Inside The Regency House, Brighton

A Journey into Architectural Detail and Design History

Last month, I had the privilege of a private tour of The Regency Town House in Brighton, organised by the British Institute of Interior Design (BIID). This remarkable building, currently undergoing meticulous restoration, opened its doors to a small group of design professionals keen to delve into the stories held within its walls.

The experience was far more than an architectural sightseeing trip. It was a masterclass in the details that define Regency and early Victorian homes, guided by some of the UK’s leading specialists in historic buildings, including the brilliant director and curator Nick Tyson, an historical building analyst.

While many associate “Regency” with the flamboyant Prince Regent himself, we learnt that Regency architecture extends well beyond the Georgian era, reaching into the mid-19th century. This particular property, designed by Charles Busby, is part of the distinguished Brunswick Square development that helped cement Brighton’s status as a fashionable seaside resort.

Paint, Plaster & Preservation

One of the most fascinating aspects of the tour was the discussion of historical finishes and materials. Every detail of the exterior and interior decoration was governed by practicality, hierarchy and evolving technology. For instance:

The original external finish was Roman Cement, dark in tone, not painted, but lightened with mastic and eventually changed in the 1930s to the “custard and black” palette many now associate with the house.
Storm shutters, painted in Holland’s Antwerp Green, were necessary to protect delicate glazing from the harsh coastal weather. As glass technology advanced, and glass became tougher, these features became redundant. Early Georgian sash frames, for example, lacked the familiar “horns” seen later, used to support the weight of thicker glass.
Paint analysis, like core sampling and surface rubbing, is an important step to determine original colour schemes when restoring period homes authentically. Paints of the time were often lead-based, requiring redecoration every five or six years as oxidation, carbonisation and “blooming” altered their appearance over time.

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The visit took a look at the world of historical colour theory. External colour schemes were rooted in earthy tones, echoing the natural world. This wasn’t just for aesthetic reasons, but based on emerging colour theory. Colour psychology was applied throughout the interiors, taking into account the function of a room. Did you know that colours used in dining rooms were often chosen to stimulate appetite and conversation?

We discussed the artistic liberties taken with finishes like wood graining, which didn’t always need to look realistic, just refined and stylised. This was as much about visual impact as it was about cost, depending on the status of the building’s rooms and its occupants.

Material & Making

The type of building materials used were also dictated by the geographic location of the building. Before the railways it was difficult to move materials around, and is the reason why you see a plethora of buildings using the same materials in one area, for example, flint and lime, or stone walls.

In Brighton, bungaroosh was used. This was a mixture of broken bricks, flints, stones, pebbles, sand, gravel and organic materials, all bound together with hydraulic lime. It was prone to dampness and salt damage, requiring careful maintenance and repair, so was rendered to give it some protection.

The interiors were equally layered:

Lathe and plaster internal walls, not masonry
Baltic wood was prized for its slow growth and density, reflecting that materials were not just about style trends but also economics, trade and regional availability
Mouldings made of everything from plaster and timber to papier mâché, varying by room and status
Decorative elements by companies like George Jackson, pioneers in architectural ornamentation

All of this reinforced how vital it is to understand the craftsmanship and material logic behind historic properties.

Why This Matters

As an interior designer specialising in period and heritage homes, I believe passionately that education and curiosity are fundamental to helping my clients. Restoration isn’t just about preserving beauty. It’s about safeguarding stories, techniques and traditions that shaped our built environment. These buildings are part of our shared cultural legacy and they need to be treated with knowledge and respect.

Are you the custodian of a period property?

If you’re looking to design your interiors to honour its history while ensuring it feels beautifully liveable today, we’d love to hear from you.

Get in touch

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