Side Angle Side transforms Austin post office into restaurant
CategoriesInterior Design

Side Angle Side transforms Austin post office into restaurant

Texas architecture studio Side Angle Side has adapted a 1960s post office into a food market and restaurant in Austin.

Opened in October 2023 in the Hyde Park area, Tiny Grocer serves as a speciality market, bar and cafe while Bureau de Poste is a modern French bistro led by celebrity chef Jo Chan.

The exterior of a small, modern grocery storeThe exterior of a small, modern grocery store
Side Angle Side has transformed a 1960s post office into a food market and restaurant

Austin-based commercial and residential architecture firm Side Angle Side renovated the 3,500-square foot (325-square metre) 1967 US Post Office building and added a 1,500-square foot (140-square metre) outdoor dining patio.

“The Hyde Park U.S. Post Office was an important neighborhood hub in the 1960s – so we were especially careful to keep the integrity and spirit of the mid-century-utilitarian design,” Arthur Furman, founding partner of Side Angle Side, told Dezeen.

A grocery market with green shelvingA grocery market with green shelving
The team sought to preserve the building’s history as a community hub

“As the anchor tenant in the space, Tiny Grocer continues to be the centre of the community, a place to gather, shop, eat and drink.”

The shell of the white brick building was left intact, but the street-facing facade was previously used as a loading dock so the team transformed the back-of-house edge into a welcoming patio for the neighbourhood by removing the asphalt and adding two large live oak trees and a steel trellis and planters.

A bar in a grocery and marketA bar in a grocery and market
The exterior of the building was kept intact

A cast-in-place concrete banquette holds the edge of the patio that is paved with antique red brick.

The steel planter forms a boundary between the parking area and the dining space, while the other edge is held by a light grey-coloured stucco restroom building. White metal furniture from Isimar and Portofino was used to furnish the patio.

“The patio and wine garden is the real heart of the project,” the team said, mentioning that it wasn’t within the original scope of the project but added later when its larger value was realized. “This is where all the care and thought of the interior spills to the outside, creating a lively environment.”

Wooden tables in front of a black framed windowWooden tables in front of a black framed window
The renovated building has exposed concrete floors from the original building

On the interior, Side Angle Side complemented the original ceiling and open web joists with metal decking and industrial warehouse pendants by AQ Lighting. The polished concrete floors expose the weathered imperfections and show the history of the building.

Upon entering, shoppers take in the colourful selection of curated products displayed on white oak mercantile shelving. Green millwork hugs one wall and the space widens to an open interior plan.

A patio with white metal seating and plantsA patio with white metal seating and plants
A patio and wine garden is at the heart of the project

A central deli and coffee bar floats in the middle of the room and creates a transition from the market to the bistro. The bar is wrapped in Seneca terracotta tile and topped with grey and white quartz countertops. Wooden Soule barstools are tucked under the waterfall counter.

The back-of-house spaces hold a kitchen office, storage, and bar equipment.

“Working closely with the owner, design finishes hint at the building’s midcentury past,” the team said, referencing the custom, built-in leather banquette by Undercover Austin Upholstery that lines the bistro’s back wall.

Above the banquette and Second Chance Custom wooden dining tables hang black cone light pendants by All Modern.

A patio with white metal seatingA patio with white metal seating
The patio features brick flooring and white metal furniture

“The single biggest sustainable feature of this project is one that is often overlooked,” the team said, noting the adaptation of the structure. “The ‘loose fit, long life’ style of these old buildings leads to more reuse and far less waste.”

Recent adaptive reuse projects in Austin include a 1900s house converted to a luxury office by Michael Hsu and commercial units converted to an architecture studio by Baldridge Architects.

The photography is by Likeness Studio and Mackenzie Smith Kelly.


Project credits:

Structural engineer: Creative Engineering
MEP engineer: ATS Engineers
Builder: Archive Properties
Commercial interior design: Side Angle Side
Architects: Side Angle Side
Building shell: Thought Barn Studio
Landscape design: Side Angle Side & Wild Heart Dirt
Owner: Steph Steele



Reference

CASE-REAL transforms 80-year-old traditional japanese house into craft beer brewery
CategoriesArchitecture

CASE-REAL transforms 80-year-old traditional japanese house into craft beer brewery

craft beer Brewery by CASE-REAL

 

In Saga, Japan, a renovation project by CASE-REAL has transformed an 80-year-old traditional Japanese house into a craft beer brewery, named Whale Brewing. Yobuko, historically known for whaling during the Edo period and later famed for squid fishing, faces modern challenges like a declining population due to youth migration and numerous vacant houses. Given this context, the project was conceived with the aim of acting as a magnet for young people and rejuvenating the town. The chosen location for the brewery was an old traditional house along Yobuko Asaichi-dori, a street bustling with local seafood and goods stalls each morning. This aging house had been abandoned, suffering from leaks, facade deterioration, and structural issues. However, after the interior was dismantled, it revealed a sturdy structure, around nine meters tall, with hidden potential.

CASE-REAL transforms 80-year-old traditional japanese house into craft beer brewery
the goal of this project was to breathe new life into the town, all images by CASE-REAL

 

 

a New Landmark in Yobuko

 

After extensive discussions with clients, the architects at CASE-REAL chose to incorporate the existing strengths of the house into the new brewery design. The building’s layout features a storefront area with a ceiling on the facade side, while the brewing space utilizes the generous height of the second floor through an open atrium. A continuous glass facade spans both levels, offering a view of the street that showcases the robust beams and the brewery ambiance, despite the ceiling variation in the store area. To accommodate ground conditions, the floor plan includes a sloped design that connects the elevated rear of the building. Stainless steel was selectively utilized for elements like the counter and handles, maintaining a cohesive material theme in line with the brewing tanks. Certain façade pillars, essential for support, were crafted from solid Japanese cypress, accentuating the space’s height and adding a distinctive touch. The incorporation of rounded shapes in the pillars and counter edges was intentional, aiming to introduce a sense of softness and effectively merge structural elements with the overall design.‘By combining the new functions of the brewery with the original characteristics of the building, we hope that this will become a new landmark in Yobuko, firmly rooted in the local community,’ shared the architects.

CASE-REAL transforms 80-year-old traditional japanese house into craft beer brewery

CASE-REAL transforms 80-year-old traditional japanese house into craft beer brewery
the brewing space utilizes the generous height of the second floor through an open atrium

CASE-REAL transforms 80-year-old traditional japanese house into craft beer brewery
the new structure blends the brewery’s functionalities with the house’s original features

CASE-REAL transforms 80-year-old traditional japanese house into craft beer brewery

Reference

RootStudio transforms convent into Centro Gastronómico de Oaxaca
CategoriesArchitecture

RootStudio transforms convent into Centro Gastronómico de Oaxaca

Architecture firm RootStudio has converted a historic convent building into a centre for celebrating the rich culinary legacy of Mexico’s Oaxaca region.

The Centro Gastronómico de Oaxaca occupies the former convent of Carmen el Alto in the city of Oaxaca – the capital of the state of the same name.

Historic convent building meets new metal addition
The rejuvenation of the convent complex involved restoring the original architecture and adding a new intervention

Dating back to the 16th century, the colonial-style structure has been carefully restored by RootStudio to create “an educational and multidisciplinary space where culinary traditions and sustainability create a sensory experience”, which hosts different chefs from across the region.

The cultural centre accommodates several areas and functions within the existing building and its grounds, including a study centre comprising an administrative office, classrooms and public library.

Arched tunnel within historic brick and stone
Strict preservation guidelines dictated that the old building had to be restored as it was first built

An array of commercial and recreational facilities are also incorporated, such as a restaurant, kitchen, cocktail and tasting rooms, gallery, cafeteria, multipurpose rooms, auditorium, courtyards, arcade gardens and retail premises.

The restoration work was carried out in compliance with guidelines provided by the Oaxaca division of the National Institute of Anthropology and History, which dictated the preservation of primary features and the original layout.

Works contributed by local artists include a mural by Demián Flores that depicts endemic corn species

A team of more than 20 designers and supervisors from the Instituto del Patrimonio Cultural del Estado de Oaxaca (INPAC) and the Instituto Oaxaqueño Constructor de Infraestructura Física Educativa (IOCIFED) took part in the project.

Over the years, the building had been used as a civil registry and a warehouse, among other functions, and several discoveries were made during the efforts to strip it back to its original bones.

Deep steps ascending through a long vaulted plaster room
Frescos uncovered during the project were restored and highlighted

Among them was an 18th-century sewer, which has now been transformed into a space for mezcal tastings and other culinary events.

The team also uncovered a diagonal window similar to one located in the convent of the same order in San Ángel, Mexico City.

Dark room illuminated by oculus in brick ceiling
Details were restored using traditional construction techniques and local materials

Wall frescoes, vaulted ceilings and the original floor levels were all recovered, while windows that had been walled-up were reopened.

Details were restored using traditional construction techniques, with materials like lime, brick, wood and Oaxacan Cantera verde stone.

Arched niche within a larger arched, plastered wall
The colonial-style building dates back to the 16th century

“[The] synthesis, which preserves the materiality and typology of the building, establishes a dialogue between the urban environment and the pre-existing building,” the studio said.

Extensive restoration work was also required across the building’s exterior and the surrounding landscape, which was planted with species that are either edible or associated with cooking.

An 18th-century sewer with a vaulted brick ceiling
An 18th-century sewer was also discovered during the restoration and is now used as an event space for mezcal tastings

Arcades in the former goods handling yard were converted into spaces for outdoor events, while a new intervention that juxtaposes the historic building was constructed in the parking lot.

“In order to contrast past and present, [we] installed an elevated contemporary element in raw steel, containing the industrial kitchens,” said the firm.

This two-storey pavilion with a steel frame and vaulted brick ceilings also houses 12 commercial spaces and a large, flexible event space with a panoramic view of local landmarks.

Throughout the cultural centre, a variety of collaborations with local artists and artisans are displayed.

Steel-framed addition in an open courtyard space
A steel-framed addition was inserted into a former parking lot on the site

These include a mural by Juchitán-born artist Demián Flores that illustrates the various species of corn that are endemic to the region, and imagery that indicates the building’s different functions by Sabino Guisu.

Furniture was custom-made using Macuil wood, also called rosewood, which is known for its medicinal properties.

Vaulted brick ceilings above a retail space
The addition features vaulted brick ceilings and houses 12 commercial units

Close attention was also paid to accessibility in the new addition, which has multiple elevators.

“Accessibility and inclusion are fundamental principles in this project, as it seeks the interaction of individuals with their environment through facilities for people who have some type of disability,” said RootStudio.

Cutouts in the metal elevator gates cast patterns onto the concrete floor
Cutouts in the metal elevator gates cast patterns onto the concrete floor

RootStudio is led by architect Joao Boto Caeiro and is known for its approach to sustainability, with previous projects including a concrete hotel on the outskirts of Oaxaca that was constructed in stages.

Centro Gastronómico de Oaxaca is longlisted in the Heritage Project category for the 2023 Dezeen Awards, along with the redevelopment of Battersea Power Station in London and the conversion of a Beijing textile factory into headquarters for a Chinese pastry brand. See the full architecture longlist here.

The photography is by Lizet Ortiz.



Reference

old japanese farmhouse transforms into modest hotel with U-shaped gardens
CategoriesArchitecture

old japanese farmhouse transforms into modest hotel with U-shaped gardens

Shotaro Oshima Design Studio restores a 1950s farmhouse

 

KOMORU Goshogawara by Shotaro Oshima Design Studio stands as a quaint hotel on the outskirts of Goshogawara in Aomori, Japan. Surrounded by the scenic Mount Bonjyu and the Iwaki River, the hotel embraces the vast Tsugaru Plain. The building, originally a 1950s farmhouse left vacant for five years, undergoes a sustainable transformation while preserving the existing timber structure. The renovation alters significantly the interior, arranging four guest rooms, a dining room, a kitchen, and ground-floor bathrooms, complemented by an additional guest room and staff space on the upper level.

old japanese timber farmhouse transforms into modest hotel with U-shaped gardens
all images by Yuki Motegi

 

 

KOMORU Goshogawara preserves the existing timber structure

 

Retaining a mindful connection to history, the refurbishment maintains iconic architectural elements like the traditional Japanese alcove, ‘Tokonoma’, enriching the space with a narrative of the original building’s cultural heritage. The interventions extend to various facets, including the creation of U-shaped inner gardens, known as ‘Tsuboniwa’, providing serene outdoor experiences for each guest room.

 

The design concept expresses intimacy and sensitivity, intricately manifested in the small courtyard of ‘Tsuboniwa’. For KOMORU Goshogawara, the design studio engages in a new front garden design, incorporating local trees and stones to craft a welcoming ambiance for arriving guests. Guests are invited to embark on a spiritual journey, resonating with the harmonious blend of history, culture, and nature.

old japanese timber farmhouse transforms into modest hotel with U-shaped gardens
the project, retaining a mindful connection to history, maintains the original architectural elements

old japanese timber farmhouse transforms into modest hotel with U-shaped gardens
the sustainable transformation preserves the existing timber structure

old japanese timber farmhouse transforms into modest hotel with U-shaped gardens
the refurbishment includes the creation of U-shaped inner gardens

Reference

Otherworlds transforms Goan villa into restaurant that “celebrates chance encounters”
CategoriesInterior Design

Otherworlds transforms Goan villa into restaurant that “celebrates chance encounters”

Local design studio Otherworlds drew on the traditional Goan balcão when converting a 1980s villa in Panjim, India, into the Terttulia restaurant and bar.

Housed in a Portuguese-style villa, Terttulia Goa is defined by a central island bar informed by the balcão – an outdoor porch with built-in seats that serves as the entrance to a typical Goan home.

The restaurant takes its name from the Spanish word tertulia, meaning a social gathering with literary or artistic associations.

Local design studio Otherworlds drew on the traditional Goan balcão when converting a 1980s villa in Panjim, India, into a restaurant and bar for Indian chain Terttulia.
Intimate two-seater booths flank the bar

“The balcão is a crucial part of a Goan home as this is where one spends most of their time,” Otherworlds founder Arko told Dezeen.

“At a time of rampant urbanisation, all houses tend to become very self-contained, private and detached, separated away from the city or the neighbourhood,” he continued.

“The balcão becomes all the more important at such a time as it is built with the idea of reinforcing the kinship between the house and the neighbourhood.”

Local design studio Otherworlds drew on the traditional Goan balcão when converting a 1980s villa in Panjim, India, into a restaurant and bar for Indian chain Terttulia.
Terttulia Goa is defined by a central bar informed by the balcão

Multidisciplinary studio Otherworlds overhauled the villa, which it describes as a “formerly enclosed shell”, by removing some of the external walls and extending the dining area into an outdoor porch.

This area is sheltered by a large bamboo canopy with elliptical openings that diffuse the natural light, transforming the space throughout the day.

The canopy is intended to mitigate the region’s extreme weather conditions; sheltering customers from the rain during monsoon season and providing a semi-open space with plenty of air circulation during the hot summer months.

Local design studio Otherworlds drew on the traditional Goan balcão when converting a 1980s villa in Panjim, India, into a restaurant and bar for Indian chain Terttulia.
Low-hung lamps add a sense of “whimsy”

Otherworlds designed the bar so that customers face each other, rather than facing the wall, in a bid to “encourage chance encounters”.

“The intention was to create an immersive atmospheric experience that inspires a feeling of being in a tropical, lush outdoor space under an overgrown natural canopy,” said Arko.

A metal and fluted glass structure hung from the building’s external walls floats above the white marble bartop and holds the arc-shaped lamps that light the intimate two-seater booths flanking the bar.

Local design studio Otherworlds drew on the traditional Goan balcão when converting a 1980s villa in Panjim, India, into a restaurant and bar for Indian chain Terttulia.
A bamboo canopy was inserted to mitigate the region’s extreme weather conditions

At night, the restaurant is lit by low-hung sinuous lamps informed by sweeping stems that are intended to add a sense of “whimsy” to the interior.

Adhering to Terttulia’s signature green and white colour scheme, the studio opted for a palette of locally sourced materials, including the green-pigmented hand-cast concrete that it used to create the restaurant’s flooring.

“The green pigmented hand-cast concrete floor, largely termed as IPS [Indian Patent stone], is found in most places in the country and is also used to finish the balcão in all Goan homes,” Arko explained.

Local design studio Otherworlds drew on the traditional Goan balcão when converting a 1980s villa in Panjim, India, into a restaurant and bar for Indian chain Terttulia.
Terttulia Goa is housed in a revamped 1980s villa

Otherworlds worked with local workshop Jyamiti & Sea to create ovoid terrazzo accents that are scattered in various places across the floor and walls.

The studio achieved what it terms “the perfect green” using a mixture of white and grey cement and green oxide pigment.

Local design studio Otherworlds drew on the traditional Goan balcão when converting a 1980s villa in Panjim, India, into a restaurant and bar for Indian chain Terttulia.
Otherworlds opted for a palette of locally sourced materials

“The tricky bit with coloured concrete is achieving the exact shade [because] once the cement sets and is polished, the result is quite different from the initial wet mix,” said Arko.

“The process required numerous iterations and experiments to get the right mixture of materials that would yield the correct shade.”

The green cement is offset by dark wood derived from the matti, Goa’s state tree.

“We imagined the restaurant to be an extension of the house and while being part of it, [we also wanted it to] feel like a part of the city.”

Other projects that take a contemporary approach to Indian design traditions include a rammed-earth family home in Rajasthan designed by Sketch Design Studio and a Rain Studio-designed “native yet contemporary” home in Chennai.

The photography is by Suryan and Dang



Reference

Tomás Saraceno transforms Serpentine gallery to welcome all species
CategoriesSustainable News

Tomás Saraceno transforms Serpentine gallery to welcome all species

Argentinian artist Tomás Saraceno has changed the HVAC and electrical system of the Serpentine gallery in London, in an effort to make an exhibition for all the nearby species.

Titled Web(s) of Life, the exhibition presents some of the artist’s most recent and well-known environmentally focused works, while also encompassing interventions into the building itself.

These interventions aim to make the Serpentine South building housing the exhibition more porous and responsive to its setting in Kensington Gardens, challenging anthropocentric perspectives that only consider the interests of humans and not any other beings.

Photo of the outside of the Serpentine South building with a small, birdhouse-like Tomás Saraceno Cloud Cities sculpture sitting on the facade
Tomás Saraceno has made changes to the Serpentine South building for his exhibition

Sculptures made for the enjoyment of a variety of different animals are placed on the building’s grounds, facade and roof as well as inside the building, while complex webs woven by multiple types of spiders working “in collaboration” with Saraceno feature inside the dimly lit galleries.

“You see that many architectures today are somehow not so inclusive of what is happening on the planet,” said Saraceno, who trained as an architect. “I’m very happy to think that for the first time at the Serpentine, there are many spiderweb pavilions.”

“It’s a little bit about trying to think how animal architecture could enter into the discourse and how we need to have a much more equilibrated and balanced way of building cities today on Earth,” he told Dezeen.

Photo of a large Cloud Cities sculpture by Tomás Saraceno in the grounds of Hyde Park on a sunny day
Saraceno’s Cloud Cities sculptures can be found in the grounds

To make the gallery interior more comfortable for spiders and other insects, the equipment that controls the building’s temperature and humidity has been switched off and some doorways opened to allow for free movement of both air and animal life.

Given the exhibition will run throughout the British summertime, this might mean some discomfort for human visitors – but within limits. According to the Serpentine’s chief curator Lizzie Carey-Thomas, the gallery will allow the staff on its floor to decide when conditions are too hot for them to work safely or for visitors to have an enjoyable time.

At that point, the gallery will close rather than switch on the air-conditioning, encouraging visitors to enjoy the installations outside in the park and under the trees.

Inside the Web(s) of Life exhibition at the Serpentine
The sculptures also feature inside the gallery

A further intervention by Saraceno comes in the form of a new solar array on the Serpentine’s roof, which will power all the films and lights in the exhibition.

The destructive effects of lithium mining on the environment and Indigenous communities is a key theme of the exhibition. So Saraceno and the Serpentine are avoiding the use of a lithium battery and instead embracing the intermittency of solar power by adapting the exhibition’s energy use to the level of sunshine outside.

On cloudy or partly cloudy days, films will run less frequently and lights will be dimmed. On particularly sunless days, the films may switch to audio-only, while some lights will switch off altogether.

“The irony there is that on the extreme heat days with lots of sun, we will have full power but we won’t be able to open the exhibition,” said Carey-Thomas.

As the Serpentine South building is heritage listed, both Carey-Thomas and Saraceno say the process for making any alterations was complex and drawn out, with approval for the solar panels taking two years and other plans to remove windows and doors quickly abandoned.

Photo of a visitor to the Serpentine gallery looking at a complicated spiderweb installation in the near dark
The exhibition environment is meant to be more comfortable for spiders, whose webs are on display

The works within the exhibition include Saraceno’s Cloud Cities sculptures, which feature compartments specifically designed for different animals such as birds, insects, dogs, hedgehogs and foxes.

The artist is also screening a film that documents one of the instalments of his Aerocene project, which involves making an entirely fossil-free aircraft powered purely by air heated by the sun with no need for batteries, helium, hydrogen or lithium.

In the film, the Aerocene team completes the world’s first piloted solar-powered flight, flying a balloon sculpture over the highly reflective salt flats in Salinas Grandes.

Still from the film Fly with Pacha, Into the Aerocene by Tomás Saraceno
A film in the exhibition documents Saraceno’s fossil-free flight project

There is also a work created specifically for children, called Cloud Imagination, which is accessed through a dog-shaped door that’s too small for most adults to enter.

Saraceno and the Serpentine describe the Web(s) of Life exhibition as having been created “in collaboration” with a host of different contributors, both human and non-human.

These include the communities of Salinas Grandes and Laguna de Guayatayoc in Argentina, spider diviners in Cameroon, the communities around Aerocene and Saraceno’s Arachnophilia project, and the lifeforms found in the Royal Parks surrounding the Serpentine, which will continue to evolve the works over the next three months.

Photo of a girl crawling through a howling dog-shaped doorway to Tomás Saraceno's installation created just for children
The work Cloud Imagination is created for children only

The artist and gallery also want to extend the ethos of the exhibition to the potential sale of the artworks by developing a scheme called partial common ownership or, Saraceno hopes, “partial common stewardship”, which means any buyer would “co-own” the work along with a designated species or community.

Another recent artwork to have explored ideas of intermittency in energy and design is Solar Protocol, which looks at the potential of a solar-powered internet.

The photography is by Studio Tomás Saraceno.

Tomás Saraceno In Collaboration: Web(s) of Life will take place at Serpentine South in London, UK from 1 June to 10 September 2023 and culminate with a day-long festival on Saturday, 9 September including a weather-dependent Aerocene flight. For more information about events, exhibitions and talks, visit Dezeen Events Guide.

Reference

Formation Association transforms series of buildings for Phillips LA
CategoriesInterior Design

Formation Association transforms series of buildings for Phillips LA

Los Angeles architecture studio Formation Association has turned an assemblage of buildings in West Hollywood into a new home for London-based auction house Phillips.

The West Coast headquarters for Phillips opened in October 2022 and includes three showrooms, a patio and offices created from a set of disparate structures on Santa Monica Boulevard.

South facade of the building, featuring grey stucco
The new Phillips Los Angeles combines several different structures, including a historic doorway that was preserved

Formation Association preserved many of the existing architectural elements of the eclectic collection of buildings, ensuring that each section retained its identity.

“We started with idiosyncratic conditions and buildings layered with history,” said studio co-founder John K Chan, who led the project. “We wanted to keep that sensibility. The building is a varied palimpsest, with traces of the past appearing within the new facade.”

Entrance to gallery with oculus overhead
An oculus punctures the curved overhang above the main entrance

The entrance to the 3,182-square-foot (296-square-metre) showroom is on an acute street corner, beneath a curved canopy clad in grey stucco.

“This rounded marquee, punctuated by an overhead oculus, evokes the automobile-oriented Streamline Moderne era,” said Formation Association.

View from Showroom B to Showroom A, showing a curved cutout in the ceiling
Another circular cutout was created in the first gallery, exposing wooden beams that were painted silver

The textured stucco is contrasted by smooth trowelled plaster that covers adjacent surfaces, intended to add a Southern California identity to the building.

On the east elevation, the team retained the sheet metal siding and an old doorway of a historic facade.

View from Showroom C through the openings to Showroom A
Oak floors throughout the building match those found in Phillips’ other international locations

This side of the building also includes a tall, narrow window through which Phillips can move large artworks in and out.

Along the south facade, the architects added recessed windows cut at angles into the thickened perimeter wall, which allow more light into the galleries.

Showroom C
The tallest space in the building, Showroom C, will be used to showcase larger artworks and sculpture

Inside, the three gallery spaces are laid out in sequence. Upon entry is Showroom A, which features a soffit ceiling and wide baseboards to evoke a residential space.

A second oculus punctures the ceiling, exposing wooden beams painted silver as a nod to the work of Californian architect Richard Neutra.

Steps up to an office space
Steps and a ramp lead up to an office space that’s also used for client meetings

The smallest gallery, Showroom B, is accessed through an open portal, and Showroom C is reached through a similar threshold.

With a ceiling over 15 feet (4.5 metres) tall, this gallery is used for displaying larger artworks and sculptures.

All three spaces feature oak floors that match those found in all of Phillips’ international locations.

“With the interplay of light and oak wood floors across the three subsequent showrooms, we were thinking about the cadence of an irregular enfilade,” said Chan. “Each of the three galleries has a distinct proportion that we wanted to leverage.”

Enclosed patio with grey-stained plywood walls
At the back of the building is a patio enclosed by grey-stained plywood walls

From Showroom C, a couple of steps and a ramp lead up to a small office used for client meetings.

At the back of the building is the covered patio, enclosed by walls made from plywood that was stained grey to match the exterior stucco.

Phillips LA entrance at night
Phillips Los Angeles opened in October 2022

The opening of Phillips Los Angeles follows over a decade of continual growth for the city’s arts scene, which has seen galleries like Hauser & Wirth and The Future Perfect set up shop, and an annual edition of the Frieze Art Fair introduced.

Formation Association is led by Chan and partner Grace U Oh. As well as completing a variety of institutional, residential and commercial projects, the studio has contributed several times to a program organised by the Architects for Animals charity that asks LA-based architects to design shelters for the city’s homeless cats.

The photography is by Eric Staudenmaier.


Project credits:

Design team: John K Chan, Nick Miuccio, Carlo ‘CJ’ Guzman, Jay Lee, Colin Jacobs
Structural engineer: Nous Engineering
MEP engineer: Engineous Group
Lighting designer: Fisher Marantz Stone
Landscape designer: Ochre

Reference

Thirdway transforms Georgian townhouse into women-only members’ club
CategoriesInterior Design

Thirdway transforms Georgian townhouse into women-only members’ club

American members’ club Chief has set up its first London outpost inside a centuries-old townhouse in Bloomsbury, with cosy interiors conceived by design studio Thirdway.

Established in 2019, Chief has locations in New York, Chicago, Los Angeles and San Francisco, where women working in senior leadership roles can connect, learn from industry peers and find ways to drive more women into positions of power.

Cheif's inaugural London members club occupies a Georgian townhouse
Thirdway has completed the Chief members’ club in London

When it came to designing the club’s first overseas branch, Thirdway was asked to maintain the homely aesthetic established across its US outposts while also speaking to the unique architecture and location of the townhouse.

“We wanted a mix of what felt like Chief but with a London stamp on it, while also being sympathetic to the age of the building and the local London area,” explained Alex Hodson, a senior designer at Thirdway.

Cheif's inaugural London members club occupies a Georgian townhouse
A gridded ceiling and leafy plants nod to the look of an English conservatory

The club occupies a Grade I-listed townhouse in Bloomsbury, which Thirdway extended by connecting it to an adjacent four-storey mews house via a glazed walkway, allowing enough space for all of Chief’s amenities.

Members enter via a forest-green reception area that’s anchored by a wooden desk.

Arched panelling fronts the table in a nod to the townhouse’s curved windows, while its fluted detailing references the grooves on the building’s original fireplaces.

Rich hues go on to appear in the club’s other rooms. In the bar, for instance, the drinks counter is clad with glossy, emerald-green tiles. Here, the arch motif also reappears in the form of the storage cabinets holding the bar’s glassware and wine bottles.

Cheif's inaugural London members club occupies a Georgian townhouse
Some of the club’s rooms feature wood-lined walls

Plump teal and mustard-yellow sofas were dotted throughout the sunroom on the lower-ground floor, alongside poufs covered with the same fabric that was used to upholster seats on London’s Piccadilly underground line in the 1990s.

To emulate the look of a traditional English conservatory, a white grid was installed across the ceiling while a number of leafy potted and hanging plants were dotted around the space.

Cheif's inaugural London members club occupies a Georgian townhouse
A grand piano takes centre stage in one of the rooms

Another events room on site was given a slightly more sophisticated feel with wood-lined walls and vermillion-red velvet seating.

Other women-only members’ clubs in London include Allbright in Mayfair, where the walls are exclusively covered with works by female artists.

All images are courtesy of Peter Ghobrial Photography.

Reference

Studio8 transforms 1930s Hangzhou villa into hotpot restaurant
CategoriesInterior Design

Studio8 transforms 1930s Hangzhou villa into hotpot restaurant

Promotion: Chinese architecture practice Studio8 has renovated the interior of a 1930s villa in Hangzhou, China, transforming it into a hotpot restaurant and cocktail bar that celebrates the building’s history.

The Gud restaurant and bar includes a roof terrace, dining space on the upper floors and bar on the ground floor.

The 496-square-metre space occupies a three-storey building that was built in 1939, as well as a later-built extension and the ground floor of an adjacent property.

Interior of the cocktail bar at Gud restaurant by Studio8
Antique hotpots are displayed throughout the interior

Although the villa had previously undergone a number of renovations, when designing the restaurant Studio8 aimed to maintain the building’s original features, including the street-facing facade.

Service areas, including the kitchen, restroom and staircase, are located in the extension and adjacent building, leaving the full space of the historic villa for restaurant dining and the cocktail bar.

Interior of the cocktail bar at Gud restaurant by Studio8
The cocktail bar features red velvet seating

The Gud restaurant specialises in hotpots, which lead Studio8 to study the culture of the cuisine and introduce aspects of it into the interior design, creating a “museum-like experience”.

The project’s design was informed by three stages of making and experiencing hotpots – the heat from the fire that cooks it, water as the main medium of the food, and the elevation of the flavour coming from the steam.

Studio8 used the themes of “heat, medium and elevation of flavour” to influence the function, materials, textures and light used in each space.

Antique hotpots at the Gud restaurant by Studio8
The restaurant interior was informed by hotpot cuisine

The cocktail bar on the ground floor of the historic villa was designed to be a lively space. It features a red floor, a fireplace, structural columns that display antique hotpots and red velvet sofas.

Part of the original brick wall was left exposed and a recessed mirrored ceiling at the perimeter of the room makes the space feel larger and more luxurious.

Restaurant at Gud by Studio8
The interior nods to the building’s history

“As the first element, heat is a fundamental design factor on the first floor, where human interactions were planned out accordingly,” said Studio8.

“The aim was to create a warmer and more welcoming space at the beginning of the hotpot experience, where people and friends meet first, have a cocktail and wait for everyone to arrive.”

Glass-brick niche in the Gud restaurant by Studio8
The restaurant features glass-brick niches

On the upper floor is the restaurant’s main dining area, which features glass-brick niches in the walls where windows used to be.

At the sides of the dining area, Studio8 opened up the ceiling to expose the wooden roof structure.

Private dining area at the Gud restaurant by Studio8
The third floor includes a private dining room

“After passing through the heated cocktail bar, comes the second element, water – the medium that reunites all elements,” said Studio8.

“Family and friends are seated together in groups around the round tables on the second floor for the food experience, a process that the architects relate to water reconstructing the atoms of the ingredients.”

Terrace at the Gud restaurant by Studio8
A roof terrace overlooks the city

The building’s original timber staircase was removed and a new enclosed staircase that connects the three floor levels was added in the patio area.

The staircase has double glazed U-shaped glass partitions along its floors with a “lighting system to represent the continuous energy flow transition”.

A terrace and private dining room are located on the third floor of the villa.

Staircase designed by Studio8
A new enclosed staircase that connects the three floor levels was added in the patio area.

“Here, the customers are reconnected with the city and able to look at it from different heights and angles, corresponding to the last element, steam, the elevation of taste,” said Studio8.

“The simply designed interior shows off the geometric shape of the attic, while benches on the roof allow customers to have a more exclusive interaction with the city.”

Metal staircase designed by Studio8
The staircase has double glazed U-shaped glass partitions along its floors

Studio8 is currently working on a number of renovation projects that aim to respect the history of the building, including the transformation of hotels and restaurants.

The photography is by Sven Zhang.

Partnership content

This article was written by Dezeen for Studio8 as part of a partnership. Find out more about Dezeen partnership content here.

Reference

Recompose human composting facility transforms bodies into soil
CategoriesInterior Design

Recompose human composting facility transforms bodies into soil

American startup Recompose has opened a funeral home in Seattle designed by architecture firm Olson Kundig, where human remains are composted and turned into a nutrient-rich soil that can nurture new plant life.

Set in a converted warehouse in the city’s SoDo district, the facility is one of the first to make use of a burgeoning practice known as natural organic reduction  – or human composting, which was legalised in the state of Washington in 2019.

This sees the body of the deceased placed on a bed of plant materials inside a stainless steel vessel, purpose-built to accelerate the natural process of decomposition.

Shrouded body in a black tunnel
Recompose has opened a human composting facility in Seattle. Above photo by Austin Wilson

Over the course of 60 days, their remains are converted into one cubic yard of fertile soil – enough to fill the bed of a pickup truck. Loved ones can then take this compost home and use it to nourish their garden, plant trees in memory of the deceased or donate it to a local conservation area.

The aim is to offer a less polluting alternative to cremation or burial, which are hugely emissions and resource intensive, and instead create a meaningful funeral practice that allows people to give back to nature.

“Clients have shared with us that the idea of their person becoming soil is comforting,” Recompose founder Katrina Spade told Dezeen.

“Growing new life out of that soil is profound and the small ritual of planting, using soil created from a loved one’s body, is so tangible.”

Composting vessel inside Recompose facility in Seattle designed by Olson Kundig
Remains are left to decompose in cylindrical stainless steel vessels

Recompose’s 19,500-square-foot flagship facility in Seattle accommodates an array of 31 cylindrical composting vessels, stacked inside a hexagonal steel framework.

This vertical construction helps to conserve space in a bid to overcome the land-use issue associated with traditional burial and make human composting feasible even in dense urban areas.

“Recompose can be thought of as the urban equivalent to natural burial – returning us to the earth without requiring lots of land,” said Spade, a trained architect who developed the vessels as part of a residency at Olson Kundig‘s Seattle studio.

Lobby of Recompose human composting funeral home
The building’s lobby brings in elements of nature including plants and wood

The building itself was designed in collaboration with the architecture studio to reimagine the experience of being in a funeral home, making the process more transparent and bringing in elements of nature instead of overt religious iconography.

In the spirit of regeneration, much of the warehouse’s original shell was preserved. Warm wooden flooring and a planted wall enliven the central lobby, while strips of green glass are inset into the walls to provide glimpses of the intimate ceremony space beyond.

Here, loved ones can participate in a “laying-in ceremony”, similar to a traditional funeral service.

Ceremony room of human composting facility in Seattle designed by Olson Kundig
Green glazing provides glimpses into the main ceremony room

“The Gathering Space has floor-to-ceiling coloured glass windows that let light in, similar to the way light filters between trees in a forest,” said Olson Kundig design principal Alan Maskin.

“In a way, Recompose is a funeral home turned inside-out. There’s a suggestion of transparency and openness about death – including the ability to see and understand the entire process – that’s very different from a traditional funeral home experience.”

Body being placed into transitional vessel in Recompose Seattle
At the end of the funeral service, the body is moved through a transitional vessel. Photo by Austin Wilson

During the ceremony, a simple wooden lectern allows the bereaved to share words about their loved ones while the body of the deceased is draped in a cotton shroud and presented on a dark green bed called a cradle.

Mimicking the ritual of throwing dirt on a casket, guests can place flowers and plant materials on their person, which will help their transformation into soil.

The funeral home also has dedicated rooms for those who want to perform more hands-on care for their deceased ahead of the ceremony by bathing the body or reciting prayers and songs.

At the end of the service, the cradle is moved through a so-called threshold vessel embedded into the wall and into the Greenhouse, where it will join the other vessels in the array.

“A tremendous amount of care was taken to consider the experience of the body,” Maskin said. “There’s even a bit of poetry inscribed along the inside of the transitional vessel used during ceremonies.”

“That poem isn’t for the living; it’s only visible inside the vessel.”

Array of composting vessels inside human composting facility in Seattle designed by Olson Kundig
On the other side is the Greenhouse – home to an array of 31 vessels

Each vessel in the array contains a mix of plant materials developed by Recompose that includes wood chips, straw and a cloverlike plant called alfalfa, with ratios adapted based on the person’s body and weight.

Over the course of 30 days, the natural microbes found in the plants and the body will break down the remains, with any unpleasant odours filtered out and fresh air – and sometimes moisture – pumped into the vessel, which is intermittently rotated to speed up decomposition.

At the end of this process, any remaining bone fragments are ground down using a cremulator and any medical implants are removed for recycling.

The remaining soil is placed in a curing bin to dry out for another two to six weeks before it can be collected by friends or family.

Body in cradle being pushed into human composting vessel at Recompose in Seattle
The body is deposited inside one of these vessels along with different plant materials

Unlike cremation, this process does not require huge amounts of energy and fossil fuels, Recompose says, while the carbon contained in the human body is sequestered in the soil rather than released into the atmosphere.

The process also forgoes the vast amounts of embalming chemicals and emissions-intensive materials like steel and concrete that are needed for burials.

In total, the process to “transform your loved one’s body into soil” saves around one metric ton of CO2 emissions per person compared to burial or cremation, Recompose claims.

Person holding a handful of dirt
Friends and family can collect the soil and use it as they wish. Photo by Austin Wilson

Since 2019, a number of US states have followed in Washington’s footsteps and legalised natural organic reduction, with New York joining Colorado, Oregon, Vermont and California last month.

This comes as people are increasingly becoming aware of the hidden environmental impact of the deathcare industry and moving towards alternative funeral practices from liquid cremation to burial pods that grow into trees.

“Members of the baby boomer generation have started experiencing the deaths of their parents and I think many are asking: was that the best we can do,” Spade said.

Exterior of Recompose human composting facility in Seattle
The facility is housed inside a converted warehouse in SoDo. Photo by Austin Wilson

“But what’s interesting is that it’s not only older folks,” she added.

“Over 25 per cent of our Precompose [prepayment plan] members are under 49. I think this is because the climate crisis has played a role, too. People are wondering why our funeral practices haven’t been considered when it comes to our carbon footprint.”

Recompose plans to expand into Colorado in 2023 and California in 2027, while rival company Earth Funeral has set its sights on Oregon.

The photography is by Mat Hayward unless otherwise stated.

Reference