PROJECT REPORT: CULTURAL, CIVIC & FAITH BUILDINGS 29
LEIGHTON HOUSE MUSEUM LONDON
A blend of art & architecture
The former home and studio of renowned Pre-Raphaelite painter Frederic Lord Leighton has evolved as a museum over its long life; its latest reimagining is a sensitive and artistic refurb by BDP, as Tom Boddy reports
L
ondon is renowned for its array of world-famous museums scattered across the city. But one which people may be less familiar with is Leighton House Museum – once the home and studio of Victorian painter Frederic, Lord Leighton, and now owned by the Royal Borough of Kensington and Chelsea (RBKC). Located in the heart of Kensington, the historic building’s red brick exterior may deceive passers-by as to its true use, appearing as one of the many grand townhouses in the area. However, the inside is filled with opulent interiors and historic artefacts.
The Grade II* listed building was originally built in 1865, and over its 150-year history, as it’s transitioned from a private home to a public museum, it has undergone significant transformations.
© Leighton House. Image courtesy Dirk Lindner
The most recent phase, led by interdisciplinary practice BDP, completes the restoration of the house and garden while reimagining the spaces to create a “coherent, inclusive and enjoyable visitor experience,” explains David Artis, architect and director at BDP. The focus has been on consolidating the museum as an amenity for the local community and beyond – this was “a key driver for the Borough,” he adds.
History & context During the 19th century, London’s burgeoning middle class began to invest their disposable income into artworks. This newfound demand for art led to an era of affluence and recognition of artists. Within this context, a group of wealthy artists decided to construct their own residences on the Holland Park Estate in Kensington, known as the Holland Park Circle, with Leighton’s home being among the first to be commissioned. The original building, designed by Leighton’s close friend and architect George Aitchison, was a fairly modest design. But over the next two decades, it became an evolving piece of artwork in itself, as Leighton and Aitchison introduced striking new elements.
Just three years after completion, the house underwent an expansion to enlarge the painting studio on the first floor, and incorporate a store room for canvasses. Next was the creation of a dramatic new extension (‘Arab Hall’) that has since become regarded as the centrepiece of the home. As an avid traveller to the middle east, Leighton developed a strong fascination with the architecture and artefacts he encountered during his journeys.
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