Dirty House, London

Adjaye Associates 


Attracted by relatively low prices, there are many artists who have moved to London’s East End in the last years. Installed in old industrial buildings, they have replaced – within the sheds themselves – this industrial typology with a new one that combines space for artistic production with residential space. A recent example of this tendency is the Dirty House, a name that relates one of the works by the couple who owns the house, Dirty White Trash (with Gulls) – carried out with the domestic garbage from the previous six months – to a dwelling that will also be their studio.

Two main elements make up the house: the walls of the old building – which have been maintained along with the existing windows –form the facade, while the new volume, raised on the upper part, looks onto the street through the cantilevered roof. Taking up the whole perimeter of the plot, the lower level contains two studios, of different size, Attracted by relatively low prices, there are many artists who have moved to London’s as needed by the owners, who collaborate during the first phases of each work but need separate spaces for different stages, projects and scales. The lighting and privacy requirements have been solved in the larger studio by way of a lobby on the west facade, that serves as an interior passage, with top light in the smaller studio. The two double-height work areas wrap up the vertical core which, aside from the staircase, houses a studio on ground floor and a guestroom on the mezzanine.

The upper level has been entirely devoted to residential use. The dwelling opens to the characteristic landscape of the neighborhood through two fully glazed facades, which have been made possible by the cantilevered roof. The peripheral walls of the original building have been extended on these facades at mid-height to form the parapet wall, while on the other two they extend all the way to the ceiling to take on the load of the roof. The living room occupies most of the floor area, leaving the smaller spaces –bathroom, kitchen and bedroom – to the outer band. The skylight in the central area rounds off this arrangement.

The internal structure of the original building was removed entirely, therefore a new steel structure supports the masonry walls, protected by a dark-brown anti-graffiti paint. As a lid that opens because of the pressure of its contents, the roof is detached from the facade, letting the city around it know that the interior conceals a space devoted to artistic creation... [+]


Clientes Clients

Sue Webster, Tim Noble 

Arquitecto Architect

David Adjaye

Colaboradores Collaborators

Josh Carver, Aimee Lau 

Consultor Consultant 

Techniker (estructura structure

Contratista Contractor

RJ Parry

Fotos Photos

Lyndon Douglas