A mid-century home initially designed by British architect Trevor Dannatt has undergone a delicate restoration by structure studio Coppin Dockray in north London.
Named Hampstead Home, the Nineteen Sixties dwelling has been overhauled by Coppin Dockray to remodel it right into a spacious and thermally-efficient residence suited to the wants of its house owners’ rising household.
Hampstead Home is a British interpretation of a Californian experimental Case Research Home and was initially designed to have an intimate relationship with its low-lying, north-facing web site in Hampstead.
It is without doubt one of the few personal homes by the late architect Dannatt, who’s greatest identified for his work on the Royal Pageant Corridor, the place he detailed the quite a few staircases and glazed screens of the foyers.
Surrounded by grand Edwardian villas, the house follows the degrees throughout the positioning to kind a sequence of courtyards and roofscapes surrounded by a verdant backyard.
Nevertheless, over time it had been poorly prolonged and developed vital structural points, with its unique components obscured by a wild and unruly backyard.
Coppin Dockray’s ambition for its overhaul was to rationalise these alterations and mirror Dannatt’s unique imaginative and prescient – although it was not doable to revive his design in full.
“It was barely insulated, the roof was failing,” the studio’s co-founder Sandra Coppin instructed Dezeen. “Put up-war buildings are notoriously flimsy and thermally unstable.”
Coppin Dockray had a threefold method to its proposal. It first recognized key elements of the home that had been necessary to retain, such because the spatial sequence and materials qualities of the constructing.
It then created a bigger dwelling suited to its shopper’s wants by sensitively extending the home with clearly expressed additions. Lastly, it aimed to considerably enhance the constructing’s thermal consolation and vitality efficiency.
The Nineteen Eighties mansard has been changed by a brand new first ground with extra bedrooms and a research, whereas the bottom ground extensions have been rationalised to strengthen the kitchen’s position as the guts of the home.
The studio was cautious to restrict the fabric selections, teaming the prevailing brickwork with black aluminium panels on the facade.
Hampstead Home’s ground plan is cut up into two wings hinging off a glazed entryway. The bigger public-facing wing accommodates a eating room and kitchen, which is framed with bespoke sweet-chestnut joinery and a baffle under a big roof mild.
Past it’s an expansive front room, bathed in mild from three sides by intensive glazing. It’s flanked by a terrace and courtyard, giving views into the newly landscaped backyard.
Coppin Dockray was additionally accountable for updating the house’s inside design, sourcing a mix of classic, bespoke and new furnishings and fittings for a “home, lived-in” really feel.
Bettering the constructing’s thermal efficiency was one other precedence. The present constructing was upgraded with new timber-framed home windows, in addition to insulated roofs, flooring, and partitions.
“Every intervention thought-about the cautious stability between the constructing’s character and kind and its pressing want for improved vitality efficiency and luxury,” stated Coppin.
In accordance with the studio, the results of these interventions has led to a 59 per cent discount within the constructing’s annual carbon dioxide emissions.
Coppin Dockray is a London studio based in 2012 by Coppin with Bev Dockray. Hampstead Home is the newest in a sequence of architecturally vital modernist homes that it has had a hand in restoring to their former glory.
“We’re interested by buildings, particularly these distinctive post-war homes and we spend a lot time attempting to know them as greatest we will,” stated Coppin.
Its earlier initiatives embrace a renovation of a modernist home by the Danish architect Jørn Utzon, and a home known as Ansty Plum, which was inbuilt 1962 by architect David Levitt and featured a studio designed by Alison and Peter Smithson.
The images is by James O Davies except acknowledged in any other case.
