Having undergone previous renovations, the design approach for the house was to reinstate and restore original heritage details whilst balancing them with minimalist interventions.

In creating a series of juxtapositions, heritage and modern, integrated and distinct, ornate and abstract, the Walmer House of Modern Antiquities elevates, reframes and celebrates an already grand home for its next 150 years.

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Architecture & Design: Can you describe the initial vision for this project and how it evolved over time?

Splinter Society Director Chris Stanley: The initial vision was to respectfully restore and reinstate the grandeur of the original early Victorian home while introducing carefully considered contemporary interventions.

The home’s existing character—with its ornate detailing, generous proportions, and layers of history—set the tone the restoration. As the project evolved, we were able to use those older style crafts to influence the modern interventions as well.

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What were the biggest challenges you faced during the design and construction phases, and how did you overcome them?

The scale and complexity of a house of this period presented unique challenges. This was a substantial home with deeply layered decorative detailing, and many of the restoration techniques—such as timeworn brass finishes, hand-applied burnished plaster, and ornate plaster mouldings—are increasingly rare and require specialist skills.

Coordinating and sequencing these trades while maintaining the integrity of both heritage and contemporary elements took careful consideration.

How did you ensure that the project met the client’s needs and expectations?

The project was deeply shaped by the clients’ collection of antiques and fine art. The balance of ornate and pared-back spaces was intentional, allowing each item to be appreciated. The kitchen, bathroom and cellar joinery—crafted in solid timber, brass, and stone—was designed not only to function in a more modern context, but to reflect the material richness the clients wanted to retain.

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Were there any unique or innovative techniques or materials used in this project?

While the project is grounded in heritage craft, it embraces innovation through reinterpretation. The use of burnished plaster throughout the contemporary interiors offers a modern nod to the tactile quality of Victorian plasterwork, applied in a more abstract, tonal way. The central void with its circular skylight is both a functional light source and a sculptural gesture.

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How does this project fit into your broader portfolio and design philosophy?

As a design office we tackle every project as a unique undertaking with its own context, brief, values and objectives. This approach gives us the flexibility to tackle a large range of typologies for a smaller office, and keeps us learning and exploring new approaches and keeps us excited about design and building.

We have done many heritage projects, but this one certainly is on the larger scale and with a client who was heavily committed to the restoration and sympathetic approach.

The synergies with this project include our ongoing commitment to sustainability through adaptive reuse—retaining and restoring existing structures as a first principle. We also enjoy working closely with trades to achieve highly detailed outcomes, and this project is no different.

The style and material we are working with are less important than understanding the techniques and exploring their potential design outcomes.

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