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An Old English Schoolhouse Gets a Modern Addition, With Sleek Lines and Bold Hues

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An Old English Schoolhouse Gets a Modern Addition, With Sleek Lines and Bold Hues

August 12, 2024

After moving into an 1864 former schoolhouse in bucolic Somerset, England, Farrow & Ball color curator Joa Studholme and her husband realized something wasn’t quite right with the home’s 1970 addition. “It didn’t work properly,” says George Dawes, the architect (and Bindloss Dawes co-founder) who had been hired to fix it. “The corridors were too narrow; the bedrooms were too small for double beds, which is what they wanted. And it didn’t sit well with the original, Grade-II listed building. It just made sense to take it down and start again, which seemed quite radical at the time.”

But the drastic move was the right one: George was able to replace the dysfunctional extension with a modern structure that checks all of the couple’s boxes. Its sleek facade is in harmony with the historic section of the house, mirroring its warm gray hue and pitched silhouette; its practical layout, with an airy primary suite and two full-sized bedrooms, flows easily; and its simple interior architecture allows Joa to play with color. “I am a maximalist, and our architect is quite the opposite,” she says. “This could have been a problem, but we embraced it and were happy that the exterior is all clean lines and the inside the total juxtaposition.”

Let’s take a tour.

Photographs by Boz Gagovski, except where noted.

george chose sweet chestnut cladding for the addition because it blends into th 17
Above: George chose sweet chestnut cladding for the addition because it blends into the lush environment. “When you put contemporary architecture inside a very rural setting like this, you can trash it quite easily if you’re not sympathetic,” he says. “Timber felt like a logical choice because it’s a locally sourced, natural material that you see in the countryside around here.” Photograph by Francesca Iovene.
over time, the wood will take on the same warm gray hue as the \160 year old st 18
Above: Over time, the wood will take on the same warm gray hue as the 160-year-old stone schoolhouse. “Initially, it comes in a blondie color, but it starts to weather into something much more silver, which actually matches the tone of the original architecture,” George adds. Photograph by Francesca Iovene.
the silhouette of the extension mimics that of the historic structure, too. &am 19
Above: The silhouette of the extension mimics that of the historic structure, too. “The shape came about from basically emulating what was there already,” George says. “The mass of the new building is very similar. It’s got the same height. The roof pitch is also 45 degrees. So, compositionally, it’s almost like the younger relative of this very old Victorian thing. But at the same time, it was important to do something contemporary, not pastiche.” Photograph by Francesca Iovene.
modernity is evident in the sharp, geometric details. wider siding with skinnie 20
Above: Modernity is evident in the sharp, geometric details. Wider siding with skinnier slots in between is laid vertically on the top (concealing gutters and pipes), while thinner siding with broader slots in between is laid horizontally on the bottom. The rectangular windows are spaced evenly and intentionally. Photograph by Francesca Iovene.
the old and new are connected by a glass and patinated galvanized steel bridge. 21
Above: The old and new are connected by a glass and patinated galvanized steel bridge. “It’s a finish we hadn’t used before, but it’s quite nice,” says George. “It sort of feels like lead. It looks like something you might expect in an older building, but the fact it’s galvanized, it’s quite crisp as well. And in the countryside, it’s important that buildings are allowed to weather well, so they become part of their natural surrounding.” Photograph by Francesca Iovene.
george squeezed two levels into the addition—while keeping its height al 22
Above: George squeezed two levels into the addition—while keeping its height aligned with that of the single-story schoolhouse—by sinking it a few feet into the ground. The sweet chestnut from the exterior composes the upward staircase; the downward steps and hallway floor are made of microcement.
joa painted the hallway in setting plaster by farrow & ball, a cheerful blu 23
Above: Joa painted the hallway in Setting Plaster by Farrow & Ball, a cheerful blush color that complements her moss green Pinch Pendel sofa.
in the primary suite, joa opted for an earthy, porridge like hue called stirabo 24
Above: In the primary suite, Joa opted for an earthy, porridge-like hue called Stirabout. “It was obvious to me that the main bedroom should be a warm neutral so it feels like it is floating above the fields,” she says. “I couldn’t resist the fabric on the bedhead because it never fails to make me smile and has such a connection to the surrounding countryside. And my treasured bedside tables were made by my friend Nicola Harding.”
the valley views from joa&#8\2\17;s bed. &#8\2\20;the extension has a 3 25
Above: The valley views from Joa’s bed. “The extension has a 360-degree outlook,” says George. “If you’re lying in bed, you can look out the windows to your right and left, to your north and south, and then you’ve got the big picture window straight ahead of you. That’s the really dramatic one.”
george installed wainscoting in all three bathrooms. the tub in the primary is  26
Above: George installed wainscoting in all three bathrooms. The tub in the primary is wrapped in wood paneling as well.
the two bold bedrooms on the lower level are reserved for visitors. &#8\2\2 27
Above: The two bold bedrooms on the lower level are reserved for visitors. “I wanted to give guests an exciting experience when they came to stay,” says Joa. “And I knew the bedroom which looks up the hill should appear to be part of the landscape, so it was painted in a strong Sap Green.”
a whimsical pink and green checkerboard moves from the floor to the base of the 28
Above: A whimsical pink-and-green checkerboard moves from the floor to the base of the tub.
&#8\2\20;i have worked with farrow & ball for nearly 30 years, and ligh 29
Above: “I have worked with Farrow & Ball for nearly 30 years, and Light Blue has always been my favorite color on account of the way it changes tone in different light conditions, so this had to be included in the south-facing bedroom,” Joa says of the paint on the upper portion of the wall. The lower part is rich Inchyra Blue.
stripes appear in both the bedroom and the bathroom. &#8\2\20;pattern is a  30
Above: Stripes appear in both the bedroom and the bathroom. “Pattern is a fabulous way to bring energy into any scheme,” Joa notes. “I am always drawn to a classic ticking fabric.”
the living area in the original portion of the home, with its ecclesiastical va 31
Above: The living area in the original portion of the home, with its ecclesiastical vaulted ceiling. Photograph by Francesca Iovene.
a peek into the kitchen. photograph by francesca iovene. 32
Above: A peek into the kitchen. Photograph by Francesca Iovene.

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