I always love having a nosey around people’s homes, don’t you? And even better if those spaces are architecturally interesting and soulfully inspiring in equal measure. One of my favourite exhibitions during last week’s London Design Festival was ‘In the neighbourhood’ – a showcase of two elegant, carefully curated homes, set slightly away from the buzz of the city in quiet North London. A far cry from companies shouting for attention and the commercialisation of it all, both spaces offered a respite of calm and tranquility; somewhere to really pause and take time to appreciate considered, well-crafted design.
The ‘pop-up’ (or open house) was conceived by friends and creative neighbours Louisa Grey and Morgwn Rimel. The idea was to showcase international designers in a natural, domestic setting, while also putting a focus on local artists and makers in North London.
For me the two spaces offered two different but equally beautiful versions of minimalism. Neither are stark or cold, but warm and inviting. The Grey House, home to Louisa Grey and her interiors studio House of Grey, has a sense of stillness and honest simplicity, with a focus on the handcrafted and natural materials. The neutral decor pays respect to the period of the property while keeping things pared-back and contemporary. It felt very Studio Oliver Gustav meets Faye Toogood. The Blue House, in comparison, is an airy, loft-like apartment set in a converted Methodist congregation hall owned by Morgwn Rimel. It’s an uplifting, vibrant space, with pops of carefully placed colour and eclectic designs. The Grey House instantly appealed to me as that’s the usual style I’m drawn to, but The Blue House surprised and delighted with unexpected details. Let’s take a closer look at both of them…
The Grey House
The Grey House is a space of understated luxury, fusing neutral hues, subtle textures and refined finishes. The restored Victorian townhouse feels in touch with nature and the natural environment; earthy and balanced, with organic-shaped furniture and artisanal details. It’s a place that appeals to the senses and has a feeling of tactility.
The wall between the two rooms on the ground floor has been knocked down and the spaces joined together, filling the room with natural light from both ends. Painting the window frames and shutters the same colour as the walls gives a cohesive feel to the scheme, while full-size trees and plants normally reserved for outside add a hint of drama.
The space had a ‘wabi-sabi’ feel to it – an ancient Japanese philosophy that embraces transience and imperfection. Wabi-sabi is about finding beauty in the passage of time and the ageing process – here that might be the lightly worn, white-washed floors that show cracks and marks but get better with age, or the brass lighting that develops a delicate patina over time. It’s not about things perfectly matching or creating a polished space that stands still and unused. But about appreciating the simple and the honest; giving meaning to a room and its objects.
Says Grey, ‘We design with people in mind – by thinking through how they will interact with the space, we make it user-friendly and practical. We design creative, productive spaces that allow your mind and body to be calm and focused by reducing visual noise and distractions.’
The furniture is by Danish design studio Frama (the daybed, marble and cork tables and stools) and Swedish furniture company Mass Productions (the sofa and upholstered chairs). The chunky wooden blocks are by Noorstad. The paintings leaning against the fireplace are by Tycjan Knut. The marble light sculptures and the brass lamps are by Henry Wilson. The cushions are by Stitch by Stitch and the patchwork curtains were made by Nest Design. The vases are by Natascha Madeiski. The plants were supplied by the Urban Flower Co. For a similar off-white shade to the walls, try Farrow & Ball’s Shaded White.
The Blue House
The Blue House is playful, fun and creative, bursting with life and colour. Somehow the bold hues don’t feel oppressive or overpowering, which perhaps has something to do with the plain white walls creating a blank canvas for each piece or design to sing, together and in their own right. Morgwn Rimel curated the house so it has a mix of old and new, high and low, mass and bespoke design. The result blends art, furniture, found objects and design to create something of a personal playground.
The double-height living space is free-flowing and open plan, with a neat, white kitchen area tucked under a wooden mezzanine cantilevering out into the room. Accessed by a floating metal staircase, there’s a cosy snug area up there with a sofa, and another wing for the bedroom on the opposite side of the space, its chunky steps mirroring the wood of the mezzanine box. The bedroom itself was a bit of a surprise – warm and cocooning, wrapped in pale wood and devoid of colour. What I would take away from this home is that you don’t have to always play by the rules, you can break up the traditional layout of a space, bring the outside in, and use bold colour and still keep a space uncluttered and minimal.
The wire frame furniture is by Muller van Severen for valerie_objects and the colourful dining table is made of waste plastic and created by Dirk Vander Kooij. The bright blue Pleat sculptures are by Phil Cuttance and the vases are by Dinosaur Designs. The plants were supplied by the Urban Flower Co. For full credits see the exhibition list here.
Which space are you more drawn to and which one can you see yourself living in?
All images Cate St Hill
