Leighton House : The Artist’s Vision
A CPD Visit to Leighton House
As architects fascinated by period properties and crafted detailing, we are dedicating this year to a series of CPD visits to historic London houses. This initiative allows us to hone our craft as residential architects specialising in conservation architecture and new-build homes. Studying these older homes provides invaluable insight into historic construction techniques, where craftsmanship was largely executed by hand. Understanding the technical skill of past builders deepens our appreciation for the artistry behind period architecture and informs how we approach detailing in contemporary projects.
Leighton House is one of London’s most extraordinary historic homes, offering a unique insight into the life and artistic vision of Frederic Leighton. As part of our continuing professional development, we visited this remarkable residence to explore how its distinctive design principles might inspire our own architectural work.
Located at: 12 Holland Park Rd, London W14 8LZ
A Home Designed for Art
Designed by the architect George Aitchison between 1866-1869, Leighton House was conceived as both a residence and a working studio. Unlike a traditional home, it prioritises grand entertaining spaces and artistic immersion over conventional domestic comforts. This becomes immediately apparent in the contrast between its unassuming exterior and its breathtaking interiors.
The house evolved over time, with Leighton working closely with Aitchison to expand and refine the spaces. The most famous of these additions is the Arab Hall, built in the 1870s, which was inspired by Leighton’s travels in the Middle East. This room encapsulates the house’s purpose: not as a domestic dwelling but as an immersive artistic experience.
An unassuming Exterior vs. Exquisite Interiors
Unresolved exterior: The house appears lumpen and asymmetrical, a result of its gradual expansion over time. The piecemeal additions have resulted in an unconventional silhouette, with small windows compared to the vast volume of the building.
The first extension (1869-70): This expanded the original studio by approximately 5 meters to the east, incorporating a new canvas store.
The Arab Hall extension (1877-81): Inspired by Leighton's travels to the Middle East, this addition was designed to display his collection of tiles and other artifacts.
The winter studio (1889-90): Constructed to address issues with winter smogs and fogs, this studio featured extensive glazing to maximize natural light.
The Silk Room (1894-95): The final addition during Leighton's life, this room served as a picture gallery for his growing art collection.
Best viewed from the garden: The front elevation remains understated, but the house unfolds dramatically when experienced from the Arab Hall and garden-facing rooms.
Later council additions: A 1927 was added shortly before the building was donated to the Royal Borough of Kensington and Chelsea, further impacting the original architectural integrity.
View from Holland Park Road, its appearance is more similar to that of a library, gallery or other public institution than a domestic residential building. Note the 1920’s extension on the right hand side which does not align with the original architecture.
View of the house from the enormous back garden - a sea of crocuses were emerging from the lawn and photoshoot was taking place on the right hand side. The architecture feels unlike standard residential architecture.
Key Architectural & Design Highlights
The Arab Hall
The Arab Hall, constructed between 1877 and 1879, was inspired by the 12th-century Sicilian-Norman palace, La Zisa, in Palermo, Sicily. It features a striking gold dome, intricate mosaics, and lattice windows, showcasing Leighton's appreciation for Islamic art and architecture. This space served as a testament to Leighton's travels and his desire to integrate diverse artistic influences into his home, providing a serene environment for contemplation and inspiration.Leighton described his intention for the space as creating “for the sake of something beautiful to look at”"
Inspired by Leighton’s travels in the Middle East and Italy.
Walls adorned with Islamic tiles, sourced from Syria
Featuring intricate mosaics, a golden dome, and an ornate fountain
Water sounds permeate the house, creating a tranquil, immersive experience
Overlooked by screens from the first floor, enhancing the sense of layered spatial depth
A truly eccentric extension to the house - Leighton’s brief for this room was:
“for the sake of something beautiful to look at”
The Staircase Hall
The grand staircase is a theatrical space, drawing the eye upward to the richly decorated ceiling. This transition space between the entrance and upper floors is both a practical circulation route and an artistic statement in its own right. The intricate gold-leaf ceiling and deep, warm tones of the walls create a sense of grandeur, guiding visitors to the heart of the house—the studio. The sounds of the fountain from the Arab Hall permeate the space, creating a feeling of calm.
A central feature with a gilded ceiling and dramatic lighting
Acts as a sculptural element, balancing both function and spectacle
Heaviliy lacquered black handrail and banisters, feels smooth to the touch and reflects the light.
Intricate mosaic floor set in a symmetrical highly decorative pattern
A cushioned seat at the base of the staircase for mingling and enjoying one’s surroundings
The Studio
Located on the first floor, Frederic Leighton’s studio is the core of the house. Designed to provide an ideal environment for painting, it is flooded with natural light from a vast north-facing window. The scale of the space, free from excessive decoration, allowed Leighton to work on his large canvases uninterrupted. This sense of openness is a stark contrast to the heavily ornamented lower floors, reinforcing the house’s dual function as both gallery and workshop.
North-facing window designed to provide optimal painting light
A vast, uncluttered space allowing natural light to dominate
Very tall oversized narrow door to facilitate carrying his large canvases in and out of the room
Leighton House in the current day now hosts concerts in this room, some of them lit by candle light.
The Singular Bedroom of Leighton House
Leighton House is renowned for its opulent interiors - its gilded Arab Hall, intricate mosaics, and vast, light-filled studio spaces. Yet, despite the grandeur of the house, its owner, Frederic, Lord Leighton, lived in a manner that was strikingly austere. The home, designed primarily as a working studio and gallery, contained just one small, unremarkable bedroom, reflecting Leighton’s solitary lifestyle and his singular dedication to art.
Location: Leighton’s only bedroom was tucked away on the first floor, away from the grand reception rooms.
Size & Furnishings: It was modest and sparsely furnished, containing just the bare essentials—a small bed, a wardrobe, and a fireplace.
Aesthetic Contrast: Unlike the Arab Hall and Silk Room, the bedroom was plain and undecorated, almost anonymous in its simplicity.
Leighton’s Lifestyle: As a lifelong bachelor, Leighton had little interest in domestic comfort, prioritising his work and artistic pursuits.
A Home for Art, Not Living: The splendour of Leighton House was reserved for display, entertainment, and artistic inspiration, rather than personal luxury.
This absence of domestic warmth in his private quarters only adds to the mystique of Leighton House. It suggests that for Leighton, beauty was something to be observed and admired, not necessarily something to be lived in. His sanctuary was not his bedroom but the surrounding splendour of the home he created—a space designed for art, not for comfort.
Frederic Leighton’s bedroom - the only one in the whole house.
Modest and sparsely furnished, containing just the bare essentials—a small bed, a wardrobe, and a fireplace.
Lessons from Leighton House
1. A House as an Artistic Statement
Leighton House is not a typical home. It was designed around the needs of an artist, rather than following conventional residential design principles. The prioritisation of studio and exhibition space over traditional domestic functions offers an interesting perspective on how architecture can be tailored to specific creative needs.
2. The Role of Ornamentation
The juxtaposition of highly decorated spaces (such as the Arab Hall) with the minimalist studio demonstrates how ornamentation can be used to define purpose. The decorative elements throughout the house—gilded ceilings, intricate tilework, and rich textures—showcase the potential of handcrafted details in creating unique atmospheres.
Really love this decorative internal window seat - it looks out via an ornate screen over the Arab hall. It has soft low seating with cushions, perfect for gathering with friends in a calming, thought provoking space. The sound of the bubbling water below adds to the other worldly feeling.
Intricate tiling detailing with tiny mosaics used to form a strking centrepiece next in the staircase hall.
One of many highly decorative doors. This one is highly polished laquered wood with gilded inlays in the architrave. The door itself has layers of inset panelling.
Love how this pop out window detail has been designed pefectly for a round table and chairs with the gilded ceiling above mirroring the furniture below
3. Spatial Experience and Sensory Design
The experience of moving through Leighton House is deeply sensory. The contrast between dark, enclosed spaces and light-filled rooms creates a dynamic journey for visitors. The sound of water in the Arab Hall, the warm glow of gilded ceilings, and the textural richness of hand-painted murals contribute to an immersive experience. These principles highlight the importance of considering light, sound, and texture in architectural design.
4. The Impact of Architectural Evolution
Leighton House was not built in a single phase. Its expansion over time, guided by artistic ambitions rather than strict architectural planning, has resulted in a somewhat fragmented exterior. While the interiors are richly cohesive, the exterior has a piecemeal quality that speaks to the organic nature of its development.
Final Thoughts
Leighton House is a masterclass in artistic vision, craftsmanship, and immersive spatial design. From its sumptuous interiors to its functional artist’s studio, it stands as a testament to how architecture can be deeply personal. While the house’s exterior may appear disjointed, the interiors reveal a world of curated beauty, designed to inspire.
Visiting this historic home has provided valuable insights into the relationship between architecture, art, and spatial experience. Whether through the ornate detailing of the Arab Hall, the theatrical drama of the staircase, or the light-filled simplicity of the studio, Leighton House remains a unique and thought-provoking example of how a space can be designed not just for living, but for artistic creation.
Nancy Gouldstone Architects
www.nancygouldstone.com