The most transformative decision was relocating the kitchen – designed by Howark and made by Apron Kitchens – to the lower-ground level, where it would have sat historically, a proposal that found instant favour with planning inspectors. ‘We reopened the huge fireplace and created a room that didn’t really exist before. It’s a beautiful kitchen you can eat in, which also has a connection to the garden,’ says James. Flagstones, exposed stonework and an off-white palette give the room an easy, almost rural-like simplicity, while a timber island and wood-burning stove lend warmth. ‘We didn’t use a huge amount of saturated colour here because we wanted the natural materials to sing,’ explains Saskia. A particularly charming touch is the cosy banquette dining spot tucked into a corner. ‘You can seat four,’ she adds. ‘They are not big entertainers and said that is all they need.’
In the ground-floor study, the writing table is an 1800s French antique with a new bespoke leather top from Sheffield-based D J Green Antiques. It is paired with desk chair from David Seyfried upholstered in a Pierre Frey fabric. The ceiling light is Visual Comfort.
Amy Heycock
The series of six botanical artworks above the sofa are from McBain & Byrne found at the 2025 Decorative Fair.
Amy Heycock
That honesty about their daily life shaped the entire project. ‘Sometimes people get sucked into thinking how they should live,’ says James. ‘But these clients were really clear about how they would use the house.’ On the ground floor, the former kitchen at the front of the house has become the flexible study-cum-spare room, while a day room offers a place to read, paint and relax. ‘They wanted a beautiful receiving room that doesn’t focus around having a television,’ says Saskia.
References to Constable, who drew inspiration from the house’s location for his famous paintings of Hampstead Heath, are subtle but deliberate. The decorative approach is soft, with a palette of blush and sage alongside a thread of ochre that weaves its way through the house. ‘There’s a looseness and a painterly quality to what we tried to do,’ says Saskia. ‘Nothing is too robust – everything kind of flows into each other.’