Houzz Tour: A Late Georgian Home in London With a Contemporary Twist
Old meets new in this striking family home, where Georgian proportions and features sit happily with dramatic glazing and inspired details
The owners of this late Georgian, semi-detached house in Blackheath, southeast London, originally planned to build an extension at the back, but initial chats with Nimtim Architects sent their home on a journey of dramatic but respectful renovation, rather than actual building. ‘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 Permission – it was all done under Permitted Development. ‘This made the project happen more quickly,’ says O’Callaghan. ‘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 6m-high slot window was installed where two windows had been before (one on each floor), so the change is in keeping with the original architecture. ‘We didn’t have to put in a new lintel or do any major changes,’ says O’Callaghan.
Read an expert guide to what can be done under Permitted Development
At the rear, O’Callaghan didn’t want to mess with the house’s beautiful proportions. The 6m-high slot window was installed where two windows had been before (one on each floor), so the change is in keeping with the original architecture. ‘We didn’t have to put in a new lintel or do any major changes,’ says O’Callaghan.
Read an expert guide to what can be done under Permitted Development
A room at the rear of the house on the upper-ground floor was sacrificed to create this new, double-height space. ‘You are removing square footage,’ says O’Callaghan, ‘but when you add up all the corridor space that existed before the house was remodelled, 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 colours for the house. ‘They were really good at it,’ says O’Callaghan. ‘At one stage in the project I said, “We need to think about paint colours,” 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 painted in Hague Blue, Farrow & Ball. Crown Major chandelier, Nemo Lighting at Twentytwentyone.
The owners chose the colours for the house. ‘They were really good at it,’ says O’Callaghan. ‘At one stage in the project I said, “We need to think about paint colours,” 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 painted in Hague Blue, Farrow & Ball. Crown Major chandelier, Nemo Lighting at Twentytwentyone.
The house mostly contains the family’s existing 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. ‘We had suggested something in dark timber, but the owners were keen it wasn’t too contemporary,’ says O’Callaghan. ‘We ended up with a really nice space that’s a bit of both. 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,’ says O’Callaghan. A mix of wenge wood and grey quartz has been used on the island.
Skan pendant lights, Vibia. Exterior wall with doors to balcony painted in Clunch; fireplace wall painted in Mizzle, both Farrow & Ball.
Explore 12 ways to make your family kitchen run smoothly
Skan pendant lights, Vibia. Exterior wall with doors to balcony painted in Clunch; fireplace wall painted in Mizzle, both Farrow & Ball.
Explore 12 ways to make your family kitchen run smoothly
‘When working with a building of this age, you have two possible approaches,’ says O’Callaghan. ‘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 ones, sanded back and stained. ‘The owners had wanted to replace all the flooring, but we suggested simply sanding the boards as a more cost-effective solution,’ says O’Callaghan. ‘It means you have that original character coming through, too.’
Chandelier, CTO Lighting. Walls painted in Mizzle, Farrow & Ball.
The floorboards are the original pine ones, sanded back and stained. ‘The owners had wanted to replace all the flooring, but we suggested simply sanding the boards as a more cost-effective solution,’ says O’Callaghan. ‘It means you have that original character coming through, too.’
Chandelier, CTO Lighting. Walls painted in Mizzle, Farrow & Ball.
The garden (which has been redesigned since these photos were taken) can be glimpsed from the front door through the 6m-high slot 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,’ says O’Callaghan. ‘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-ground floor and replaces a solid wall. ‘It creates a visual connection down,’ says O’Callaghan. ‘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,’ says O’Callaghan. ‘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-ground floor and replaces a solid wall. ‘It creates a visual connection down,’ says O’Callaghan. ‘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 had first proposed this window, he thought it might have to be made of two pieces of glass. ‘I didn’t think we could get a piece 6m long,’ he says. ‘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 along.
The balcony was adapted from the existing design and the spiral staircase was already in place – it was just shifted along.
This original archway leads into the kitchen and dining space, which is now all one room. It was created by knocking two rooms together, so steelwork was added to support this open structure.
‘We had to put in a steel above the archway running to the external wall,’ says O’Callaghan. ‘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 a steel above the archway running to the external wall,’ says O’Callaghan. ‘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 lower ground right up to the upper-ground floor,’ says O’Callaghan. 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 lower-ground floor morph into a contemporary design that connects with the low-level bench-cum-storage on this wall. The unit is made from dark wenge wood and holds the children’s toys.
The spacious master bedroom is decorated in soft shades that suit its Georgian heritage.
Walls painted in French Gray, Farrow & Ball.
Walls painted in French Gray, Farrow & Ball.
On the first floor, O’Callaghan designed a master suite. ‘We took two big bedrooms and turned them into something really special,’ he says. A dressing area designed with walnut storage and wardrobes connects with the bathroom, which can be separated with bespoke Japanese sliding screens.
The master bathroom has a sense of symmetry. ‘We raised the bath so it’s on the same level as the basin,’ says O’Callaghan. ‘We used a relatively cost-effective marble with a nice translucent quality, but the sheer expanse of it makes it look impressive.’
Basin, Mandarin Stone. Wall light, CTO Lighting.
Basin, Mandarin Stone. Wall light, CTO Lighting.
The stone mason who supplied the marble created the shower tray from it. The toilet is hidden behind the low wall that also makes up part of the shower enclosure.
Shower and taps, HE Olby.
Shower and taps, HE Olby.
The guest bedroom was not redesigned, only redecorated in a pretty William Morris print wallpaper.
William Morris wallpaper, Pickwick Papers.
Visitors coming to stay? See how to get your guest room ready on a budget – fast
William Morris wallpaper, Pickwick Papers.
Visitors coming to stay? See how to get your guest room ready on a budget – fast
The first floor contains the master suite, plus a guest bedroom and family bathroom. ‘The owners already had this freestanding bath, so we wanted to accommodate it,’ says O’Callaghan.
Some new radiators were fitted 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.’
Walls painted in Dead Salmon; underside of bath painted in Brinjal, both Farrow & Ball.
TELL US…
What’s caught your eye in this reconfigured house? Share your thoughts in the Comments below.
Walls painted in Dead Salmon; underside of bath painted in Brinjal, both Farrow & Ball.
TELL US…
What’s caught your eye in this reconfigured house? Share your thoughts in the Comments below.
Who lives here A couple and their two young children
Property A late Georgian, four-storey, semi-detached house
Location Southeast London
Size 5 bedrooms, 3 bathrooms
Architect Nimtim Architects
Photography Mark Hadden
‘This project was about doing the most with the least and changing only what needed to be changed,’ explains O’Callaghan. So the top floor wasn’t touched and the dining space, guest bedroom and hallway were simply redecorated.
‘On the lower-ground floor it was more a question of reduction really,’ he says. Here, two rooms were knocked together to create one and a corridor that had originally led into the house next door (the property had been halls of residence for Goldsmith’s College) was removed. ‘There were doors to the outside there already,’ he adds. ‘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 6m-high window. It cuts a contemporary dash 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,’ says O’Callaghan.
This generated an interesting dynamic between owners and architect. ‘This house was very much a co-creation with the owners,’ he 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!’