Over the 16 years+ that we have been specialising in marketing London’s more unique, one-offf and esoteric properties for sales and rentals, the growth of the live/work property market has been extraordinary. 10+ years ago, it was the domain of the ‘artist’ or ‘musician’ in the more bohemian parts of London.

Now, with the growth in people working from home, in a whole range of various business & creative areas, it has almost become mainstream but the supply of suitable properties to live and work from has not kept a pace with the demand. 10 years ago, we would get asked – about once a week for a live/work studio for rent or sale in ‘shoreditch’ or ‘bermondsey’. Now, it is not unusual to receive 15-20 enquiries every week for flexible and appropriate live/work spaces both for sale and are wanted in all parts of London.89-reception-view-s

 ‘Leigham Court Road, SW16 – a 2,500sq ft duplex live/work apartment – now in need of updating. Currently owned by a music teacher who has regularly entertained with music ensembles and up to 30 guests. £499,000′


The demand has become insatiable and more especially more significant during and coming out of the recession. On checking our data base, we currently have 86 people currently registered to try to find a live/work rental property in central, north and south west London of anything from 1,000sq ft – 2,000sq ft from £350 – £1,000 per week. We have 47 buyers registered looking for live/work units around Kings Cross & Camden from £400,000 – £800,000.

One would have thought that most of these people were ‘creatives’ looking for a space with a ‘vibe’. Far from it. We have accountants, dentists & fitness instructors along with the usual plethora of designers, musicians, artists etc. All styles, shapes and sizes of live/work properties are being asked for and even those prepared to do work to a property to bring it up to standard or create the space they need.    

So, if you have any kind of live/work property – in any condition – in any part of London – at any price level – for sale or rent, please do contact us urgently so that we can at least fulfill just some of the enquiries that are clogging up our data base of live/workers!


ROBERT BRADFORD bradford-toy-dog

Robert has been resident in Cornwall for the past seven years, (where he is well known for his large ‘Bombus Bee’ sculpture at the Eden Project., and for his pyrotechnical fire sculptures on Bodmin Moor), amongst his more. permanent works.

He has exhibited widely and has work in public and private collections in England and America..

Robert work tends to follow groups of ideas in series’ in both 2D and 3D.

To quote Charles Jencks on Post Modernism. …… (contemporary) “artists want to know how to represent variety with integrity. One strategy is to choose the right style for the job. A case of serial revivalism.A further tactic is to provide heterogenous materials and shapes in a language which is fresh and enigmatic.“

Much of Roberts work can be treated either as single pieces or can be grouped together to form larger 2D or 3D progressions / installations.

Ideas come from a wide variety of sources, and include :- psychotherapeutic concepts ( the artist practised as a therapist for several years). The culture and climate of the time. Physical experiments with matter and things… everything from fire to paint to objects to past and present aesthetics and styles. People and other species, synthetic and natural worlds.All materials are potential sculpture , they are dealt with in an non-hierarchical waybradford-toy-dog-3

For a long time now I have preferred to use materials that are not bland i.e. have some kind of history of weathering or use. One day about four years ago out in the studio I was looking into my childrens box of outgrown / discarded toys which happened to be stored in the same building and responded to the random collection of colours shapes and forms they made. I figured that if I could find a way of putting them together to constitute a larger form they would have great potential as larger scale sculpture.
Over the next while I experimented with two other construction methods (which both had their downsides) – before one day about a year ago in frustration I tried putting a screw through one toy and then many others. To my surprise most didn’t crack or shatter and the new series has been largely based around and developed from that fact.
Ideally the pieces will work on many levels. The toys themselves interest me in their own right as mini sculptures by unknown and uncredited artists. Mostly I use the toys abstractly as forms with which to build muscle bone or internal or external organs but all types of human pursuits can be referred to and represented through them – things loved or hated – things used and carried as tools etc etc. They provide interest in surface detail whilst making their contribution to the totalities. The toys also provide a moving history of fads and fashions as they pass through the media and our awareness temporarily significant and then forgotten.

Public reaction to the sculptures has been largely very positive (in some cases gleeful)- often children drag their parents to come and look at the pieces and then a whole sequence of recognition and recollection usually begins, naming the various toys and recalling the times and circumstances of their use. There is usually some fascination with the sculptures, the individual toys used and with the process of their acquisition and construction. Sometimes there is outright laughter. There is usually a whole process of going back and forth between looking at the sculptures as a totality and the individual parts from which they are made (which of course is my intention). Some people of course just say they are rubbish which of course is perfectly true! There is also often talk about consumerism waste and recycling, which whilst not being my central concern is also in my view positive when it occurs. Some find the sculptures beautiful/ curious/ scary/ weird/ emotional and etc. (which considering all they are really are , is bits of what is usually seen as trash) is great.

In a way the sculptures are also history pieces in the sense that you could date any one of them roughly speaking from the time that the last toy screwed on to the structure was produced


night-walkwayLadderstile House –  is a large contemporary eco friendly house directly bordering Richmond Park and adjacent to the Ladderstile Gate. The land is the last remaining pocket of a once larger site associated with the original Ladderstile House, and retains an historic right to ‘ride out’ across the park holding a key to a private gate associated only with the house.

Arranged around an internally landscaped courtyard, the home’s volumes open to external areas creating a unified residence with a direct relationship from inside to out.

” We wanted to retain a sense of the history and grandeur of the old house’s sttanding whilst combining fabulous and fun design with top eco-credentials “.


kitchen-landscapeThe People’s Lomg. Henry VIII believed the hunting grounds of Richmond should be ‘shared’ with the commoners:  not so Charles I, who in 1637, wailed teh leafy 2,500 acres to create a Royal hunting park. Never a monarch in touch with his people, the move was characteristically unpopular with his subjects, who insisted on exercising their prescribed right of way to gather ‘firewood’. Charles reluctantly erected six ladders at the walls – the ‘Ladderstiles’, which permitted the locals to roam in the Park. After centuries of suspicion over countinuing rights, locals allowed the ladderstiles to be removed in favour of gates, but the last to go was at Coombe gate, known today as Ladderstile Gate.

At some time in between, when a manor house was built on the Ladderstile approach, Queen Victoria granted its owner a more comfortable entry point via an equestrian gate with its own key (*by licence to the Royal Park), use of which remains an exclusive feature of the house today.

In an effort to create an environmentally friendly residence, green roofs with hydroponic vertical gardens clad the living room, while heat exchanges that utilize the constant ground temperature provide all energy required.