Plan drawings of mezzanine study, upper roof terrace and fourth floor of loft apartment for Chris Lowe by Brookes Stacey Randall, 1994.

Plan drawings of mezzanine study, upper roof terrace, and fourth floor of loft apartment.

Given by Nik Randall of Brookes Stacey Randall.

Original working drawings and designs for Chris Lowe's loft apartment, Sumners Street, London, EC1 designed by architects Brookes Stacey Randell.

'Before becoming a famous pop singer, Chris Lowe was an aspiring designer. He was well along in his architectural studies at the University of Liverpool when West End Girls, the record that made the Pet Shop Boys famous, shot up the charts. Only then did he decide to work full time on music.

But he still has a passion for modern architecture and design, which can be seen in his London flat, designed by a group of young architects including some of his forner classmates. The house is located in an old industrial building, with a very particular semi-arched roof. Because it is not particularly large, the main design criterion was to maintain a sense of openness.

But because Chris Lowe also required a house that fulfills traditional domestic functions, the designers have created three large open containers, with removable elements that slide in and out like the drawers of a gigantic filing cabinet: one offers space to hang or store personal objects, one contains all the products and equipment for use in the kitchen, while the third houses a mixer, a stereo system and spaces for LPs and CDs. The look of the house changes in keeping with specific needs and the elements that are in circilation from the storage units. When the elements are put back in place, the space is left open, uncluttered.

Other particluar design and materic solutions underline the sense of spatial openness, permitting natural light to enter while guaranteeing a sense of privacy. The back wall is made with panels of curved glass covered with a thin layer of birch that filters the light, becoming translucent and creating an original decorative effect.

During the day, an entire span of the roof can be opened over a loft used as a bedroom, allowing sunlight and a view of the sky to enter; at night the skylight softly closes. In the dining area, the view of the outside world is screened by panels of etched glass that reproduce the characteristic lighting effects of Japanese rice-paper screens, but with the advantage of being more resistant.

Inside every detail, every solution has been carefully studied to ensure uniform distribution of light: the staircase and the railing of the loft, in glass, the panels in semi-transparent perforated aluminium for the spaces of the bath, also used for the curved design of the walls that separate the kitchen from the entrance area. "I knew what I was looking for - Chris Lowe remarks -but I left the architects free to develop their design.

Because we had studied together, I knew what their assumptions would be, so I trusted them...In turn, they didn't need to persuade me to make uncompromising use of a modern language. The result is fantastic. In spite of its rigor, this space doesn't have a cold impersonal look, thanks to the sophisticated use of colors and the modulations of natural lighting. In the end, I think the success of this house lies simply in the fact that I like living here. It's a very relaxing space."

Text by Maddalena Padovani for 'Interni On line' 'Interni digitale' 'Milano Design Capital 'A week of design.'

Attribution note: The client, Chris Lowe, a member of the pop group, the Pet Shop Boys, was a former fellow student with the architects of the practice Brookes Stacey Randall when they studied Architecture at Liverpool University.
Reason For Production: Commission

This is the plan drawing of a mezzanine study, upper roof terrace, and lower floor of a loft apartment on the fourth floor of an old industrial building, with an unusual semi-arched roof, for Chris Lowe, a member of the pop group, the Pet Shop Boys, by the firm of architects, Brookes Stacey Randall. The client, Chris Lowe, was a former fellow student with the architects of the practice Brookes Stacey Randall when they studied Architecture at Liverpool University. The drawing, one of twenty-three, is dated 06/09/1994.

Brookes Stacey Randall are one of the foremost established architectural practices working in the area of loft conversions. The designs for this mid-1990s project are outstanding in that they fully explore the ways in which the spaces in a loft conversion can be used making the most of the space and meeting the lifestyle needs of the 1990s loft dweller. Loft-living saw a dramatic increase in Britain during the 1990s. The purchase of bare loft space allowed owners (using the services of interior designers and architects) to have much more involvement and control in creating a personalised environment than with most traditional housing. Loft dwelling provided emptiness, space, and light in an abundance rarely available in the conventional town house or urban flat. There are typically no traditionally segregated rooms.

A special feature of this design is the skylight encompassing the entire span of the roof during the day over the part of the loft which is used as a bedsitting room, allowing sunlight and a view of the sky to enter whilst at night the skylight softly closes.

The client also required an apartment that fulfills traditional domestic functions so the architects created three large open storage units, marked '8' on the plan, with removable elements that slide in and out like the drawers of a gignatic filing cabinet; one offers space to hang or store personal objects, one contains all the products and equipment for use in the kitchen, while the third houses a mixer, a stereo system and spaces for LPs and CDs. The look of the house changes in keeping with specific needs and the elements that are in circulation from the storage units. When the elements are closed, the space is left open and uncluttered.

E.1608-2000