Cereal AbodeAt Greenwich Peninsula
Furnished with both modern and vintage pieces, the Abode reflects an attitude towards design.
The Cereal Abode is as much an investigation of space, form and colour, as it is an opportunity to create a beautiful, functional living space. Created in partnership with Greenwich Peninsula and Aucoot, Cereal has styled the interior of a new duplex penthouse, which is for sale on Greenwich Peninsula – an area of London undergoing a cultural transformation. Conran’s interior fit out of black wooden panelling, marble tiling, and poured concrete floors provided an understated canvas for moody greys and darker wood, with splashes of an accent colour in each room.
Furnished with both modern and vintage pieces, the Abode reflects an attitude towards design. Much of the inspiration for the project stemmed from the pieces themselves – as they were discovered in the early stages of the curation process, and as they became part of a composition beyond individual objects. Sculptural furniture inspired by both natural and architectural forms sits alongside fine art and unique objects. ‘As a result of us pulling each other in different directions towards our own ideals, what we have is something that is both quite abstract and quite playful,’ Cereal’s creative director, Rich Stapleton, says of the collaboration between himself, editor-in-chief Rosa Park, and interior stylist Nathalie Schwer.
Subdued red walls in the entrance begin a series of shifts in the colour of the matte, lime wash paint, which follow the daylight from darker to lighter, in dialogue with the interior architecture. On the lower level, a work space is followed by a multipurpose room. ‘We wanted to explore the luxury of having space to fold out your interests in your own home,’ explains Nathalie, ‘perhaps meditation, reading, or laying out creative projects.’ The play of textures in this room includes the velvet of a slim Martin Visser sofa bed, and a glossy Karakter stool.
Upstairs, an extendable PK54 dining table by Fritz Hansen in unpolished white marble, surrounded by walnut Cherner chairs, marks the brightest point in the space. Floor to ceiling windows grant an open view of the Thames – a muted backdrop flanked by wharfs and dotted with boats. Outside, a broad terrace hovers above the shore. Removing the two mainstays of most living areas, the sofa and the television, opened up greater possibilities, and a fluffy sheepskin day bed by Bruno Mathsson became a central piece, alongside McCollin Bryan’s rust red coffee bean table. Two antique Børge Mogensen chairs, presided over by a shadowy Michael Wall painting, were chosen on the last minute for their ‘laid back seriousness’. Transitional spaces offer slower moments of reflection on more purely aesthetic pieces; a Rudd Jan Kokke armchair sits secluded in a dark grey reading nook behind a glass partition, and artworks are ensconced in a dim corridor leading to the bedroom.
Also placed around the Abode are paintings by Rosemarie Auberson, sculptures by Mari-Ruth Oda, and marble plinths from Menu; furniture and design objects from Jacksons, Béton Brut, Conran, Else Schneider, Please Wait To Be Seated, Karakter, Frama, Astep, &Tradition, Hay and Flos; books from Phaidon; bathroom products from Susanne Kaufmann; and clothing from Sunspel. The bed and wooden screens are bespoke designs for Abode, designed by Nathalie Schwer and made by Bjarke A. Kvich of Woodenmind.