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      Richard Parr Associates expands own office by converting 19th-century barn in the Cotswolds

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      A run-down barn that was once used for storing grain now houses additional office space for the Cotswolds-based staff of architecture practice Richard Parr Associates.The 95-square-metre workspace, which Richard Parr Associates has monikered Grain Loft Studio, is shortlisted in the small workspace interior of the year category in the 2020 Dezeen Awards.
      It’s situated amongst the green fields of Easter Park Farm in the Cotswolds, which was created as part of the Woodchester Park Estate in the middle of the 19th century.

      Top image: the Grain Loft Studio includes a wood burner. Above: Richard Parr’s office features a pitched Douglas fir roof
      An old hayloft, cowshed, bullpen and dairy barn on the farm had already been converted into office space for the practice, but as the number of employees has begun to steadily increase, they realised they were in need of extra room.

      The practice’s eponymous founder, Richard Parr, decided to make use of an abandoned barn.

      Parr’s office looks through to a laidback workroom for staff
      Parr’s office is up on the barn’s first floor in what was formerly a loft store for grain.
      After years of dilapidation, the practice could only save one of the room’s original Cotswold stone walls – the rest have been replaced with expansive panels of glazing that offer views of a nearby National Trust park and Parr’s own family home, which is also on the farm.

      The workroom boasts rubber flooring and black leather furnishings
      “It’s been a joy to extend our studio space, providing much needed flexible workspace for our team,” explained Parr, who has found using the Grain Loft Studio particularly handy during the coronavirus pandemic when many have been forced to work from home.
      “With views out onto the surrounding valleys, the new studio has provided solace whilst working remotely from the team.”

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      The room is topped by a pitched roof constructed from lime-washed beams of Douglas fir.
      Directly beneath is a 2.5-metre-wide glass table surrounded by aluminium-frame chairs, where team members can sit and work with Parr throughout the day.

      At the back of the workroom is a timber volume that houses a kitchenette
      A doorway looks through to an informal workroom that’s meant to have a darker, cosier feel.
      The floor is clad with black recycled-rubber tiles, while the ceiling is clad with textured wood-wool panels.
      One wall has been panelled with timber salvaged from a farmhouse in a neighbouring village that was once occupied by Soviet architect Berthold Lubetkin, which Parr hopes will act as a small homage to “the pioneer of British modernism”.
      In the corner of the room is a wood burner, in front of which a black leather sofa and armchairs have been placed. A kitchenette and small shower room are contained within a grooved timber volume towards the rear of the room.

      There’s a meeting area downstairs in the barn
      An industrial steel staircase leads down to the barn’s ground floor, which was previously just used as a cart bay but can now serve as a meeting room or breakout area.
      It’s simply dressed with a couple of curved bench seats that were carved from a single tree, and a white version of Finnish-American architect Eero Saarinen’s signature Tulip table.
      The practice preserved the space’s existing cobbled walls but has covered the floor in stable-block pavers rescued from another building on the farm.

      The exterior of the converted barn
      Richard Parr Associates was established in 2012 and works between offices in the Cotswolds and west London.
      The practice’s Grain Loft Studio will go head-to-head in the Dezeen Awards against projects such as 12 by Ortraum Architects, a music and ceramics studio that’s nestled in the back garden of a house in Helsinki.
      Photography is by Gilbert McCarragher.
      Project credits:
      Architect: Richard Parr AssociatesInteriors: Richard Parr AssociatesContractor: JM WestonFire engineer: Oculus

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      Atelier L2 creates modular wooden interiors for Ateliers des Capucins

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      Rennes studio Atelier L2 has installed 20 wooden boxes as modular units for shops, exhibitions and hospitality businesses inside Ateliers des Capucins, a covered square in a 19th-century arsenal in Brest, France.The Ateliers des Capucins has been shortlisted for a Dezeen Awards 2020 in the large workspace interior category.
      The studio’s brief was to design a number of shells in order to create an interior street with two floors inside the historical arsenal building, covering 5,000 square metres.

      Top: the project is located inside the 10,000 square-metres former arsenal. Above: Units with gabled roofs are slotted into the ceiling
      Atelier L2 used laminated veneer lumber (LVL) for the shells, which were designed to stand out against the metal structure and pitched glass roof of the 10,000 square-metres Ateliers des Capucins.

      Each wooden shell measures between 150 and 400 square metres, with some of the concept stores in the space using more than one.

      Some facades are as tall as 13 metres
      “In this way, the client would be able to find buyers who could convert each ‘box’ to complete the cultural and service offer,” Atelier L2 co-founder Pierre Lelièvre told Dezeen.
      The boxes are a permanent fixture of the Ateliers des Capucins – which functions as a large, covered market space – and can’t be moved.
      “Even though their appearance suggests it, the ‘boxes’ are absolutely fixed and cannot be moved under any circumstances,” Lelièvre said.
      “Their technical and structural complexity does not allow such flexibility. They are indeed equipped with all the necessary networks to host any kind of activity: exhibitions, restaurants, offices, breweries, co-working.”

      Laminated veneer lumber was used for the facades and floors
      The studio chose to use LVL made of spruce veneers for the structure of the facades and the floors, which span 10 to 14 metres, as it allowed them to create the units with as little impact on the existing building as possible.

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      “The entire design of the project was thought out with respect for natural resources,” Lelièvre explained.
      “The facing of the facades is made of spruce, the internal bracing uses gypsum boards and the insulation is made of wood wool. The floor boxes are ballasted with aggregates.”

      The wood stands out against the 19th-century building
      Windows were inserted into the facades of the wooden shells, to make them resemble many smaller houses inside the bigger building.
      The ceiling height of the huge hall space means some of the boxes have facades that reach as high as 13 metres, and gabled roofs that have been slotted into the ceiling.

      The units are used for retail spaces, offices and more
      “The use of wood was a way for us to stand out against the existing building, which is entirely made of stone and metal, while also giving an ephemeral side to our layout,” Lelièvre said.
      “We wanted to give the feeling that our project was simply set down in this historical and remarkable setting.”
      Atelier L2 is based in Rennes and was founded by Julie de Legge and Pierre Lelièvre.
      Also on the shortlist for the large workspace interior category are the monochrome interiors for KCC Office in a former factory, and The Audo hotel in Copenhagen that doubles as a showroom.

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      Old Spanish workshop converted into tactile family home by Nomos

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      Tactile bricks and pinewood partitions decorate the La Nave apartment, which Nomos has slotted into the concrete shell of a disused workshop in Madrid, Spain.La Nave was developed by Nomos as a family home for two of its partners, Ophélie Herranz and Paul Galindo, who head up its Spanish office.
      The project has since been shortlisted for apartment interior of the year at Dezeen Awards 2020.

      Wood and brick partitions divide the old workshop’s concrete shell
      La Nave was originally used as a large, open-plan printshop arranged around a structural concrete grid measuring 34 metres in length and 10 metres in depth.

      Nomos’ intervention retains this structure but converts its open layout into a continuous loop of living areas, arranged around enclosed private rooms.

      The new partitions are positioned at angles to the outer walls
      “La Nave is the transformation of an industrial space into a place for life, which takes place as a continuous sequence, with very little difference between work and family leisure,” said the studio, which also has offices in Geneva and Lisbon.
      “La Nave’s plan escapes any typological definition. It results from the search for new spatialities required by existing constraints.”

      Bricks and wood were used to warm the existing concrete structure
      Nomos’ initial plan for the apartment was to position the enclosed spaces and wet areas on the rear wall – opposite to the only facade with windows.
      However, La Nave’s existing plumbing is attached to the central concrete columns, meaning the wet areas had to be placed centrally too.

      The bedrooms and bathrooms are enclosed by the new partitions
      To achieve this while ensuring natural light could enter the depths of the apartment, Nomos positioned the wet areas and enclosed rooms in line with the central columns, but at a 45-degree angle to the outer walls.
      They are divided into two parts and set back from windows, making space either side and in between to ensuring light from the windows can pass through.

      Glazed bricks line the wet areas and bathrooms
      “The typological strategy started from the search for the optimal location of the service spaces,” Herranz told Dezeen.
      “The wet cores had to reach the downspouts, attached to the central pillars, but we wanted to move them towards the back of the space, to offer more light to the living spaces. We rotated them 45 degrees and explored the potential of the diagonal.”

      Original beams and brickwork add warmth to pared-back Madrid apartment

      The layout creates a continuous loop of shared living spaces around the perimeter of the apartment, which are used for work, play and dining.
      “We never thought of creating a large, open, loft-like space, but rather a sequence of well-defined spaces, which would give rise to multiple situations,” Herranz added.

      Bedrooms are positioned through the centre of the apartment
      By setting the private living spaces away from the windows, Nomos also made space for a “winter garden” along the window wall.
      This area doubles as a thermal buffer – a space that separates living areas from the outside to reduce dependence on artificial heating and cooling.

      The “winter garden” doubles as a thermal buffer
      The predominant material throughout the renovation is glazed brick, finished in white and cobalt blue, teamed with a pinewood framework and MDF panels.
      The materials were chosen by Nomos to complement the existing concrete structure while providing the space with a warmer and more homely atmosphere.

      Patterns are made with glazed and unglazed bricks
      “The qualities of traditional materials provide comfort and reinforce the idea of home, of domesticity, in contrast to the surrounding industrial space,” said Herranz.
      “The glazed bricks provide a note of brightness and colour typical of a more ornamental language.”

      A loop of living spaces wraps the central rooms
      The bricks were used to build most of the partitions, with their glazed sides lining bathrooms and kitchen and the unglazed faces exposed in the living rooms.
      Their glazed and unglazed sides are also alternated in places to create patterns.

      A kitchen aligns with old workshop’s existing plumbing
      The majority of furniture in the space is bespoke, designed by Nomos from pine wood specifically for La Nave.
      This includes a low-lying, circular table and coffee table made from pine, and terrazzo detailing made with old flooring that was removed from the workshop.
      Other projects that are shortlisted for apartment interior of the year at Dezeen Awards 2020 a sea-facing residence in Jaffa by Pitsou Kedem and a two-storey dwelling by Coffey Architects that is covered in thousands of wooden blocks.
      Photography is by Luis Asin.

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      Ritz & Ghougassian uses bricks and Australian wood inside Melbourne's Prior cafe

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      The rustic materiality of this Melbourne cafe designed by architecture studio Ritz & Ghougassian is meant to reflect the fuss-free dishes on the menu.Prior is situated along the lively high street of Melbourne’s Thornbury suburb, taking over a building that once served as an industrial printing house.

      Prior cafe occupies a building that was once a printing house
      When Ritz & Ghougassian were brought on board to develop the interiors of the cafe, it stripped back any decorative elements left behind from the old fit-out, only preserving the brick walls and eight-metre-high truss ceiling.

      “It was clear to us that we had to honour the original space by proposing an intervention that sat apart from the original framework of the building,” the studio’s co-founder, Jean-Paul Ghougassian, told Dezeen.

      Bricks cover the cafe’s floor and the base of the service bar
      The space now features just a handful of elements made from unfussy materials that reflect the simple “paddock-to-plate” ethos that Prior applies to its menu.
      Bricks run across the floor and form the base of the service bar that lies on one side of the room.

      Concrete and terrazzo furniture feature in Ritz&Ghougassian’s minimal cafe interior

      Apricot-hued concrete forms the upper half of the bar and the chunky ledge that runs around its outer side, providing a place for customers to rest beverages or snacks.
      The hot drinks menu is presented on a mirrored panel behind the bar. It stands beside a single shelf that displays a curated selection of wine or bags of coffee which are available to buy.

      Apricot-hued concrete forms the top of the service bar
      “Honest, elegant and refined flavours informed the built environment; by taking a reductive approach to the design both in materiality and form ultimately allowed the food to be the hero,” Ghougassian explained.
      “Rather than simply creating a slick new eatery, there’s a warmth and richness to the space, celebrating the unevenness and rough textures of the walls and floors.”

      Seating throughout the cafe is crafted from Australian Blackbutt wood
      Customers can alternatively dine at the black-steel counters that have been built into the cafe’s front windows or along the seating banquette that runs along the far side of the room, upholstered in chestnut-brown leather.
      The banquette faces onto a row of dining tables which, along with the cafe’s bench-style seats and stools, have been crafted from Australian Blackbutt wood.
      “Like much of our work, using materials that are locally sourced and manufactured is important to us – this brings about an authenticity and specificity to the design that isn’t easily replicated,” added Ghougassian.

      There’s also a brown-leather seating banquette
      At the centre of the floor plan is a box filled with timber logs and a wood burner that the studio hopes will serve as a comforting focal point of the cafe, especially during the chilly winter months.
      Surrounding walls and the ceiling were freshened up with a coat of white paint.

      A wood burner sits at the centre of the cafe
      Ritz & Ghougassian was founded in 2016 by Jean-Paul Ghougassian and Gilad Ritz. Prior isn’t the only cafe that the studio has designed in its home city of Melbourne – back in 2018 it completed Bentwood, which boasts brick-red interiors.
      In 2017, the studio also created Penta, a minimal cafe that features concrete, terrazzo and silver-metal surfaces.
      Photography is by Tom Ross.

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      KCC Design creates monochrome office for own studio in former factory space

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      KCC Design has completed the interior design for its own office in Shanghai, which features an exhibition space and 21 enclosed boxes for individual work in a subdued colour palette.The studio, which works in architecture and interior design as well as wayfinding, regional planning and lighting design, created the office in an old factory building that has been converted into office space.
      KCC Design designed its new office, which has been shortlisted for the Dezeen Awards 2020 in the large workspace interior category, to make a move away from open-plan working.

      Top: the KCC Office reception area. Above: the ground floor is taken up by an exhibition space
      “The most important thing is that we have been working in an open office working environment so far,” KCC Design principal and design director Marco De La Torre told Dezeen.

      “We thought it is problematic because more and more people no longer want this kind of working environment but a living environment,” he added.
      “After all, as a design company, we spend a longer time at the office, so we need to re-think how an office should be.”

      The studio wanted the office to be a “living environment”
      Though the studio was working from home in February due to the coronavirus pandemic, life in Shanghai returned to a sense of normalcy after March, De La Torre said, enabling it to come back to the office.
      “We are wearing masks for public transportation and public venues like cinemas, all other activities have returned to normality,” De La Torre said.

      On the first floor, 21 boxes function as more private workspaces
      The studio discussed how to combine ideas of “individual and independent thinking” with “collective and cooperation creating” for the design of its office.
      The solution was to divide the space into separate uses for separate floors. The ground floor of the office is the studio’s public area, which it calls its “living space”.
      This floor has meeting rooms and tea rooms for client meetings, as well as an exhibition space that can also host events.

      White and grey were the only colours used for the interior
      Upstairs on the first floor, the core office area has 21 enclosed boxes that are used as the studio’s main workspaces. They are designed to function as private work areas where team members can also feel at home.
      “This office design is for the people to feel ‘living’ here, not only as work display,” De La Torre said.

      Old nylon factory converted into “cathedral-like” office space

      KCC Design worked with a limited material and colour palette when designing the space. When it came to colour, the studio kept its office mainly white and grey, and said the reason behind its colour and material choices was simple.
      “Concrete and paint are the only two materials,” said De La Torre. “The reason for choosing such materials is their extreme plasticity. These inert materials also symbolise human wisdom and technology.”

      The office entrance features geometric shapes
      “They have no personality,” De La Torre explained. “As dead as an inorganic substance. This extreme quietness is what we need most in a noisy urban environment and an impetuous work environment.”
      “Of course, the white of the whole wall also has the meaning of white paper to the designer,” he added. “It represents the birth can be anything.”
      Describing interior and architectural design as a poetic, logical system, De La Torre said artificial space should be respected as an artefact.
      “Therefore, the space poetry of this office space is ‘we living here instead of working here now’,” he said. “And the logical principle of our interior is a ‘fluid and continuous public space’ and a ‘solid and independent private space’.”
      Many former factory spaces and warehouses have been turned into offices, including an old nylon factory in Arnhem that is now a “cathedral-like office space and a heritage building in Mumbai.

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      Old nylon factory converted into “cathedral-like” office space

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      HofmanDujardin and Schipper Bosch have inserted a steel frame into the expansive production hall of an old nylon factory in Arnhem to create the KB Building offices. The office is housed within one of several 1940s factories on a 90-hectare chemical-industry plant in the Netherlands, which local developer Schipper Bosch is transforming into a campus
      The post Old nylon factory converted into “cathedral-like” office space appeared first on Dezeen. More

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      Alice D'Andrea creates industrial coffee roastery in Vancouver steel foundry

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      Coffee roasting and tasting takes place in this industrial-style coffee shop in Vancouver, which local studio Alice D’Andrea has designed inside a historic factory building. Located in Vancouver’s Railtown neighbourhood, the space was built in 1923 as the Settlement Building, a steel foundry for manufacturing machinery parts, and then later used as a warehouse for lighting company Bocci.

      The roastery features existing industrial windows and ceiling beams
      It now forms the headquarters for speciality coffee company Pallet Coffee Roasters with space for team training, a tasting area, roastery operations, seating and merchandise.

      Douglas fir beams punctuate the ceiling, large, industrial-style windows bring natural light to the back of the building, and exposed concrete runs throughout, providing a nod to its history.

      Seating is set under a large skylight
      “The main goal for this project was to design a ‘destination’ for coffee lovers,” said Alice D’Andrea. “A place where customers could enjoy their coffee while being educated on the process and the passion that goes behind their product.”

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      The 7000-square-foot (650-square-metre) open space has been separated into different areas. To the rear of the space the roastery is furnished with a long table made of reclaimed fir, which is used for coffee tasting and team training.

      An L-shaped counter divides the open space
      An L-shaped coffee counter, patterned with black-stained oak planks in a herringbone pattern, forms the centre of the space. A gridded glass partition that echoes the former foundry’s industrial windows rises from the middle of the counter to offer glimpses of the production area at the rear.
      “The glass partition between the counter and the production leaves the view open on the production, on the machinery and the people working behind the scenes,” the studio said.

      Black-stained wood patterns the counter
      “Customers can enjoy their beverage while watching how raw beans from around the world turn into their favourite drink; a truly unique customer experience,” the studio added.
      The black volume is broken up by glass volumes that form display cabinets for pieces on sale and nooks for seating.

      The roastery occupies the rear
      Large copper pendant lights hang overheard to complement the warm hues of the wooden ceiling beams. Other copper detailing can be found in the counter kick and shelving.
      Customers can sip their coffee on a seating alcove under a huge skylight, or on wooden benches either side of large planters and stools. Decorative elements are provided by coffee bags piled atop pallets, and pops of greenery.

      Copper details add warmth
      Pallet Coffee Roasters HQ’s entrance has white-painted walls, greenery and pendant lights from Bocci – the building’s previous owner.
      Other coffee roasteries on Dezeen include Pilot Coffee roasting warehouse in Toronto that Williamson Williamson recently extended with offices and the Starbucks Reserve Roastery in Tokyo designed by Kengo Kuma.
      Photography is by Andrew Fyfe.

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      Worrell Yeung designs industrial artist studios in historic Brooklyn factory buildings

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      New York architecture studio Worrell Yeung has transformed historic factory buildings in Brooklyn Navy Yard into multi-use workspaces and artist studios featuring time-worn brick walls and weathered beams and columns.The adaptive reuse project involved remodelling 77 Washington, a six-storey former masonry factory built in the 1920s, and four other buildings situated around on the property.

      It is located at the corner of Washington Avenue and Park Avenue in Brooklyn Navy Yard, a former shipbuilding complex between the Dumbo and Williamsburg neighbourhoods undergoing regeneration.

      Worrell Yeung drew from the area’s historic architecture and the design of early 20th-century New York warehouses to update the 38,000-square-foot (3530.3-square-metre) multi-use art and office space.

      “The existing buildings were so rich with history and layered with texture that we wanted our design to highlight these found conditions while also updating to accommodate new uses and new programs,” said co-principal Max Worrell.

      A six-storey brick structure occupies the centre of the property, with a cluster of three one-storey buildings situated on its south end and a single garage unit located on the opposite side.
      On the main building the brick facade was left untouched, while the sides of the building are painted white.

      Storefronts situated along the street level were restored to house artist and photography studios. Each of the exteriors is painted dark blue and is fronted with large windows that flood natural light into the interiors.
      The low-lying structures are connected by a central courtyard filled with gravel and plants laid out by landscape firm Michael van Valkenburgh Associates. To form the outdoor patio and bike storage area the studio removed a roof that previously covered the space.

      In the garden three solid oak logs form a series of benches. Over the past decade a local shipbuilder gathered the reclaimed wood used for the seating following a number of storms in the region.
      Inside the materials and patterns are evocative of old Brooklyn factories and warehouses. The floors are covered with concrete and metal diamond plates.

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      Exposed brick walls coated with layers of old paint pair with structural wood columns and beams in the open-plan spaces, which include meeting rooms, a small kitchenette and a large lobby area.
      Brooklyn Navy Yard woodworker Bien Hecho repurposed timber floor joists from the building into a custom-built conference table and a bench.

      Steel grids installed across the elevator shaft windows are visible from the building’s exterior and match the pattern on the translucent glass and plywood walls located in the lobby.
      “These interventions are a nod to the aesthetics of storied factory buildings and Navy Yard warehouses, which historically featured grids in their sash windows, fencing, and ship docks,” added co-principal Jejon Yeung.

      Worrell Yeung was founded in 2014 by Max Worrell and Jejon Yeung. The studio has completed a number of renovation projects in New York City, including a loft in Chelsea and an apartment inside Dumbo’s Clocktower building.

      Other office projects in Brooklyn Navy Yard are a space for tech entrepreneurs located in a former warehouse renovated by New York developer Macro Sea and Marvel Architects and a new 16-storey co-working building by S9 Architecture.
      Photography is by Naho Kubota.

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