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 fairly inexperienced, I was approached by the mode photographer Nick Knight and his wife, Charlotte, to expand their London home. They resided in a postwar room that Nick’s father had built. Nick missed a studio upstairs and more opening 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 provoked 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 invested a lot of money on their facades; we did the opposite. We concentrated on how the house and garden could connect. We made a large concrete chassis that extended out from the side of members of this house, which had the consequences of the partly enclosing a courtyard garden. It also meant that the reces of the living room could be opened up, without a supporting pillar, framing a view into the garden, creating an outside infinite that feels like an indoor one.
We terminated up with a fight on our hands. The whole street lobbied against it, writing to Prince Charles to try to have it stopped. The beings across the road continued their curtains depicted for a couple of years in declaration. It was an introduction to conservative 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 homes 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 rooms for people is a delicate process, which is why I simply take on one or two at a time. Success depends very much on how you develop a course of being personal and professional: that relationship is critical.
This was the first occasion I had a center feeling to my job- the idea of creating an expansive sentiment 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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