Architect John Smalley has recently completed a striking extension to a neo-Tudor house overlooking Richmond Park in London, blending modernist design principles with traditional English country house elements. The project reflects a thoughtful contrast between old and new, maintaining a dialogue with the original structure through careful material harmonization and spatial differentiation.

Smalley explains that while the extension adopts a modern silhouette reminiscent of the work of artist James Turrell, it preserves continuity with the historic house by employing strategies such as limewashing and simplifying oak detailing. The extension features unified oak joinery, linking it visually and materially to the original building and creating a cohesive, yet dynamic, architectural composition. “The two parts are spatially different,” Smalley notes, but the overall effect is one of balance and harmony. He also expressed a wider ambition to perfect the modern English country house, a challenge he believes remains open in contemporary architecture.

This recent residential project follows Smalley’s previous work at Hardwicke Court, a Grade II-listed property in Gloucestershire, where he designed an award-winning Garden Room. There, his use of medieval-inspired stone slabs sourced from an architectural salvage company and the incorporation of blackened steel lighting—a detail inspired by a prop from Kenneth Branagh’s film "Death on the Nile"—echo a similar interplay between historic references and modern accents.

Smalley’s approach to interior design melds varied eras and influences, combining contemporary accessories such as gloss-white items designed by Piero Lissoni for Alessi with ancient artifacts, like a 3,000-year-old bowl and an antique gondola oarlock crafted with Venetian metalwork techniques attributed to Carlo Scarpa’s workshop. This layering of old and new forms a key part of his aesthetic philosophy, which aims to maintain a sense of history while embracing the present.

In his Bloomsbury apartment, where he shares space with designer Ben Pentreath, Smalley emphasizes the importance of atmosphere and comfort over formality. A recent intervention includes the installation of a new kitchen workbench in the reading room, brought in through a window using hoists. The unit, constructed of wood and featuring an inset hob and wine fridge, replaced a more modest kitchen setup adjacent to a small terrace. His design decisions extend even to small details, such as the use of handmade copper and steel tea caddies from Kyoto, which are intended to develop a natural patina over time.

Smalley also redesigned the hallway of the Bloomsbury apartment with medieval-style stone flooring and wood logs stacked for the fireplaces upstairs. To protect a decorative plaster ceiling, the floor level was raised by two steps, resulting in oversized window views that evoke a feeling similar to that found in classic New York City apartments with fire escapes.

Smalley takes particular care in crafting spaces that foster comfort and well-being, often designing rooms around specific habits and routines. For example, his bathroom features grey linoleum floors and silver-painted walls to enhance the evening light, creating a tranquil environment tailored for weekly relaxation while listening to opera and reading.

Together, these projects illustrate Smalley’s commitment to creating livable, historically resonant spaces that balance innovation with tradition, aiming to redefine the English country house for the modern era.