Tim burton house interior
Inside Tim Burton’s Quirky $27 Million London Mews House – Robb Report
The glass-fronted Eglon House, in north London’s bohemian Primrose Hill neighborhood, looks straight out of the wild imagination of US-born film director Tim Burton.
Sitting on the former site of a landmark recording studio, where the likes of David Bowie, Tina Turner and Pink Floyd made hits, this cavernous 13,154-square-foot live/work space is like a shimmering Art Deco glass jewelry box that’s been dropped into a sleepy, slightly gritty London back alley.
Made up of two separate buildings linked by a subterranean level that has its own swimming pool and cinema, this cavernous, four-story, five-bedroom is nothing less than a modern masterpiece.
The home’s architectural significance comes from its glass-block facades, inspired by the iconic “Maison de Verre” (house of glass) in Paris. Built in 1932 by the architect Pierre Chareau, the maison is still considered a blueprint for today’s work-at-home thinking.
The glass-block walls let light permeate the whole home. Photo: Tony Murray Photography
Which is reportedly what attracted Burton to Eglon House in 2016, just months after the home’s completion. The director had been commissioned by Disney to create a live-action remake of the animated classic Dumbo, starring Danny DeVito, Colin Farrell and Eva Green.
Seems he used the home’s west wing as his film studio and personal living space, and the east wing to provide accommodations for his creative team. If there looks to be an over-abundance of closet space and dressing areas, this is why.
The main dining area. Photo: Tony Murray Photography
Burton rented the residence until the film’s completion in 2019, which is when he transferred to a rambling north London mansion he bought, for $14 million, from Shirley Valentine actor Tom Conti.
Anyone looking for a glamorous, elegant location for a London town home likely won’t find it with Eglon House.
Rustic, nondescript metal gates off Primrose Hill’s Berkley Road open on to the slightly unkempt, cobbled cul-de-sac that’s Eglon Mews, and that sounds like just the sort of thing Burton might seek out.
Originally used to provide horse stables for the once grander homes on surrounding streets, the Mews is currently a mishmash of 10 or so, now-pricey, two-story Victorian row homes.
The subterranean space connects both wings of the house. Photo: Tony Murray Photography
Over the years, the buildings on the current site of Eglon House housed a shell-casing factory during the First World War, then a milk dairy, and more recently, the world-renowned Mayfair Recording Studios.
Development of the site began in the late 1990s with leading London architects Chassay Last and design house Russell Sage Studios called in to create the property.
A stone-tiled courtyard separates the two buildings and provides coveted off-street parking for a couple of cars—alas, even $27 million won’t buy you a garage to keep your Range Rover dry.
The casual living and dining area. Photo: Tony Murray Photography
A stairway off the courtyard leads down into that vast, subterranean space with its 40-by-23-foot family room, a bar, sauna and steam room.
Arguably the area’s piece de resistance is its swimming pool; at the touch of a button, the entire pool floor raises up to create a multi-use space. With a 10-foot wide LED screen nearby—naturally it’s waterproof—bring in a few sofas and it makes a perfect movie screening room.
Take the winding staircase, or elevator, up to the first floor and in the west building lies the kitchen/breakfast space and dining room. Over on the east wing, you’ll fined a living room and garden room.
The kitchen. Photo: Tony Murray Photography
The second floor comprises the huge, 2,000-square-foot primary suite on the west side, a bedroom and study to the east. The top floor on the west side is home to yet another expansive live/work area with its own outdoor terrace, and two more bedrooms eastside.
Before Burton, 62, started his three-year rental, seems the developer/owner—he’s remaining anonymous—listed the property in late 2015 for £24m, or almost $30 million. With no takers, it was offered for rent at $161,000 a month.
The stairwell. Photo: Tony Murray Photography
Now, six years on, leading London realtors Aston Chase has Eglon House listed for £20 million ($27 million).
“Eglon House is a unique home without parallel in London,” says Mark Pollack, cofounding director with Aston Chase. “It is one of a kind, and represents a perfect opportunity for a discerning purchaser who values privacy and the ability to have flexible living/work accommodation.”
One of five bedrooms. Photo: Tony Murray Photography
The master bath. Photo: Tony Murray Photography
The home office. Photo: Tony Murray Photography
The bar area. Photo: Tony Murray Photography
The indoor pool with its pop-up floor.
Photo: Tony Murray Photography
The home makes the most of its terraces. Photo: Tony Murray Photography
The residence was once a shell-casing armory. Photo: Tony Murray Photography
Tim Burton's Former London Home is For Sale
American film director Tim Burton's former London home is for sale in leafy Primrose Hill for an eye-watering £20 million.
Eglon House, located in a discreet gated mews, has been magnificently designed in collaboration with architectural practice Chassay Last Architects and design house Russell Sage Studio.
Inspired by Pierre Chareau's impressive Maidon de Verre in Paris, the property consists of two interlinked buildings which sit opposite one another across a private courtyard. Private, secluded and luxurious, it even has a passenger lift connecting all floors and staircases in the west and east wings. Dreamy.
The house where the director let his imagination fly includes an indoor swimming pool, sauna and steam room, five bedrooms, generous ceiling heights, floor-to-ceiling windows, and a sprawling central courtyard.
Originally used as stables and barns in World War 1, it's been given a rather impressive refurb.
Known for his gothic fantasy and horror films such as Beetlejuice, Edward Scissorhands and The Nightmare Before Christmas, Tim rented the home for a number of years from 2016, using the creative studio to complete the 2019 film Dumbo.
The interiors tap into an Art Deco ambience. Eglon House was created largely by skilled English craftsmen including a staircase made from pitch-pine and grout mixed with Portland stone. Elsewhere, there is a bespoke custom-designed kitchen, museum-grade bronze track lighting and walls reinforced to carry heavy large artworks. There might not be much colour, but it certainly doesn't lack intrigue.
Tony Murray
'There is a prescience in the design of Eglon House in how it meets the demands of the world we now find ourselves in,' says Howard Kayman, Associate Director at Aston Chase.
'It combines large lateral studio spaces with intimate residential parts and successfully blurs the boundary between the two. Director Tim Burton lived and worked in the space for several years, basing his creative studio there for the production of his Dumbo remake. A space like this is a rarity in Prime Central London.'
Tony Murray
Russell Sage, Founder and Executive Creative Director at Russell Sage Studio, adds: 'Working on Eglon House with a such a collaborative team of designers and highly skilled makers was a really positive experience. Having the chance to use fabrics designed by Henry Moore and re-execute some of Pierre Chareau's furniture was an excellent, rare opportunity.
'I love the house because it finds the ideal balance and fluidity for living and working environments that weave in and out of one another effortlessly; so much more important in the world we now find ourselves.'
Eglon House is on sale for £20,000,000 with Aston Chase and is also available to let via Aston Chase for £15,000 per week.
For further information contact Aston Chase on +44 (0)20 7724 4724 .
Take a peek around the home...
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Lisa Joyner Senior Digital Writer, House Beautiful and Country Living Lisa Joyner is the Senior Digital Writer at House Beautiful UK and Country Living UK, where she's busy writing about home and interiors, gardening, dog breeds, pets, health and wellbeing, countryside news, small space inspiration, and the hottest properties on the market.
Tim Burton style in your home
Revision Stroyportal.ru April 26, 2014
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Probably Tim Burton's handwriting is not based on the gloominess that comes to mind the first moment when we remember the portrait of the insane barber from the movie "Sweeney Tod, the Demon Barber of Fleet Street" or the bewitching story of witches and vampires from Dark Shadows. The style of this director is rather conveyed through some general anxiety of the atmosphere, when everything seems to be as usual, but it is felt that the “air” of space itself is saturated with some kind of mystery.
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Collection "LINEA"
It is not so easy to saturate the air with this sensation without falling into total darkness. The main tone can be quite cheerful, but on a subconscious level, you should feel the light breath of death.
Let it be a little less than in the cartoon Corpse Bride, but just as everyday as in Frankenville. To do this, introduce into the interior some small but catchy details that contrast sharply with the rest of the mood of the room due to their otherworldly, perhaps even repulsive beauty.
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Kitchen according to the project "Interior of a two-level apartment"
Of course, Tim Burton is first and foremost a storyteller! But his tales are not just magical stories about fictional creatures in fictional circumstances. Think Alice in Wonderland or Charlie and the Chocolate Factory. They could only be staged by such a storyteller, who became the main figure of another strange, but at the same time lyrical film "Big Fish". The mystery contained in everyday life, so familiar to us, is served with a certain amount of theatricality, absurdity.
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This is the reason for the pomposity and even pretentiousness of some interiors: columns, heavy chandeliers, antique furniture.
But do not forget that the language in which this director speaks to the audience is filled with metaphors and allegories. Therefore, the excessive exuberance that may be present in the interior should be an indicator of irony rather than boastfulness.
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Bathroom according to the project "Interior of a two-level apartment"
At the same time, the director often plays on destroying the balance of common sense. Suddenly objects of other eras and styles appear in space.
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Dining room according to the project "Interior of a two-level apartment"
If you harmoniously combine all these nuances: mystery and anxiety, pomposity and theatricality, antique or out of place objects and simplicity, you can breathe into your home the unique "taste" of Tim Burton's paintings.
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BEETLEJUICE: GOT ALIVE? CALL BEETLEJUSES!
YULIA SALIKHOVA | 15 DECEMBER 2019
An odious experiment in visualizing the gloomy and absurd world of the dead in a story of reconciliation and deliverance from fears
The odious experiment on the visualization of the gloomy and absurd world of the dead in the history of reconciliation and getting rid of fears
The odious experiment on the visualization of the gloomy and absurd world of the dead in the history of reconciliation and getting rid of fears
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9000 Director: Tim BurtonCountry: USA
Year: 1988 "Beetlejuice" is one of Tim Burton's first full-length works, which reads the unique style and vision of a dark storyteller.
Graveyard humor put the picture on a par with the popular black comedy The Addams Family (1991). Unlike the Addams, the Dietz family is revealingly American, but with their gothic white crow, daughter Lydia. It is noteworthy that the role of the stepmother (Delia Dietz) could be played by Anjelica Huston, who later played the role of Morticia Addams in the Odd Family series of films. In Beetlejuice, in contrast to the stereotypical ghost stories, the main antagonists are the family that settled in the house of former tenants - the recently deceased young spouses Maitlands. In addition to the strange and unusual girl Lydia, neither her father, nor her stepmother, nor the designer Otto, who is called to remake the interior of a provincial house, see the newly minted ghosts. The new neighborhood does not suit Adam and Barbara, and after a couple of unsuccessful attempts to evict the obsessive family, they turn to a specialist in the expulsion of the living - Beetlejuice. The unfortunate exorcist brings only trouble with him, so the families of the living and the dead unite against the main (anti) hero, and after he is expelled from the house, they continue to coexist in peace and harmony.
FIRST SCRIPT
Brandywine employee Larry Wilson came up with the idea for a film about ghosts trying to get a stubborn family out of a house. Inspired by Oscar Wilde's The Canterville Ghost, Wilson sought help from screenwriter Michael McDowall, who was known for writing several episodes of the television series Tales from the Crypt and collecting death culture items. Together they managed to write a script for a very mediocre horror movie that could hardly become a cult film.
According to the first version of the script, they planned to make the picture more bloody and gloomy, and Beetlejuice was supposed to appear on the screen in the form of an aggressive reptile with wings. Given the meager budget, such an appearance of the hero would have looked more ridiculous than intimidating, which spoiled the whole concept of a horror film. While Wilson and McDowell were working on the script, young Disney animator and director Tim Burton was looking for a new story for the film.
Burton was already known for his out-of-the-box thinking: his short film about the come to life dog "Frankenweenie" (1984) was considered too dark and out of the concept of the Disney studio. The bosses of Warner Brothers decided that the story of ghosts could interest Tim and were not mistaken: the classic plot, turned on its head, impressed the director.
The script, however, needed some work. For this, experienced screenwriter Warren Skaaren was hired, who was called when it was necessary to slightly correct the finished story, polish the plot or finalize the characters. In the case of Beetlejuice, Warren had to do everything at once. It was Warren who removed the six-year-old girl Kathy from the plot, who was supposed to become a connecting thread between the living and the dead, and instead added the gothic Lydia. Skaaren rightly noted that a child in a picture with adult humor would look ridiculous, and it would be difficult for the viewer to identify himself with a little girl.
Burton decided to move away from the horror film concept and added more humor to the narrative. Balancing on the verge between comedy and mystical thriller, the film won the hearts of the audience and became one of the best works of Tim Burton.
BUG JUICE OR SCARED OUT OF THE FUCK
The name of the protagonist, who, however, is allocated only 17 minutes of screen time, is a combination of two words and translates as "Bug juice". The authors felt that this way the hero would appear even more vile, and for greater reliability they added scenes of eating insects to the plot. Perhaps it was here that a fly-eating reptile would have looked more logical, but the image of a humanoid ghost could play in contrast and add theatrical absurdity to the story. "Beetlejuice" is a pun on transcription similar to Betelgeuse - a real star in the constellation of Orion. This star is interesting for its mention in many works of pop culture, for example, in the films Planet of the Apes and The Hitchhiker's Guide to the Galaxy.
Disney refused to put the name of the main character in the title of the picture. As a mockery, Burton suggested the name "Scared sheetless", which means "Scared as shit". To his surprise, the studio agreed to this option, but Burton miraculously managed to win back his Beetlejuice, thanks to which the ship sailed in the right direction.
Singer Sammy Davis, comedian Dudley Moore and even Arnold Schwarzenegger could play the role of Beetlejuice. Michael Keaton accepted the role only after the second offer, as he initially did not want to play a negative character. Winona Ryder (Lydia Dietz) also did not immediately agree, because she saw satanic motives in the script. The first collaboration with an aspiring director bore fruit: Keaton and Ryder continued their collaboration with Burton. After Beetlejuice, Keaton starred with the director as Batman, and Ryder paired Johnny Depp in Edward Scissorhands.
CHEAP DOES NOT MEAN BAD
He decided to make the animation theatrically sloppy and cheap in the style of old science fiction films.
This added charm to the comedy, which was appreciated by film critics. The "special effects" included cheap magic kits, miniature work, long puppet scenes, and elaborate filming. The film won an Oscar for spectacular makeup. To emphasize the comedic nonsense and play on contrasts, the authors added two musical scenes to the picture, which, despite all the absurdity, brought refreshment and diversification to the narrative.
Beetlejuice premiered in the spring of 1988. Contrary to the expectations of the producers and the predictions of critics, the audience liked the picture. The film was praised for its originality, quality work from the director, and dark humor. On the negative side were the colorless performances of the ghostly spouses Baldwin and Davis, whose images faded against the backdrop of Keaton's performance, one of the best in his career.
CONTINUED
On the wave of success, Burton expressed a desire to make a sequel.
