Chadwick was always looking for purity of form in his visual life. His first instinct on purchasing the Cotswold manor, Lypiatt Park in 1958, was to paint every interior surface white. This included all the Neo-Gothic mouldings, ceiling panels, carved doors and arches. It became his home and his studio, providing ample space and light to work.
Chadwick replaced the damaged Victorian fireplaces with large, cast concrete rectangles. He made side tables of simple welded iron rods to support slabs of black or white marble. He created a sunken polished Terrazzo bath and a tapered monolithic dining table. The table was adjacent to a large reclining plinth surrounding a central fire, hooded with welded iron. The flu runs four meters high through the centre of the room into the ceiling above.
A small collection of cast solid gold and silver rings and a series of bronze cast candles sticks further illustrate Chadwick's ability to turn his aesthetic towards anything including the functional.
Chadwick replaced the damaged Victorian fireplaces with large, cast concrete rectangles. He made side tables of simple welded iron rods to support slabs of black or white marble. He created a sunken polished Terrazzo bath and a tapered monolithic dining table. The table was adjacent to a large reclining plinth surrounding a central fire, hooded with welded iron. The flu runs four meters high through the centre of the room into the ceiling above.
A small collection of cast solid gold and silver rings and a series of bronze cast candles sticks further illustrate Chadwick's ability to turn his aesthetic towards anything including the functional.
