An Architect And Interior Designer's Home To Work And Live In

The inside story on how an architect and an interior designer planned their combined home and work under one roof …

Eoin Lyons and John Kelly were not looking to relocate their LyonsKelly interior design and architecture design studio when they came across this then derelict Georgian house in 2022. Unoccupied for the previous 14 years, and a wreck, but with most of its historic details remaining, it was a tantalising prospect for this duo for whom potential trumps obstacles every time. “We had a bit of an existential crisis,” says architect John Kelly. “The house was far too big for us just to live in so we decided the only way we could make it work was to incorporate our design office team of ten-plus people, a meeting room and a presentation room with our own personal living and entertaining spaces.”

LyonsKelly principals Eoin and John, their portrait a “homage to Hockney”.

They toyed with various options from creating an open-plan office space on the piano nobile and separating living and working quarters entirely. “But we realised that as our life and work are inevitably all the one thing,” says interior designer Eoin Lyons, “it seemed natural for us to combine both.”

As they contemplated how exactly work and home life would be conducted side by side under the one roof, they started on essential restoration works with their building contractor Clonlough, replacing the roof and restoring the windows, then embarking on internal alterations to form new bathrooms and kitchen, and to define the spaces that would become their hybrid home and workspace.

The drawing room, with its extra-long Gervasoni sofa, artwork by Charles Tyrrell and eclectic tables, lighting and decorative pieces, sets a relaxed scene for design consultations as well as downtime. Eoin decided on wall-to-wall sisal and wool carpet (Crucial Trading at TC Matthews) for comfort, and to create a seamless transition to the adjoining carpeted dining room.

The house required archaeological investigations before work could commence. “It was constructed around 1814, on the site of Baggotrath Castle so we had to establish if there was anything of archaeological value we needed to preserve.” John’s research revealed its first occupant to be JW Taylor of Corballis House, Co Meath, and that it was the birthplace of geologist John Joly in 1858, and from 1866 it was the home of the Shaw family of Shaw’s department store. It remained a private home until the 1930s when it was subdivided into flats, and then from the 1960s on contained a mix of flats and small businesses.

The dining room also serves as a boardroom or meeting room. By day, the table (by B&B Italia, at Minima) is lined up with the window to benefit from the south-facing light, while for dinner parties, the table is repositioned longitudinally in the room. The chairs, also by B&B Italia, are at Minima. The light is by Davide Groppi, at Minima. Unlined linen curtains (by Mary Wrynne) hang at the windows at both ends of the interconnecting rooms. The overscaled shelves were designed by John (and made by Knut Klimmek) to accommodate the couple’s large collection of design books. Throughout, there is a newly added chair rail, specified by John: “This would have been typical of the Georgian period and really helps with the proportions of the room.” The chair rail designates the height of the radiators and furniture, which are placed below it.

The new interventions to the house are proudly contemporary and intended to add another layer to the existing layers of history, even down to where a new door is a modern flush door to distinguish it from the original panelled doors. The basement has become the working office but upstairs at hall entrance level, living and working happen in dual-purpose spaces. The drawing room doubles up as an informal client meeting space, formal meetings take place at the dining table which is reoriented for dinner parties at weekends, and the richly intimate presentation room, its walls covered in burnt orange hemp, effortlessly switches from a daytime viewing gallery of drawings, fabrics and sample swatches, to the ideal spot for pre-dinner cocktails. “We love that our clients see how we live and work. It helps their projects come to life too. There are no secrets!,” says Eoin.

The north-facing gallery and presentation room has burnt orange hemp walls with linen-backed panels for LyonsKelly to display drawings and fabrics. A large walnut worktable, its top surface covered in buttery yellow leather, is top-lit so clients can view samples and materials. In the evening, this space transforms into an intimate room for drinks. The painting over the fireplace is by Tom Climent.

Both floor and ceiling in the entrance hall are untouched save for careful restoration and cleaning of the original floorboards and plasterwork. “The idea was to demarcate the area where visitors come in straight from the street,” says Eoin. The pendant is by Rose Uniacke. The wooden bench with straw seat is from London’s Lots Road Auctions. Beyond, the stairs leading to the return and the private living spaces is covered in a wool and sisal runner.

On the return, the bright, domed lobby has become “camp corner”, according to its owners, with a full-on brass table from Soane and mirror and decorative vintage pieces. Five shades of amber glass are used in the new skylight and door to the kitchen.

The drawing office overlooks the street. The tables by USM and chairs by Alias are from Minima.

The kitchen is small but brilliantly considered: “We went right up into the roof to create a bigger volume, extending the height of the window to gain more light,” says John. The fitout is very simple and elegant, combining a beautiful window seat, oak cabinetry by Abington and a pinkish fossilised stone by Miller Brothers. The ceiling and walls are in polished plaster by Paul Griffin which, as the kitchen faces east, is highly reflective in morning sunlight. Behind the sliding panel at the end of the kitchen is a utility room.

A view from the presentation room to the north-facing garden, which was planted with semitropical trees and shrubs by Bernard Hickie.“The plan is that it will become overgrown and enclosed and the meandering path will lead you into it.”

The bed is covered in a cotton and linen bedspread by Maria Fenlon’s Irish brand Enhance. The pale blue curtains in a Holland & Sherry wool were made by Mary Wrynne. The chair is from Killian McNulty.