In central London, lateral space is the holy grail – coveted, elusive, and, when it does appear, not always straightforward. This duplex apartment, set within a former convent, offered precisely that rarity: a broad, uninterrupted footprint, but none of the architectural cues that typically guide how a home should unfold.
For its owners – who divide their time between the capital and a country house in the north of England – it also marked a deliberate shift in mood: away from the familiar language of rural comfort towards something more urban and expressive.
Sitting and Dining Area: Sculptural contemporary pieces are softened by deep mohair sofas. Sofa in Marci mohair velvet in Turmeric; dining chairs in Ismay bouclé in Pearl, both Yarn Collective. Blinds in Clan Buchanan, Bute
(Image credit: Peter Mikic / Photography Kate Martin)
‘The living room was one big, open-plan space,’ he recalls. ‘It was great, but difficult to work out how to create intimacy within that single volume.’
His response was characteristically deft. Rather than impose order, he coaxed it – using subtle architectural interventions alongside a considered interplay of color and texture to transform a vast, open expanse into a sequence of spaces that feel both generous and carefully composed.
Key to this transformation was the addition of two slatted oak dividers, which now discreetly delineate the main living areas without disrupting the flow. Sight lines remain long, but each area is gently anchored, creating moments of pause within the openness.
Hallway: A linen wallcovering provides a soft backdrop for a striking gouache. Wave console, Peter Mikic Studio. Artwork by William Scott. Rita lamp, Humbert & Poyet at Invisible Collection. Maine wallcovering, Stereo Interiors
(Image credit: Peter Mikic / Photography Kate Martin)
With little architectural narrative to rely on, color and texture became the apartment’s defining language. With a background in fashion, Peter approaches color instinctively, and here it was a collaborative exercise.
The client, armed with a collection of contemporary art, guided much of the chromatic direction, while the family’s three teenagers became unlikely co-authors of the scheme.
‘In our first meeting, we talked about the colors they loved: mustard yellows, greens, and blues,’ he says. ‘Those ideas fed into everything.’
Living Room: A screen print by Jean-Michel Basquiat sets a playful tone. Bespoke chandelier, sofas, armchair (in style of Pierre Jeanneret); marble table, coffee table and wool rug, all Peter Mikic Studio. Rinso screen print by JeanMichel Basquiat. Tree lamps, Elan Atelier
(Image credit: Peter Mikic / Photography Kate Martin)
In the living room, two generously proportioned sofas in mustard mohair anchor the space, their scale deliberately exaggerated to meet the room on its own terms.
From this starting point, the scheme takes shape: a Paonazzo marble fireplace threaded with dramatic veining picks up on the graphic energy of the Jean-Michel Basquiat screen print above, while bronze table lamps and a curvaceous wooden coffee table add punctuation to the softer palette.
Underfoot, a muted gold rug, thick and tactile, sets the tone for the material richness that runs throughout.
Texture does much of the heavy lifting. Bouclé, velvet, sheepskin and mohair all passed the nonnegotiable ‘cheek test’: ‘If it’s itchy, it goes.’
Even the sitting room shelving – cleverly designed to conceal home office paraphernalia – is softened with a fabric backing, while the staircase handrail has been wrapped in navy leather for an unexpected, quietly luxurious flourish.
Dining Area: Mid-century pieces bring energy and warmth. Compact Orbitale brass chandelier, Silvio Piattelli Design. Jane table, Poltrona Frau. Bespoke chairs and rug, all Peter Mikic Studio. Artwork by William Scott. Sorbet lamp, Humbert & Poyet for Maison Pouenat
(Image credit: Peter Mikic / Photography Kate Martin)
Rugs, too, play a crucial role, grounding each zone without overwhelming it. Rather than introducing overt patterns, Peter opted for richly textured monochrome designs in which subtle variations in pile height create quiet relief across the surface.
In the dining room, a pink rug anchors a composition of yellow blinds, blush-toned seating, and a vibrant green and blue gouache. A mid-century sideboard lends a sense of history, while the bouclé dining chairs nod to the spirit of Jean Royère: playful, but precisely judged.
Kitchen: The slatted oak screen delineates zones within this open-plan area. Welcome sideboard in Petrol Blue, Matthew Raw. Lighthouse table lamp, Ronan & Erwan Bouroullec for Established & Sons. La Lune en Rodage – Carlo Belloli artwork by Bridget Riley
(Image credit: Peter Mikic / Photography Kate Martin)
In the kitchen, a peninsula in veined marble helps delineate the space while creating an informal seating area.
‘We wanted it to feel a bit like a bistro,’ says Peter, who combined glazed wall cabinets with cabinetry stained green so that the grain remains visible.
Primary Bedroom: ‘I’ve always been drawn to these shades of blue – I find them calming,’ says Peter of the serene palette. Sacramento grasscloth, Stereo Interiors. Bespoke brass bed, sofa and wool rug, all Peter Mikic Studio. Tables, R&Y Augousti
(Image credit: Peter Mikic / Photography Kate Martin)
The primary bedroom is layered in soft, shifting blues – a calm counterpoint to the energy elsewhere in the apartment – offset by a striking brass four-poster bed and sculptural mustard-hued sofa.
The children’s rooms on the upper level, meanwhile, are more spirited: terrazzo floors, playful tiles, and a lighter, less formal touch reflect their occupants’ personalities without veering into the predictable.
Bathroom: Paonazzo marble provides an arresting backdrop to the softly sculptural free-standing bath. Paris bath without feet, The Water Monopoly. Landmark Pure taps, Samuel Heath
(Image credit: Peter Mikic / Photography Kate Martin)
Throughout, Peter balances antiques, vintage finds and contemporary pieces – his own and those of other makers.
‘I don’t want to be one of those people who designs everything myself,’ he says. ‘There’s so much talent out there. If something is well made and works in the scheme, it elevates the whole thing.’
One of the most striking examples is the sitting room cabinet by artist Matthew Raw, clad in handmade tiles in a petrol-blue glaze.
‘It’s the sort of piece that in 50 years’ time will still be looking great,’ notes Peter – the kind that quietly becomes a future heirloom.
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