Editor David Potter
Photography Elliot Sheppard
Words Ellie Hughes

The home, which Mat shares with his wife Laura Dubeck, a geographer, and their two young children, Aurie and Sidney, was semi-derelict when they bought it in August 2019. It was January 2020 by the time planning permission had gone through and work started – but not before the hall ceiling had completely collapsed on them. The open plan kitchen now features the "archetypal ruined brick wall" inspired by the film Trainspotting. “I’m interested in the idea that an architect’s project is never really finished. Is this a ruin or is this in progress?” says Mat.

"Designing through making" was key to this project. The Trainspotting wall was drawn out in chalk and a rough concrete wall was made by “throwing some cement on the wall” and seeing how it looked. Mat explains: “I like putting these imperfect materials, the rough brick and the concrete against these highly man made ‘perfect’ materials like the gloss tiles.”

The ‘Waste Not Want Not’ mosaic on the tiled kitchen risers isn’t just a slogan. While it might have been one of his grandmother’s favourite sayings, sustainability and careful reuse of materials is key to this house. The distinctive kitchen is crafted from recycled chopping boards, mixed with black single use plastic and blue milk bottle caps. Elsewhere, table legs are made from recycled shredded car tyres and bricks from the back of the house have been relaid as patio – saving money and adding character to the project.

The distinctive "mountain" on the extension roof was inspired by photos of the work-in-progress Matterhorn Bobsled in Disneyland California and is one of many personal elements that informed the design of their home. Riffing off the landscape elements in honour of Laura, the steel enamel table with its rippled top references a lake, the concrete wall serves as a cave and the steel columns are ranging poles, with survey marker tiles scattered across the floor. "I love bringing a client’s personality into projects," explains Mat.

Building different atmospheres in the different spaces was key to inform and reflect how the family uses them – the freer, more open, multi-coloured kitchen space; the cosy, darker sitting room (Mat’s take on the Sir John Soane Museum); the opened-up "gallery" space in the upstairs landing. “A lot of people say, this is too much for me, and my response is, this is not for you,” says Mat. “This is a house that we, as a family, love to live in, and represents our taste. The fact that most people would not live with these colours, or textures, or references is good, because it feels more personal.”

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