Daytrip.studio

On arrival, the staircase at Beechworth Close feels elegant, calm and refined. Bathed in daylight, it carries a quiet sense of weightlessness, unfolding as a piece of spatial choreography. Originally designed by Patrick Gwynne and carefully retained, it continues to anchor the plan with a quiet clarity. A central lightwell draws daylight down through the house, shifting gently across surfaces throughout the day. Pale stone treads extend out like small terraces, appearing to float from a dark folded steel spine, while a curved timber handrail softens the geometry with a subtle tactility. Glass balustrades catch and diffuse the light, reinforcing a sense of lightness against the solidity of the structure. There is something distinctly reminiscent of Italian staircases of the same era — a balance of weight and elegance, where structure becomes both expressive and refined. Photography by @genevievelutkin

The primary bedroom at Beechworth Close is pared back and quietly resolved. Walls are wrapped in textured grasscloth, setting a soft, tactile backdrop to a bespoke wall mounted bed in rosewood, with integrated side tables and a silk lined headboard. Vintage Murano glass wall lights bring a gentle glow, adding a layer of warmth without disrupting the restraint. Beyond, the room extends into a connecting balcony. A Bruno Mathsson armchair and table sit lightly within the threshold, framing a calm vista over the landscaped garden. Photography by @genevievelutkin

Beyond the original tongue and groove timber lined hallway, the plan opens into a generous living space, wrapped in warm, golden grasscloth. A five metre bespoke sofa in rosewood, upholstered in rust toned Pierre Frey fabric, runs the length of the room before turning into a softer corner, drawing people together. Above, carved green stone shelves are anchored into the wall, holding a curated mix of artwork and sculptural pieces by British sculptor Neil Wood and Italian artist Gianna Dispenza. Designed for family living and ease, the room balances comfort with clarity. A low, sculptural coffee table by Swedish studio Veermakers introduces a softer, contemporary note, while beneath, a deep fawn alpaca rug by Christopher Farr grounds the space, adding warmth and a sense of quiet luxury. Photography by @genevievelutkin

Patrick Gwynne approached architecture holistically; not only designing modernist buildings, but shaping interiors with a functional and material clarity that extended into every detail. This thinking carried through to the joinery and built in furniture, often technically advanced and seamlessly embedded within the architecture. In the rosewood lined study, a section of panelling transforms into a cantilevered desk, a precise intervention that remains perfectly in use today. Daytrip carefully retained these original elements, choosing only to enhance the space through a considered layer of furnishings. A plush black leather Eames chair sits low within the room, its soft, louche presence offsetting the rigour of the architecture. Nearby, a woven steel and cord table light by @freddytuppen , sourced from @maxradfordgallery , introduces a more crafted, contemporary note. Sheer curtains diffuse the sunlight into a warm, translucent glow, softening the room’s geometry and giving the space a quiet, almost dreamlike quality — a study that feels at once grounded and gently transported. Photography by @genevievelutkin

Beyond the main living space, a quieter corner unfolds, oriented towards expansive views of the garden and Hampstead Heath. Sheer curtains soften the light into a dappled wash, casting shifting shadows across the room and creating a more intimate, almost sultry atmosphere. A charcoal shearling chaise longue by Bruno Mathsson sits low within the space, a piece closely associated with Patrick Gwynne and referenced from The Homewood. Its sculptural form reads almost as landscape itself; soft, undulating, and perfect for daytime napping. A tall floor lamp by @freddytuppen courtesy of @maxradfordgallery introduces a vertical counterpoint, its layered form emitting a warm, ambient glow. Alongside it, the Berg table by John Pawson for @wonderglassltd brings a quiet clarity, a precise, almost immaterial presence within the composition. A space for retreat, held between light, texture and stillness. Photography by @genevievelutkin

Set within a mature landscaped plot in North London, this Grade II listed modernist home by Patrick Gwynne has been carefully restored and renovated by Daytrip for contemporary family living. Known for his holistic approach, Gwynne designed architecture, interiors and furniture as one. Our response builds on this legacy, introducing warmth, tactility and a softer domestic rhythm while remaining grounded in his original spatial clarity. The raised dining space forms an intimate area connected to the more expansive living space beyond — a moment of compression within an otherwise open plan. A rosewood table by Angelo Mangiarotti anchors the room, set against filtered light and sheer drapery. A deep red rug by @christopherfarrdesign grounds the space, while a pendant from the @kevinreillycollection casts a soft glow overhead, subtly reinforcing the room’s oriental influence. A hand painted screen, detailed with Chinese calligraphy in gold leaf and black lacquer, adds a quietly theatrical backdrop, concealing the bar beyond. Cast bronze candlesticks by @grace____prince , courtesy of @betonbrutlondon , sit like small monuments across the table. The room shifts throughout the day, from soft daylight to a more cinematic evening glow. Photography by @genevievelutkin

Warm timber booth seating lines the perimeter of the railway arches at @cafe.kowloon . Generous corner booths form circular wraps of vintage caramel leather with deep red seat pads, designed to accommodate larger groups and lingering conversation. Glossy red round tables nestle into each setting, topped with glass back painted ‘Lazy Susan’s’, a considered nod to the rituals of traditional Chinese dining. The intimate banquettes are designed to invite huddling and sharing, with multiple dishes circulating and cocktails arriving in quick succession, conversation gathers pace, the space encourages guests to settle in, lean closer, stay late and enjoy! Photography by @studio__hahn

Deep under the railway arches beside London Fields Station, @cafe.kowloon invites guests into a vibrant, elevated dining experience. Arguably, the best seats in the house sit closest to the drama, beside the kitchen. Dark chocolate brown mosaic platforms raise diners toward the action, while counter seating is carefully oriented to face the open pass, offering an immersive vantage point into preparation and service. The choreography of searing and grilling, prepping and finishing plays out across stainless steel surfaces at close range, grounding the experience in ritual and craft. Overhead, a glowing jade green fibreglass gantry threads industrial texture through the curve of the railway arch. Intimate lighting tempers the robustness of the shell, allowing timber, red leather and gloss surfaces to glow as day shifts into evening. @cafe.kowloon feels atmospheric and unmistakably urban, rooted in Hackney. Photography by @studio__hahn

@cafe.kowloon was conceived as the more intimate, elevated counterpart to cult noodle bar @wontoncharlies - a space that shifts the rhythm from fast steamy, noodles to slower, shared dining and cocktails. Set beneath the curve of the railway arch, the room is defined by upholstered timber-and-leather banquettes that form generous, cocooned booths, each with glossy red ‘lazy susans’ that reference traditional Chinese communal dining. A full-height jade-green fibreglass grating bar glows beneath layered neon signage, anchoring the dining space. The palette remains rooted in Hong Kong material culture; stainless steel, corrugated surfaces and simple tiling - but here it is composed with greater warmth and depth. Low-level lighting washes the arches, red tabletops punctuate the space, and the atmosphere transitions from calm dinners to late-night cocktails as the neon intensifies. An elevated dining room shaped by nostalgia, grounded in Hackney. Photography by @studio__hahn

In the private dining room at @thelavery , Daytrip created a space that feels quietly immersive and lightly surreal. On arrival, the aluminium metal ribbon bench by @archive_for_space , supplied by @betonbrutlondon , rests like a quiet sculpture. Its fluid, folded forms echo the undulating wall sculptures, handcrafted by the Daytrip team and rendered in soft metallic shades, enhancing their three-dimensionality and creating a gentle dialogue across the room. The bench balances presence and delicacy, a metallic whisper against the richness of the walls and surrounding artworks. At the centre, the table holds its own kind of theatre. Draped in crisp white linen and surrounded by burgundy @fritzhansen chairs by @michaelanastassiades , it is set with Gio Ponti silverware and carefully considered serving tools. Ladles overflowing with a gluttonous amount of olive oil for dipping, tiered platters brimming with pomegranates and lemons, and elegant vessels of wine overspill, all curated to feel spontaneous yet deliberate, intimately lit by @bocci portable cast-glass table lamps. Together, they invite an intimate gathering. The walls, painted in a vivid green, a hue carefully matched by @coatpaints to the colour found in Sir John Lavery’s 1926 painting, The Green Coat, a portrait of his wife Lady Hazel Lavery, linking the room to the building’s artistic heritage and adding a quietly poetic layer of historical resonance. Altogether, the room feels intimate, dreamlike, and transportive — brought to life through bold colour, surreal form and festive artistry. Photography by @genevievelutkin

In the private dining room at @thelavery , Daytrip sought to create a dream-like dinner scene; quietly immersive, lightly surreal, and touched with a festive charm. Pictured here, Salvino Marsura’s sculptural metalwork appears both as a chair and as a wall-mounted hanging rack, both courtesy of @betonbrutlondon . Each piece, unique and otherworldly, brings a sense of craft and personality to the room, sitting entirely at ease within the interior palette. The patinated green metal complements the scheme and reinforces the space’s quiet, tactile richness. Nearby, a small collection of @rosemary.burn painted artworks sourced from @riseart introduces a quiet hush: still scenes of everyday dining, captured with gentle, deliberate brushwork. They offer a calm counterpoint to Marsura’s sculptural presence. As the eye settles, the paintings reveal subtle details; a small moment of pause within the dream-like interior. The walls are wrapped in a rich arsenic green, chosen for its ability to feel both classic and slightly unexpected. It creates a soft, enveloping glow that ties together the artworks, objects, and sculptural elements in a single, harmonious tone. The colour also carries a historical resonance: 4 Cromwell Place was once the home and studio of Sir John Lavery, the Irish painter, who in 1926 portrayed his wife, Lady Hazel Lavery, in The Green Coat. Daytrip matched this hue with the help of @coatpaints , allowing the atmosphere of the room to emerge naturally from it. Three-dimensional wall ribbons, handcrafted by the Daytrip team, are finished with a soft metallic-like render that catches light in a fluid, drifting way. At the centre, the table holds its own presence, draped in white linen and set with Gio Ponti silverware, placed with a light touch. Soft pools of light from @bocci portable cast-glass table lamps add a gentle radiance and a moment of pleasing tactility. Altogether, the room feels intimate, dreamlike, and transportive — brought to life through craft, art, and character. Photography by @genevievelutkin

A surreal festive dining room created by Daytrip for @thelavery , in collaboration with @designanthology_uk The starting point for this installation was a set of Gio Ponti silverware sourced through @betonbrutlondon . Their elegant lines and expressive shapes led Daytrip back into Ponti’s archive, where sketches of ribbons, scrolls and wing-like forms offered a visual language for the space. These motifs informed a series of bespoke wall sculptures, crafted from paper and wire, whose undulating forms bring movement and character to the room. The vivid green that defines the space is rooted in the building’s history. 4 Cromwell Place was once the home and studio of Sir John Lavery, and in 1926 he painted The Green Coat, a portrait of Lady Hazel Lavery wearing a striking green cloak. Daytrip worked with @coatpaints to match this particular tone, bringing a meaningful connection between the interior and its past while establishing a strong, contemporary backdrop for the installation. Furniture, objects and lighting were then selected to complement and counterbalance this intensity. Salvino Marsura’s metal pieces, chosen with @betonbrutlondon echo the organic shapes found in the wall sculptures, their patinated surfaces adding depth and texture. @fritzhansen ‘After’ chair by @michaelanastassiades introduces a grounded element—a functional, comfortable dining chair in a rich burgundy that holds its own against the room’s bold colour. Lighting plays a key role in shaping the atmosphere. @bocci portable glass lamps cast a gentle, diffused glow across the table and artworks, creating a sense of warmth and invitation. A vivid red metal sculpture by @garethgriffithssculpture courtesy of @riseart introduces a sharp, energetic accent within the composition, adding a contrast that enhances the overall palette. The installation brings together craft, colour and narrative to create a dining room that feels celebratory and immersive. Photography by @genevievelutkin