An Arts and Crafts former dairy in the Home Counties, imbued with permanence and soul
‘It felt like we were working in the Arts and Crafts way, but in the modern day,’ says Sarah Peake of this project in the Home Counties. Designers are often inspired by this movement, but here it was her raison d’être. The house was built around 1887 to designs by Philip Webb – a friend of William Morris often known as the father of Arts and Crafts architecture – as the dairy on a new country estate. In the 1950s, it was converted into a house, later being chopped and changed by subsequent owners.
The current owners had been living next door when the old dairy came up for sale. They jumped at the chance to restore it in line with surrounding Grade II-listed properties. Having already worked with Sarah on their London home, they brought her on board, alongside heritage architects Stedman Blower, led by director Stephen Donkin. ‘We formed a close collaboration, which made the project infinitely better,’ says Sarah.
Their first task was to rethink the layout. ‘Going back to the original footprint was vital,’ she adds, ‘and thanks to a neighbour, we had access to Webb’s original drawings.’ At the heart of the house is an internal courtyard, with a glazed loggia on three sides leading to the main downstairs rooms. The kitchen was moved to the rear, where new leaded windows based on the originals look out over gardens created by landscape designers Mazzullo + Russell. Meanwhile, the darker rooms at the front have become a library, games room, and guest annexe. At either end are a new boot room and poolhouse, with soaring vaulted ceilings that reflect the spirit of the Arts and Crafts style.
‘I always had a clear vision of how the interiors would look,’ says Sarah, ‘from the oak cladding on the ceilings to the furniture, textiles and art.’ To bring this to life, she called upon a roster of craftspeople, including woodworkers, embroiderers, weavers, glassblowers and stonemasons, all of whom worked with Sarah and her designers Sophy Toller and Dido Connolly to refine every detail.
Joinery specialists Shawstephens fitted out the kitchen and boot room to exacting specifications; the library sofa was made with London workshop Sedilia to achieve the most cocooning form; tapestry artist Sussy Cazalet created a watercolour of the wall hanging in the games room before weaving it; and the mosaic by Delphine Messmer in the pool shower was inspired by local wildlife. ‘I see my role as being like the conductor of an orchestra,’ Sarah explains, ‘bringing together craftspeople to create beautiful things.’
The partnership between Sarah and her client was equally fruitful. ‘She has an amazing eye,’ says Sarah. ‘She introduced me to the Swedish studio Märta Måås-Fjetterström years ago,’ she adds, pointing out the rugs in the boot room and the sitting area off the main bedroom. Together, they also made some bold decisions, including buying striking green marble for one of the bathrooms before planning permission had been granted.
Sometimes, however, the client did require a little nudge. ‘She leans towards plainer textiles, but I wanted more colour and pattern,’ says Sarah. ‘So we used florals and block prints in considered ways. It nods to country-house style without feeling fussy.’
The client could not be happier with the results. ‘I remember her saying to me early in the process, “I want to love everything in its own right, not just because it works in a scheme,”’ says Sarah. ‘I love that philosophy, and I’ve lived by it since.’ I suspect it is one that Philip Webb and William Morris would endorse, too.
Studio Peake: studiopeake.com | Stedman Blower: stedmanblower.uk | Mazzullo + Russell: mazzullorussell.com | Brickfield Construction: brickfieldconstruction.co.uk | Davenport Associates: davenportassociates.co.uk
1/21In the games room, on the oak-panelled wall hangs a tapestry created by textile artist Sussy Cazalet especially for the room. The bespoke sofa by Sedilia is covered in ‘Teddy’ mohair fabric by Pierre Frey. A scrapwood coffee table by Piet Hein Eek sits on a ‘Rialet’ rug by La Manufacture Cogolin.
Boz Gagovski2/21In one corner of the library is Charles Zana’s ‘Ernest’ bar cabinet in Breccia Fantastica marble.
Boz Gagovski3/21A view from the games room into the library.
Boz Gagovski4/21In the downstairs loo, Daniel Heath wallpaper and panelling painted in Rose Uniacke’s ‘Hickory’ provides the backdrop for a bespoke metal basin stand made by Cox London with a Macchia Vecchia marble surface and Volevatch taps. The café curtain at the window was hand-embroidered by artist Lora Avedian. The floor tiles, which continue into the corridor outside, are Neisha Crosland’s ‘Cocteau’ design.
Boz Gagovski5/21On the wall of the loggia, Olfers VIII by Tyler Hays is flanked by Rose Uniacke wall lights above an upholstered bench by Robin Myerscough.
Boz Gagovski6/21Pendant lights by Alexandra Robinson via the The New Craftmaker hang over Rose Uniacke’s ‘Drapers’ table in the kitchen. It is teamed with Cassina’s ‘Cab’ armchair and benches with seat cushions in a bespoke Vanderhurd silk dhurrie. Wayne Pate’s Iris Bulbs No.65 from The Finch Project hangs between the two windows with blinds in Rose Tarlow’s ‘Tokai’ fabric.
Boz Gagovski7/21Fumed-oak cabinets contrast with zellige tiles by Mosaic Factory and a Calacatta Verde marble splashback. The ‘Drapers’ table is by Rose Uniacke; the bench cushions are covered in Vanderhurd dhurries, and the ‘Cab’ chair is by Cassina. The ceiling light is by Alexandra Robinson, from The New Craftmaker. Between blinds in Rose Tarlow’s ‘Tokai’ fabric hangs Wayne Pate’s Iris Bulbs No.65, from The Finch Project. The fireplace is lined in ‘Hanley’ tube lined tiles from Balineum.
Boz Gagovski8/21Fumed-oak cabinets contrast with zellige tiles by Mosaic Factory and a Calacatta Verde marble splashback.
Boz Gagovski9/21‘Pale Mortlake Brown’ by Papers and Paints creates a wonderfully warm feel in this seating area off the main bedroom upstairs. A bespoke lacquer coffee table from Page Lacquer and George Smith ‘Turkish’ sofa – with cushions in fabrics by Toyine Sellers (striped weave), Yarn Collective (blue velvet) and Namay Samay (blue floral) – are arranged on an MMF rug. The side table is by Bibbings & Hensby. A trio of pieces by Fieroza Doorsen from WSJ gallery are grouped on the far wall.
Boz Gagovski10/21A view of the upstairs sitting area.
Boz Gagovski11/21Looking from the sitting area into the main bedroom.
Boz Gagovski12/21The bed has a fumed oak headboard made by Shawstephens inset with Toyine Sellers fabric panels.
Boz Gagovski13/21The rectangular cushion is in ‘Bromley’ by Jeffrey Bilhuber for Le Gracieux.
Boz Gagovski14/21By the doors to the bathroom, a Rose Uniacke ‘Club’ armchair in Pierre Frey ‘Teddy’ mohair is partnered by a side table from TallBoy Interiors. The wardrobe doors were made by Shawstephens and finished with leather braiding by Aimee Betts.
Boz Gagovski15/21Verde Luana marble, sourced from a stoneyard before planning permission had even been granted, was used for the floor and the interior of the shower in the en-suite bathroom.
Boz Gagovski16/21A view through to the spa area, with the sun and yoga room beyond. The ‘Mercury’ globe lantern is by Jamb. Architects Stedman Blower drew up plans for the new extension, with Sarah Peake helping to refine interior details.
Boz Gagovski17/21The owner uses this light-filled room for yoga and relaxation.
Boz Gagovski18/21The joinery in the changing room is by Shawstephens, the mirrors are from Fiona McDonald and the stools are by Bibbings & Hensby. The walls throughout the spa/pool area are finished in tadelakt.
Boz Gagovski19/21In the poolhouse, expansive glass windows look out over gardens landscaped by Mazzullo + Russell.
Boz Gagovski20/21A table from Edward Collinson is paired by stools by Bibbings & Hensby in the wine cellar. The hanging lantern is from Jamb.
Boz Gagovski21/21The house was built around 1887 to designs by Philip Webb – a friend of William Morris often known as the father of Arts and Crafts architecture.
