David Chipperfield at the residence of photographer Nick Knight:’ The whole street lobbied against it, writing to Prince Charles to try to have it stopped.’ Photograph: Michael Franke/ The Guardian
In 1990, when I was in my mid-3 0s and still quite inexperienced, I was approached by the pattern photographer Nick Knight and his wife, Charlotte, to expand their London home. They is now in a postwar home that Nick’s father had built. Nick craved a studio upstairs and more infinite for his young family. At the time, I had a small office of four or five people and we were working with the designer Issey Miyake on a number of store interiors in Japan. This was my first building.
I was aroused about everything I was seeing in Japan at the time: they tend to treat the garden as part of the house. Most of Nick’s neighbours wasted a lot of money on their facades; we did the opposite. We concentrated on how the house and garden could connect. We created a large concrete frame that spread out from the side of the chamber of representatives, which had the effect of partly enclosing a courtyard garden. It also means that the corner of the living room could be opened up, without a supporting column, framing a scene into the garden, creating an outside space that may seem like an indoor one.
We discontinued up with a fight on our hands. The whole street lobbied against it, writing to Prince Charles to try to have it stopped. The parties across the road impeded their draperies depicted for a couple of years in assert. It was an introduction to republican English taste, which was quite shocking. It wasn’t that the house was too big; it was that the figurehead didn’t look like the other lives in the street. That was the worst part of the process for me. Once we started to build, it was easy by comparison.
Designing and house houses for parties is a delicate process, which is why I simply take over one or two at a time. Success depends very much on how you develop a behavior of being personal and professional: that relationship is critical.
This was the first time I had a center hypothesi to my work- the idea of creating an expansive viewpoint in a suburban street- and it is a strategy I’ve lived by since. The live has been part of Nick and Charlotte’s life for 30 times and I think it has helped them formulate a work-life balance. Nick’s work is incredibly intense and demanding, yet he is dedicated to his family. I like to think the house has played a role.
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