Architect William Smalley has recently completed a refresh of his two-floor flat in Bloomsbury, London, where he has lived for 20 years. Located on Lamb’s Conduit Street within a historic house built in 1720, the property forms part of a vibrant neighborhood preserved by the Rugby Estate, which has limited the spread of franchises and helped maintain the area’s character. The street is known for its mix of eateries, independent shops, and historical landmarks, including a funeral parlour still bearing damage from the Blitz.

Smalley, who rents the flat like his neighbors, has developed a distinctive interior style over the years that blends simplicity with the marks of time and use. His approach emphasizes natural materials left untreated, highlighting the craftsmanship and history embedded in the surfaces. For example, he has never sealed the wood floors and appreciates the accidental paint splashes on them, viewing such imperfections as part of the home’s narrative. He differentiates between what should be flawless, such as the piano’s black gloss finish, and areas where wear and irregularities can enhance the space. Smalley often advises clients to accept stains or marks on surfaces rather than seeking perfection.

The apartment’s design reflects a harmonious balance between contemporary and antique elements, an approach Smalley describes as “stretching time.” The walls are painted flat white, and most art pieces are placed directly on the floor, contributing to a relaxed, studio-like atmosphere. Among the notable objects in the flat are an Edmund de Waal pot, a 300-year-old porcelain bowl recovered from a shipwreck near Japan, and works by friends and colleagues, including Olivia Horley, Richard Low, and Marc Vaux. A brass egg by Carl Auböck sits near the piano; Smalley often gifts similar eggs to clients moving into new homes.

Adding a lively and unpredictable element to the flat is Dylan, a spirited white and tan Jack Russell terrier. Smalley recounts how Dylan’s presence disrupted the perfect calm of the home—with chewed furniture and scattered fur—though he embraces these imperfections as part of the living space rather than seeking stringent control. This relaxed attitude extends to Smalley’s work ethos, where he balances meticulous attention to detail with acceptance of minor irregularities.

Professionally, Smalley’s portfolio ranges from designing contemporary extensions on Grade II-listed Georgian homes to submitting proposals for major projects like the Guggenheim Helsinki. Elements of his ongoing commissions also feature in his home, including a giant nikau leaf from a New Zealand residential project site visit and a prototype wall light he designed. Together, these items underscore the seamless integration between Smalley’s personal environment and his architectural practice.