There are three mirrored bays in the living area. In the middle of the space is a lumpen Max Lamb coffee table (“It’s got that Fred Flintstone thing to it”) and 20 meters (65 feet) of custom-made shelving. A simple kitchen is built into the end wall beyond the sofa.
Upstairs, there is a master bedroom and a guest bedroom furnished with a sofa and a leather punching bag (Webster kick boxes). The monochrome main bathroom has been tiled in a disorientating, monochrome zig-zag pattern.
Webster’s studio is accessed via a separate side door. The threshold is a doormat-sized cast concrete slab with the words “Fucking Beautiful” dragged through it, a nod to Noble and Webster’s 2017 neon work of the same title.
Webster likens the grueling design process to her own work. “That’s probably why it took so long,” she reflects. “Every single design possibility was explored, and that’s how I work. You have an idea and you push it left, right, forward, upside-down until you’ve tested every single possibility of that one thought.”
N.B.: This post is an update; the original ran on March 29, 2021.
For more eccentric British interiors, see:
A Visit with Marianna Kennedy, London’s Sorceress of Color
Live Like a Londoner: Town House in Spitalfields
True Colors: Historical Paint Expert Pedro da Costa Felgueiras’ Beautifully Idiosyncratic London Home