Behind the facade of this Emerald Hill shophouse is a home full of surprises

From restored architectural details to unexpected spaces for art and entertaining, this historic Singapore home brings together old and new in imaginative ways.

A historic Emerald Hill shophouse in Singapore has been thoughtfully restored, blending its original architectural character with contemporary design. (Photo: Studio Periphery)

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In the late 1990s, Woha transformed a shophouse at Emerald Hill. Then, the architecture firm founded in 1994 by Richard Hassell and Wong Mun Summ was quickly attracting fans for its contemporary outlook on tropical design. The project won a slew of awards, including a 1999 International Award given by the Royal Australian Institute of Architects and a 2004 Gold Award at the ARCASIA Awards for Architecture in the Conservation Projects category.

“The original conversion by Woha was an incredible base to start with. At the time of viewing, I didn’t know it was by the firm, but you could see the incredible architectural vision. It was clearly a special property,” said the owner, a professional in his mid-40s. With Woha now better known for its large-scale sustainable buildings, the shophouse offers a glimpse into the firm’s earlier residential work.

Woha’s facelift to the early 20th-century shophouse was more architectural than decorative. Flooring in the historic front shophouse was removed so the second storey, offset from the party walls, reads as a crisp, modern white box. A double-height glass facade at the courtyard puts the movement of people and light on show. Its lightness contrasts with the rear extension facade’s formal expression of repeated windows.

With its timber shutters, decorative plasterwork and covered walkway, the shophouse retains the architectural character of Emerald Hill. (Photo: Studio Periphery)

“I have always liked the strict structure of European architecture, and noticed that the original design by Woha had not only created an open space within the house for light, but also the second facade that reminded me of townhouses in London and New York, albeit a bit more modern,” the owner said.

Over the years, successive owners had made ungainly changes to Woha’s design. To undo this, the current owner found a suitable collaborator in Terence Chan. The architecturally trained designer had worked at Woha before establishing Studio Terre in 2006. “After I found out that Mun Summ designed the project, we approached him for the drawings,” Chan said.

The pivot doors introduced by Terence Chan help define the gallery-like entrance while allowing the space to be divided for different uses. (Photo: Studio Periphery)

The owner had sought Chan out as his oeuvre included other shophouses at Emerald Hill. “Over the past two decades, we’ve had the privilege of working on well over a dozen shophouses – at least seven commercial and more than six residential projects, with more on the drawing board,” Chan said.

This shophouse offered “a masterclass in spatial choreography, architectural reverence and client trust.” Chan wanted to draw out the essence of Woha’s ideas from the shophouse that had been marred by cold finishes, dated detailing and teak “stained so heavy its natural warmth was hidden.” Woha’s textured walls had also been smoothed out, and original ivory stone cladding ripped out.

A bespoke dining table finished in Sucupira veneer is paired with stackable Grand Prix chairs from Fritz Hansen, which can be stored away when not in use. (Photo: Studio Periphery)

The abstract patterns of a customised cabinet for tableware complement Paul Russo’s wall sculpture above it. (Photo: Studio Periphery)

In the dining room, Chan stripped black stain off the timber column cladding, reinstated the teak timber ceiling of Woha’s original design, but replaced glass flanking the master bedroom above with timber panels, inspired by Woha’s teak timber windows. (Photo: Studio Periphery)

“What I enjoyed most was the process of rediscovering and amplifying the home’s original grace while adapting it into a highly personalised, entertainment-focused sanctuary as the owner liked hosting intimate gatherings,” Chan said. He also had to ensure the shophouse met current conservation guidelines and iron out functional kinks.

“You’re dealing with a property that’s over a hundred years old so there are problems such as damaged and old doors, termites and leaking issues. We reminded the owner early during the design phase for him to be mentally prepared,” Chan said. As expected, a large portion of the floorboards and timber cladding around the dining room’s steel columns had to be replaced due to termite damage.

Terence Chan's Corten steel artwork …Method (2025) forms a backdrop to Jean Jullien's playful Dog bench and a pair of Pilotis outdoor coffee tables. (Photo: Studio Periphery)

Chan’s Corten steel installation occupies the narrow space between the inner glass panel and party wall, turning a design constraint into an opportunity for art. (Photo: Studio Periphery)

Aside from reinstating the warm palette of beige stone, Chan revealed the “raw beauty” of the teak by removing the black stains on the flooring, column cladding and intricate woodwork on the front elevation’s French windows. The front door could not be salvaged, revealing plywood insert panels after the black stain was removed, so Chan replaced them with matching solid timber panels that followed the original detailing.

Beneath the staircase, a collection of design pieces includes a Roly Poly chair from Driade, an Eames lounge chair and ottoman from Herman Miller, and an Akari 24N lamp by Isamu Noguchi. Edgar Degas’ Woman with a White Headdress hangs nearby. (Photo: Studio Periphery)

The restoration process was complex but also “profoundly satisfying” for Chan, whose layering of furnishings, art and materials transformed the shophouse into a visceral palimpsest, imbued with identity, narratives and soul. Spaces now unfold fluidly, attuned to varying light, textures and visual highlights.

Past the entrance foyer, a teak platform demarcates a gallery-like space. Woha’s design only had the front anchored with slide-fold door panels, but Chan inserted four panels of sandblasted Paulownia timber veneer pivot doors on each end of the gallery, augmenting the sense of transition. Practically, they help segment the space for different uses. As the previous owner had removed Woha’s glass-and-steel staircase balustrade, there was no safety barrier. Chan added glass balustrades that “disappear” against the textured walls.

The bespoke bar was designed around the owner's growing cocktail and glassware collection, with concealed steel beams reinforcing the original timber floor to support its substantial stone counter. (Photo: Studio Periphery)

A last-minute request from the owner saw Terence Chan turn a planned display area into a bespoke DJ booth, complete with equipment and vinyl record storage. (Photo: Studio Periphery)

Terence Chan incorporated a wine cellar and DJ booth on opposite sides of the corridor, creating a symmetrical entrance to the lounge. (Photo: Studio Periphery)

Tasteful pieces include an Akari 24N paper floor lamp by Isamu Noguchi, Roly Poly chairs by designer Faye Toogood and an Extrasoft island sofa module from Living Divani. Thoughtfully selected art adds to the mise en scene: on one wall, the female figure in Tania Marmolejo’s The Long Wait lies with haunting eyes; on the opposite surface, another lady in Edgar Degas’ Woman with a White Headdress oil-on-canvas painting turns away.

The second-storey lounge features a darker palette, with a Relaxed sofa and contemporary artworks including The Connor Brothers’ I Can Resist Everything Except Temptation (2019) and Amanda Wall’s Light Sleeper (2025). (Photo: Studio Periphery)

Chan helped select most of the art because he is an avid art collector himself. Through this project, the owner’s interest in art turned into a passion, and he now looks out for pieces during his travels. “Art is central to how we feel and think about space,” he said. It should not be chosen “to fill walls and space”, but become a “spatial dialogue”.

A tip Chan gives is to mix different mediums – canvas, neon, light boxes and wall sculptures – while considering scale, texture and proportion to ensure the art and the architecture speak the same language.

Chan renovated the kitchen with stainless steel cabinet doors, Chianca di Ostuni porcelain surfaces for the countertop and upper cabinetry, and a hob and extractor hood from Gaggenau. (Photo: Studio Periphery)

The powder room behind the kitchen in the rear extension is finished in Olivio Striato stone, complemented by a customised vanity mirror in patinated bronze and lighting from Viabizzuno. (Photo: Studio Periphery)

In the shophouse’s dining room, the owner chose Bruno Surdo’s 2023 painting, A Selfie, A Pink Unicorn, Paparazzi! What Does It Take to Get Noticed, as the main piece. “The owner had wanted to fill all the walls with the same artist’s works. It would have been chaoti.! We told him otherwise, just this one special colourful piece,” Chan said. In response, he proposed an abstract wall sculpture, Paul Russo’s 2020 A Deep Blue View, on the facing wall.

By moving the main bedroom suite to the attic, Terence Chan freed up the second storey for the owner's entertaining spaces. (Photo: Studio Periphery)

The master bathroom’s vanity cabinet is finished in high-gloss Santos rosewood and Paulownia veneers, topped with Grolla Beige cross-cut stone. The minimalist taps are from CEA’s Milo360 collection. (Photo: Studio Periphery)

In the courtyard, where a single tree replaces a former swimming pool and green wall, Chan contributed his own art – a series of Corten steel abstract shapes forming the statement: WHO, WHAT, WHERE, WHEN, WHY, HOW METHOD. “You see it reflected on the polished stainless steel ceiling of the path. It’s also meant to decay and rust with time,” he said.

This came about as the owner wanted to enclose the walkway in glass, which left only a 400mm gap between the inner glass panel and party wall. “We couldn’t find any suitable weatherproof art so I said to the owner, ‘If you don't mind, I will just create the art,” Chan recalled. A Jean Jullien Dog bench in the courtyard lends a comical counterpoint to this elemental piece.

Upstairs, Chan shifted the master bedroom suite to the attic and made the second storey the main entertainment zone. He enclosed the former with a special glass film sandwiched between two glass panes so it reads as a floating light box when lit. At the bar, he introduced a curved counter, capped with dark green Avocatus marble and surrounded by Series 7 bar stools from Fritz Hansen. A pair of 2.9-metre-tall timber glassware cabinets flank the sides, customised from Chan’s Terre Collection inventory.

At the roof terrace, Chan removed the black stain from the solid teak cladding the steel structure, replacing timber damaged by termites. He also relocated the air-conditioning compressors to open up views towards Orchard Road, introducing two bonsai trees to frame the city skyline. (Photo: Studio Periphery)

“Designing the bar area was an absolute thrill and a fantastic engineering challenge. To support the massive 50mm, solid stone bar counter, which grew in real time alongside the owner’s expanding cocktail and glassware collection, we had to reinforce the original timber floor with hidden steal beams,” Chan said.

Above it, a Coppibartali suspension lamp from Viabizzuno presents a majestic image. Above it, a Coppibartali suspension lamp from Viabizzuno presents a majestic image. “Finding a hanging lamp for this area was challenging. We wanted a chandelier that was abstract and modern. You won’t know the form this creates until you hang it, like a bicycle chain,” Chan said. Also from Viabizzuno is a trio of Bulletta lamps, embellishing the walls like large, retro jewels. “It is also a charging port. You can remove the lamp and fix it onto a stand so it becomes a table lamp,” he said.

As the owner wanted a symmetrical entry into the lounge area, Chan inserted a slim wine cellar on one side of the corridor. “Originally, the other side was a display area. Halfway through the construction, he said ‘I need a DJ booth, can you squeeze one in?’” Chan said.

The shophouse's exterior shares the ornate architectural character of its neighbours. Many of these houses date to the early 1900s, when Emerald Hill was a residential enclave for affluent Chinese and Peranakan families. Features of the Late Shophouse style include elaborate plasterwork, bat-motif vents and pintu pagar swing doors. (Photo: Studio Periphery)

The DJ booth’s 30mm-thick, clear acrylic shelves were held in place with super-thin, 9mm polished stainless steel profiles. “I think the jointer and team nearly lost their minds because we wanted acrylic with polished stainless steel and blackened steel supports,” Chan said. Behind the booth, a new powder room is finished with a stainless steel ceiling and walls of sparkling Metallicus stone.

These are unusual finishes for a home. The owner told Chan to “go wild with unconventional materials”, enabling the spaces to feel differentiated yet seamlessly woven into the building’s historic shell. Likewise, furniture in the lounge was upholstered with velvet, mohair and suede. Underfoot, a burgundy carpet softens the teak floor. “It’s one of the owner’s favourite colours – the colour of wine,” Chan said.

The overall palette is also darker than the first storey, making the artwork pop. A piece by The Connor Brothers, I Can Resist Everything Except Temptation, 2019, was the starting point, whimsically matched with Plastic Jesus’ heart-shaped sculpture, Glitter Balloon Red, 2019.

Clearly, this project offered equal amounts of fun and hard work. Chan described it as “a multi-layered restoration project and a creative playground rolled into one.” He elaborated, “What makes shophouses so captivating is that no two shells are alike, nor are the lives inside them.”

After all, shophouses are not simply about preserving history. Chan reflected: “It is also about crafting an intimate dialogue between the original structure, modern spatial theatre and the evolving lives of the people who inhabit them.”_

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从修复后的建筑细节到意想不到的艺术和娱乐空间，这座新加坡历史住宅以富有想象力的方式将新旧元素融合在一起。

新加坡翡翠山一栋历史悠久的店屋经过精心修复，巧妙地融合了其原有的建筑特色和现代设计。（图片：Studio Periphery）

这段音频由人工智能工具生成。

上世纪90年代末，Woha建筑事务所改造了翡翠山的一栋店屋。这家由Richard Hassell和Wong Mun Summ于​​1994年创立的建筑事务所，凭借其对热带设计的现代诠释迅速吸引了众多拥趸。该项目荣获多项大奖，包括1999年由澳大利亚皇家建筑师学会颁发的国际奖，以及2004年澳大利亚建筑师协会（ARCASIA）建筑奖保护项目类别的金奖。

“Woha最初的改造项目本身就是一个非常出色的基础。当时我并不知道是他们设计的，但一眼就能看出他们非凡的建筑理念。这显然是一处特别的房产，”这位四十多岁的职业人士说道。如今，Woha以其大型可持续建筑而闻名，而这间店屋则让我们得以一窥该公司早期的住宅作品。

Woha 对这座建于 20 世纪初的店屋进行的改造，更注重建筑本身的修缮而非装饰。历史悠久的前店屋的地板被拆除，使得二楼与隔墙错开，呈现出一个简洁现代的白色盒子。庭院的双层挑高玻璃幕墙将人流和光线的流动尽收眼底。其轻盈的质感与后扩建部分立面重复排列的窗户所营造的庄重感形成鲜明对比。

店屋保留了翡翠山的建筑特色，包括木质百叶窗、装饰性灰泥墙和有顶走廊。（图片：Studio Periphery）

“我一直很喜欢欧洲建筑严谨的结构，而且我注意到，Woha 的原始设计不仅在房子内部创造了一个开放的空间来引入光线，而且第二立面也让我想起了伦敦和纽约的联排别墅，尽管它更现代一些，”业主说道。

多年来，历任业主对Woha的设计进行了不少不协调的改动。为了纠正这些改动，现任业主找到了合适的合作伙伴——陈德伦（Terence Chan）。这位受过建筑学训练的设计师曾在Woha工作，之后于2006年创立了Studio Terre。“得知Mun Summ是这个项目的设计师后，我们就联系他索要图纸，”陈德伦说道。

由陈德伦设计的旋转门既能营造画廊般的入口氛围，又能将空间分隔成不同的用途。（图片：Studio Periphery）

业主之所以找到陈先生，是因为他之前在翡翠山也设计过其他店屋。“过去二十年里，我们有幸参与了十几栋店屋的建设——至少七个商业项目和六个以上的住宅项目，还有更多项目正在筹划中，”陈先生说道。

这间店屋堪称“空间布局、建筑美学和客户信任的典范”。陈先生希望从这间曾因冷冰冰的装修、过时的细节以及“染色过重，掩盖了其天然温暖质感”而黯然失色的店屋中，提炼出沃哈建筑理念的精髓。沃哈原本纹理丰富的墙面也被磨平，原有的象牙色石材饰面也被拆除。

一张采用苏库皮拉木饰面的定制餐桌，搭配弗里茨·汉森 (Fritz Hansen) 的可叠放式 Grand Prix 餐椅，不用时可收纳存放。（图片：Studio Periphery）

定制餐具柜上的抽象图案与上方保罗·鲁索的墙面雕塑相得益彰。（图片：Studio Periphery）

在餐厅里，陈女士去除了木柱包覆层上的黑色污渍，恢复了Woha最初设计的柚木天花板，但将上方主卧两侧的玻璃窗换成了木板，灵感来自Woha的柚木窗户。（图片：Studio Periphery）

陈先生说：“我最享受的是重新发现并提升这栋房屋原有优雅气质的过程，同时将其改造成一个高度个性化、以娱乐为中心的静谧居所，因为业主喜欢举办小型聚会。” 他还必须确保这栋店屋符合现行的文物保护准则，并解决一些功能上的小问题。

“这是一栋百年老宅，所以难免会遇到一些问题，比如门窗破损、老旧、白蚁侵蚀和漏水等等。我们在设计阶段就提醒业主做好心理准备，”陈先生说道。不出所料，由于白蚁侵蚀，餐厅钢柱周围的大部分地板和木质覆层都需要更换。

陈德伦（Terence Chan）的耐候钢艺术作品《方法》（2025）为让·朱利安（Jean Jullien）的趣味长椅“狗”和一对Pilotis户外咖啡桌提供了绝佳的背景。（图片：Studio Periphery）

陈氏的耐候钢装置作品占据了内侧玻璃面板和隔墙之间的狭窄空间，将设计上的限制转化为艺术创作的契机。（图片：Studio Periphery）

除了恢复温暖的米色石材色调外，陈先生还通过去除地板、柱面覆层以及正面法式窗户上精美木工上的黑色污渍，展现了柚木的“原始之美”。由于去除黑色污渍后露出了胶合板嵌板，无法修复，陈先生用与原有细节相符的实木面板替换了它们。

楼梯下方陈列着一系列设计作品，包括 Driade 的 Roly Poly 椅、Herman Miller 的 Eames 躺椅和脚凳，以及 Isamu Noguchi 设计的 Akari 24N 台灯。埃德加·德加的画作《戴白头饰的女子》悬挂在附近。（图片：Studio Periphery）

修复过程虽然复杂，但对陈女士来说却“意义非凡”。她巧妙地运用家具、艺术品和材料，将这间店屋改造成一幅充满生命力的画卷，赋予它独特的个性、故事和灵魂。如今，空间流畅自然地展开，与光线、纹理和视觉亮点的变化相得益彰。

穿过入口门厅，柚木平台划分出一个类似画廊的空间。Woha的设计仅在正面安装了折叠推拉门，而Chan则在画廊的两端各安装了四扇喷砂桐木饰面旋转门，增强了过渡感。实际上，这些旋转门有助于将空间分隔成不同的用途。由于前业主拆除了Woha设计的玻璃钢楼梯栏杆，因此缺少安全护栏。Chan重新安装了玻璃栏杆，使其与纹理墙面融为一体，浑然一体。

这家定制酒吧的设计围绕着店主日益丰富的鸡尾酒和玻璃器皿收藏展开，隐藏的钢梁加固了原有的木地板，支撑起厚重的石质吧台。（图片：Studio Periphery）

应业主临时要求，Terence Chan 将原计划的展示区改造成了一个定制的 DJ 台，配备了设备和黑胶唱片收纳柜。（图片：Studio Periphery）

陈志强在走廊两侧分别设计了酒窖和DJ台，打造出对称的休息室入口。（图片：Studio Periphery）

品味高雅的家具包括野口勇设计的Akari 24N纸质落地灯、设计师Faye Toogood设计的Roly Poly椅子以及Living Divani的Extrasoft岛式沙发模块。精心挑选的艺术品也为空间增添了氛围：一面墙上挂着塔尼亚·马莫莱霍的画作《漫长的等待》，画中女性人物眼神空洞，令人难以忘怀；另一面墙上，埃德加·德加的布面油画《戴白头饰的女人》中，另一位女士背对着我们。

二楼休息室采用较深的色调，摆放着一张 Relaxed 沙发，并陈列着当代艺术作品，包括康纳兄弟的《我能抵抗一切，除了诱惑》（2019）和阿曼达·沃尔的《轻度睡眠者》（2025）。（图片：Studio Periphery）

陈先生参与了大部分艺术品的挑选，因为他本人也是一位狂热的艺术收藏家。通过这个项目，业主对艺术的兴趣发展成了热爱，如今他会在旅行中寻觅心仪的艺术品。“艺术对于我们如何感受和思考空间至关重要，”他说道。艺术的选择不应仅仅是为了“填满墙壁和空间”，而应成为一种“空间对话”。

陈给出的建议是，将不同的媒介——画布、霓虹灯、灯箱和墙壁雕塑——混合使用，同时考虑规模、纹理和比例，以确保艺术和建筑用同一种语言表达。

Chan对厨房进行了翻新，采用了不锈钢橱柜门、Chianca di Ostuni瓷砖台面和吊柜，以及Gaggenau的灶具和抽油烟机。（图片：Studio Periphery）

后扩建部分厨房后面的盥洗室采用奥利维奥·斯特里亚托石材饰面，搭配定制的仿古青铜梳妆镜和维亚比祖诺灯具。（图片：Studio Periphery）

在店屋的餐厅里，店主选择了布鲁诺·苏尔多（Bruno Surdo）2023年的画作《自拍，粉红独角兽，狗仔队！如何才能引人注目》（A Selfie, A Pink Unicorn, Paparazzi! What Does It Take to Get Noticed）作为主打装饰。“店主原本想用同一位艺术家的作品填满所有墙面，那可就太糟糕了！我们建议他换一种风格，只用这幅特别的彩色作品，”陈先生说道。作为回应，他提议在对面墙上悬挂保罗·鲁索（Paul Russo）2020年的抽象雕塑作品《深蓝的景色》（A Deep Blue View）。

通过将主卧套房移至阁楼，陈先生腾出了二楼的空间，作为业主招待客人的场所。（图片：Studio Periphery）

主浴室的盥洗台柜采用高光泽的圣托斯红木和泡桐木饰面，台面则铺设格罗拉米色横切石材。简约的水龙头来自CEA的Milo360系列。（图片：Studio Periphery）

在庭院里，一棵树取代了原先的游泳池和绿植墙，陈先生在此创作了自己的艺术作品——一系列用耐候钢制成的抽象造型，组成了“谁、什么、哪里、何时、为什么、如何”这几个字。“你可以看到它们倒映在抛光不锈钢铺成的步道顶棚上。而且，随着时间的推移，它们还会腐朽生锈。”他说道。

事情的起因是业主想用玻璃围住走道，这样一来，内层玻璃面板和隔墙之间就只剩下400毫米的缝隙了。“我们找不到合适的耐候艺术品，所以我跟业主说，‘如果您不介意的话，我就自己创作吧。’”陈回忆道。庭院里一张让·朱利安设计的狗形长椅，与这件简约的艺术品形成了滑稽的对比。

楼上，陈先生将主卧套房移至阁楼，并将二楼打造成主要的娱乐区。他用一层特殊的玻璃薄膜包裹住原有的阁楼，这层薄膜夹在两块玻璃之间，点亮后宛如一个悬浮的灯箱。吧台处，他设计了一个弧形吧台，台面采用深绿色阿沃卡图斯大理石，周围环绕着弗里茨·汉森 (Fritz Hansen) 的 7 系列吧台椅。吧台两侧各摆放着一对 2.9 米高的木制玻璃器皿柜，这些玻璃器皿柜均来自陈先生的 Terre 系列藏品。

在屋顶露台上，陈先生清除了钢结构柚木外墙上的黑色污渍，并更换了被白蚁蛀蚀的木材。他还重新安置了空调压缩机，使视野更加开阔，可以欣赏到乌节路的景色，并摆放了两棵盆景树，将城市天际线框入其中。（图片：Studio Periphery）

“设计吧台区域绝对令人兴奋，也是一项绝妙的工程挑战。为了支撑那厚达50毫米的巨大实心石材吧台（它随着店主不断增加的鸡尾酒和玻璃器皿收藏而实时增大），我们不得不使用隐藏的钢梁加固原有的木地板，”陈说道。

上方悬挂着一盏来自Viabizzuno的Coppibartali吊灯，呈现出一幅雄伟壮丽的景象。“为这个区域找到合适的吊灯颇具挑战性。我们想要一盏抽象而现代的吊灯。它挂起来之后，你才会真正感受到它的造型，就像自行车链条一样。”Chan说道。同样来自Viabizzuno的还有三盏Bulletta台灯，它们如同复古的大型宝石般点缀着墙面。“它同时也是一个充电接口。你可以把灯罩取下来，固定在支架上，这样它就变成了一盏台灯。”他补充道。

由于业主希望休息区入口对称，陈先生在走廊一侧设计了一个狭长的酒窖。“原本另一侧是展示区。施工进行到一半时，他说‘我需要一个DJ台，你能挤出一个吗？’”陈先生说道。

这间店屋的外观与邻近建筑一样，都带有华丽的建筑风格。这些房屋大多建于20世纪初，当时翡翠山是富裕华人及土生华人家庭的住宅区。晚期店屋风格的特征包括精美的灰泥装饰、蝙蝠造型的通风口和旋转门。（图片：Studio Periphery）

DJ台的透明亚克力板厚达30毫米，由超薄的9毫米抛光不锈钢型材固定。“我觉得木工和团队都快疯了，因为我们想要亚克力板配抛光不锈钢和黑色钢制支架，”陈说道。DJ台后面是一间全新的盥洗室，天花板采用不锈钢材质，墙面则铺设了闪亮的Metallicus石材。

这些装修风格对于住宅而言实属罕见。业主告诉陈设计师“大胆运用非常规材料”，使各个空间既保持了鲜明的个性，又与建筑的历史风貌完美融合。同样，客厅的家具也采用了天鹅绒、马海毛和麂皮绒面料。脚下，酒红色的地毯柔化了柚木地板的硬朗线条。“这是业主最喜欢的颜色之一——酒的颜色，”陈设计师说道。

整体色调也比一层更深，使艺术品更加醒目。康纳兄弟的作品《我能抵抗一切，除了诱惑》（2019）是设计的灵感来源，与塑料耶稣的心形雕塑作品《闪光红气球》（2019）巧妙地搭配在一起。

显然，这个项目既充满乐趣又十分辛苦。陈先生将其描述为“一个多层次的修复项目，同时也是一个创意乐园”。他进一步解释说：“店屋之所以如此迷人，是因为没有两栋建筑的外壳是相同的，里面的生活也各不相同。”

毕竟，店屋不仅仅是为了保护历史。陈先生反思道：“它还在于构建一种亲密的对话，将原有的建筑结构、现代空间以及居住其中的人们不断变化的生活联系起来。”

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