallway wall and ran front to back. The result of the traditional orientation is that you get one big room at the front and a small room behind. Lizzie’s new staircase runs across the house and is bang in the middle of it, which creates more evenly sized rooms.
The powder-coated steel balustrade, stretching from floor to ceiling, references the area’s early Victorian industrial buildings and nearby St Pancras railway station. The design also allows light to flow through the structure.
The glass door on the left leads to a newly created lobby and the front door.
From the front door you can see the reorientated staircase just visible on the left.
The connection with the garden starts here. “A direct view to the garden was important,” Lizzie says. “We always try to do that.”
Exterior wall painted in Book Room Green, Little Greene.
The connection with the garden starts here. “A direct view to the garden was important,” Lizzie says. “We always try to do that.”
Exterior wall painted in Book Room Green, Little Greene.
At the front of the ground floor is a living room, which is open plan with the area on the other side of the staircase (see next photo).
There were no period features remaining in the property when Lizzie came in to redesign it. As such, she opted to create a sleek new contemporary concrete fireplace in the location of the original one.
Vintage Scandinavian armchair, Forest London. Wooden floors, Haywood. Fireplace, Grate Expectations.
There were no period features remaining in the property when Lizzie came in to redesign it. As such, she opted to create a sleek new contemporary concrete fireplace in the location of the original one.
Vintage Scandinavian armchair, Forest London. Wooden floors, Haywood. Fireplace, Grate Expectations.
On the other side of the staircase is a reading area and secondary living room.
The dado and panelling across the spaces echo the original Victorian style, but, with a contemporary bead, are a deliberately modern take on the idea.
The low steps on the left lead up to the study, which looks out over the kitchen and dining room below.
Upper walls painted in Joanna; lower walls painted in Slaked Lime, both Little Greene.
The dado and panelling across the spaces echo the original Victorian style, but, with a contemporary bead, are a deliberately modern take on the idea.
The low steps on the left lead up to the study, which looks out over the kitchen and dining room below.
Upper walls painted in Joanna; lower walls painted in Slaked Lime, both Little Greene.
The first floor study area is behind the new window at the back of the house. The immediate view out of it is of the extension’s green roof.
It also has a Juliet balcony overlooking the dining room below.
Bespoke desk, Shape London.
It also has a Juliet balcony overlooking the dining room below.
Bespoke desk, Shape London.
Lizzie made good use of the period property’s original underground coal vaults, beneath the front entrance. By lowering the floor slightly, it became a useable space, into which she designed a tiny shower room and loo, as well as a small utility area (not shown). The curved ceiling gives a hint of the room’s original shape.
Due to the staircase relocation, the bedrooms are now equal sizes front and back. Because the space was previously arranged to provide one single room and one very generously proportioned double, the result is two small doubles.
Lizzie’s design cleverly maximises the space. This bedroom has an en suite shower room behind a sliding pocket door. On the other side she fitted a wardrobe.
Bathroom tiles, Mosa Tiles. Bespoke butterfly bookshelves, Shape London.
Lizzie’s design cleverly maximises the space. This bedroom has an en suite shower room behind a sliding pocket door. On the other side she fitted a wardrobe.
Bathroom tiles, Mosa Tiles. Bespoke butterfly bookshelves, Shape London.
With sloping walls and sash windows, the new mansard loft conversion feels as if it’s always been part of the house. It contains the main bedroom, en suite (door on the left here) and dressing area.
In the en suite, the industrial references continue, with a powder-coated steel frame for the vanity unit. The basin, in Glacier White Corian, keeps the look clean and minimal, while a generous ash drawer warms things up.
Joinery, Shape London.
Joinery, Shape London.
A clever layout means the small room accommodates a bath as well as a walk-in shower. The same Corian forms the bath top, panel and niche shelf.
An orange stool references the upholstery downstairs.
An orange stool references the upholstery downstairs.
A compact dressing area complete with a bench seat by the window completes the bedroom. It’s the perfect spot for gazing out across the early Victorian and industrial buildings that inspired this home’s redesign.
Tell us…
What’s your favourite detail in Lizzie’s contemporary update of this period house? Let us know in the Comments.
Tell us…
What’s your favourite detail in Lizzie’s contemporary update of this period house? Let us know in the Comments.
Who lives here? A single professional man
Location King’s Cross, north London
Property An early Victorian terrace in a conservation area
Size Three bedrooms and three bathrooms
Architect and interior designer Lizzie Fraher of Fraher & Findlay
Garden design Urban Roots Landscapes
Photos by Adam Scott Images
Your first thought might not be that the unusual shape of Lizzie’s rear extension design was down to planning restrictions, because it looks so beautiful. But it was. “We wanted to extend in order to increase the kitchen space at this lower ground floor level,” she says, “but planning made us fold back the design so it didn’t impose on the neighbours’ extension.”
The result is a strikingly angled addition with a huge, pivoting door. The geometry leads the eye towards the beds beyond, boosting the sense of space inside.