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      Charlie Luxton Design reworks Oxfordshire farmhouse to create Studio Richter Mahr

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      Composer Max Richter and visual artist Yulia Mahr have set up a multimedia production studio inside a former farmhouse in Oxfordshire, which Charlie Luxton Design has updated with more sustainable features.

      Bordered by 31 acres of forested woodland, Studio Richter Mahr will serve as a space where both emerging and established creatives can come to develop their work.
      Studio Richter Mahr is a multimedia production studio in a former farmhouseRichter and Mahr – who are collaborators as well as a couple – first had the idea for the site some 20 years ago.
      “Studio Richter Mahr is about dreaming the future into existence, a better way to live and work,” said Mahr. “It’s about forward motion and borderless creativity. It’s about offering time and opportunities for people to really experiment.”
      The studio occupies a farm building that had already been modernised to a decent standard but needed adjusting to reduce the operational carbon footprint of the new amenities on site. Local practice Charlie Luxton Design was assigned to the task.

      New skylights allow natural light to flood the facility’s interiorThe building’s roof now accommodates solar panels that provide electricity to the site and several skylights to reduce the need for artificial lighting.
      To keep the building warm, air-source heat pumps were installed alongside a ventilation system powered using recovered heat.
      A large picture window features in the orchestral recording studioCharlie Luxton Design preserved the building’s original steel framework to conserve its embodied carbon and celebrate the site’s agricultural past.
      The existing concrete floor slab was also retained and strengthened in some areas.
      Inside, the studio houses a series of state-of-the-art creative spaces devised with the help of sound specialists Level Acoustics and Studio Creations. This includes a video editing suite, programming room, art studios and a Dolby Atmos sound mixing room alongside an exhibition area and a cafe that creates dishes from produce grown on-site.

      Studio Bua transforms derelict Icelandic farm building into artist’s studio

      The plan culminates in a spacious orchestral recording room fronted by a huge picture window that offers uninterrupted views across the rural landscape.
      Charlie Luxton Design applied a restrained material palette throughout the interior.
      Most of the walls were washed with textured lime plaster or overlaid with Dinesen oak boards while the building’s exterior was clad with simple black metal to contrast the surrounding greenery.
      “The brief was always to be very simple, using quality materials,” founder Charlie Luxton told Dezeen.
      Many of the studio’s rooms are clad with timberGoing forward, Richter and Mahr plan to add more amenities including an on-site creche with the aim of hosting artist residencies and composer labs.
      This isn’t the first time a farm building has been repurposed for creative pursuits. Last year, Studio Bua converted a derelict Icelandic barn into an artist’s studio and holiday home.
      The workspace sits inside a double-height gabled volume that was erected within the site’s existing time-worn walls.
      The photography is by Lorenzo Zandri.

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      Artchimboldi Menorca is a work retreat inside an abandoned girls' school

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      Hospitality company Artchimboldi and Spanish architect Emma Martí have teamed up to transform a forgotten girls’ school in Menorca into a bright and contemporary retreat for professionals.

      Established by Anna Truyol in 2007, Artchimboldi provides design-focused spaces where businesses can host meetings or team-building sessions.
      Artchimboldi Menorca’s ground floor has a living and dining spaceThe company already has two locations – a pair of modernist apartments in Barcelona – but has now opened a third, larger site in Menorca that can be used for corporate retreats.
      “In designing Artchimboldi Menorca, I wanted to transfer everything I have been able to observe and witness from my experience of welcoming all kinds of companies to the spaces in Barcelona,” explained Truyol.
      “Menorca retains its authenticity, has a very close and accessible nature, and brings a very different rhythm than the city.”

      The central table can be rearranged to suit different work and dining set-upsArtchimboldi Menora occupies an old girls’ school in Sant Lluís, a quaint village in the southeast of the island.
      The school was constructed in 1900 but was eventually abandoned, leaving the interior in less-than-ideal condition. Truyol brought in Martí, a local architect, to carry out a revamp.
      Guests can write down ideas on a four-by-four metre slate boardAlthough the building’s roof had to be completely rebuilt, insulated and waterproofed, Truyol and Marti took a light touch with the rest of the renovation works in order to highlight “the history, experiences and soul of the space”.
      The building’s original marés stone walls were preserved and freshened up with a coat of white paint, and many of its timber ceiling beams were left in place.
      Seating poufs and a wood burner appear in the lounge areaAn airy living and dining area occupies the first floor. At its heart is a custom-made table made of lacquered wood, which can be easily reconfigured into different formats for group meals, meetings or workshops.
      Beyond the table is a cosy lounge that features amorphous grey seating poufs and a wood burner with a four-metre-high flue that accentuates the height of the room.

      The Olive Houses are off-grid retreats hidden in Mallorca’s mountains

      In a nod to the building’s past, Tyrol and Marti have also included a large antique bookcase and a schoolroom-style slate board, where guests can scribble down any thoughts and ideas.
      At the rear of the room, timber-framed doors lead out onto a gravel patio with a micro cement pool.
      The patio features a micro cement poolGuests can catch some rest on the building’s first level, which much like the ground floor has white-painted stone walls. But here, polished concrete flooring is replaced with bold chequerboard tiles.
      Pre-existing partition walls were knocked through to make way for a sequence of boxy Flanders-pine sleeping pods.
      Each one is fronted by a linen curtain that, when drawn back, reveals a comfy woollen futon.
      Flanders-pine sleeping pods were incorporated on the building’s first floorSlender black ladders grant access to the top of the pods, where guests can relax during the day. Alternatively, there is a small seating area dressed with a grey sofa and woven rugs.
      Personal belongings can be stored underneath the pods or in the bespoke sage-coloured shelving unit that sits at the room’s periphery.
      Additional sleeping pods can be found in the building’s loft.
      Ladders allow guests to sit and relax on top of the podsOther retreats on Spain’s picturesque Balearic islands include The Olive Houses, a pair of off-grid dwellings in Mallorca where architects, writers and artists can work uninterrupted.
      The two buildings are minimally finished and rendered with stucco that complements the surrounding olive trees.
      The photography is by Pol Viladoms.
      Project credits:
      Design: Anna Truyol and Emma Martí ArquitecturaTechnical architecture: Manel Alzina SintesDeveloper: ArtchimboldiConstruction company: Construcciones Virfin SLCarpentry: Biniarroca SLCollaborators: Cristina Pons (North Agent)

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      Konishi Gaffney converts 1950s garage into artist's studio with a sense of “civic grandeur”

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      Architecture studio Konishi Gaffney has overhauled a 1950s garage in an affluent Edinburgh suburb, adding a rhythmic facade made up of wooden battens.

      The Scottish studio was challenged with turning the existing concrete garage into a functional artist’s studio, while being sensitive to the existing Georgian property in The Grange.
      The converted garage sits beside the original stone Georgian houseKonishi Gaffney devised a scheme that involved filling in the existing garage door, raising the structure’s roof to match the height of the house’s ground floor and incorporating the property’s side gate into the facade.
      These changes unified the structure’s appearance from the road creating a sense of contemporary “civic grandeur”, as well as facilitating secure side access to the back garden.
      The grid of battens frame a window and conceal a side gate”As a practice we’ve been exploring ways of expressing the structure of cladding in projects,” said Konishi Gaffney.

      “We started by setting up the vertical timber battens and horizontal cladding in a rhythm of fins across the facade.”
      Windows and skylights allow plenty of natural light to enter the studioTimber was selected for its affordability, sustainability and its capacity to weather appealingly.
      The battens were carefully orientated to allow water to drain off them and prevent water from pooling, as well as to catch light and form interesting shadows across the facade.

      Konishi Gaffney repurposes church into versatile community hub

      The existing structure was insulated and the walls and ceiling punctuated by two aluminium clad windows and a skylight, providing the studio space with ample natural light for the artist to work in during all seasons.
      The creative function of the structure’s interior is referenced in the facade, which was intended to read “like a musical score,” and “continue beyond, separated from the house, like a stage-front.” according to the architects.
      Wooden elements feature in the studio’s interior as well as on its exteriorThe wooden composition of the frontage continues on into the garage’s interior, which has a ceiling clad in dark stained wood with protruding beams.
      Other garage-related projects featured on Dezeen include an orange-painted timber-framed garage extension by McCloy + Muchemwa and a garage in Amsterdam that was transformed into a family home by Barde + VanVoltt.
      The photography is by ZAC and ZAC.
      Project credits:
      Architect: Konishi Gaffney ArchitectsStructural engineer: EntuitiveJoiner: Andrew MacdonaldCladding supplier: RusswoodWindows: VelfacPhotographer: ZAC and ZAC

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      Konishi Gaffney repurposes church into versatile community hub

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      Timber cladding features in this church in Edinburgh, which has been converted into a community centre by Scottish architecture firm Konishi Gaffney.

      The Greyfriars Charteris Centre now contains a flexible workspace, community hub, events spaces and a non-denominational sanctuary.
      The new link building unifies the complex of early 20th century buildingsThe church was used a place of worship from its opening in 1912 until 2013, reopening in 2016 as the Greyfriars Charteris Centre. With its change of use came the need for an overhaul of its circulation and accessibility, as well as a clear point of entry.
      Konishi Gaffney was challenged with transforming the perception of the church from a closed-off, imposing historic building to an inclusive space to be used by all members of the surrounding area’s diverse community.
      The new entryway provides a definite point of access for usersThe studio’s design aims to physically and aesthetically unify the collection of buildings that had been gradually acquired over time while being sensitive to the historic fabric of the buildings.

      The structure was opened up at street level by extending the length of the existing lancet windows, allowing passers-by to see the activities going on inside and encourage participation.
      The use of terrazzo and timber fins provides contrast to existing stone buildingsA rational entryway was created by slotting a timber link building between the church and the neighbouring office building.
      This is distinguished from the original stone buildings by its facade, which features terrazzo slabs on the ground floor level as a contemporary reference to the rusticated bases of the city’s Georgian buildings.
      The geometric motif is visible throughout the interiorRelief patterns provide further texture to the white terrazzo and were designed in collaboration with artist Steven Blench of local plastering company Chalk Plaster.
      Higher up the frontage, overlaid grids of timber fins add a linear dimension to the terrazzo and, on the second floor, contain a floor-to-ceiling window.
      The atrium creates circulation between all areasThe triple-height, top-lit atrium contains reception and lobby areas and houses a lift for easy access to all areas of the complex.
      An open-plan co-working area, punctuated by structural columns, and two screened-off meeting rooms occupy the lower floor.

      Max Lamb crafts minimalist altar for St John Chrysostom Church

      A wide staggered staircase with integrated seating allows users to sit and collaborate and connects the lower floor co-working areas with the lobby, as well as providing access to the main church hall above.
      The former nave acts as a function room, facilitated by its open floor and unobstructed high ceiling. Original features including ceiling details, crucifix and masonry work remain.
      A wide staircase facilitates easy movement between floorsA six-metre-tall screen inserted into an existing pointed arch sections off the main hall from the ‘all faiths and none’ contemplation area above the stairway, which is lit by a large pointed arch window at the end of the space.
      The Greyfriars Charteris Centre’s interior is unified by the use of American maple and birch plywood joinery combined with white plaster.
      The original church hall is lit by natural and energy saving lightingThis neutral palette ties in with features of the existing structure, such as the main hall’s vaulted ceiling, which was stripped back to its original pine colour from a dark mahogany stain using a soda blasting technique.
      The materials were chosen to keep the interior light and easy to navigate while tying in the new subdivided areas with the original building. Double glazing and new interior lighting was added throughout.
      Bespoke joinery is harmonious with historic featuresImprovements were also made to the building’s environmental performance, with insulation fitted throughout as well as the installation of a more efficient heating system, double glazing, low-energy LED lights and solar panels.
      Other church conversions featured on Dezeen include a church in Los Angeles that was transformed into an events and co-working space by by Francesca de la Fuente and Working Holiday Studio, and a restaurant in London that sits inside a former church by Michaelis Boyd.
      The photography is by Nanne Springer.
      Project credits:
      Client: Greyfriars Charteris CentreArchitect: Konishi Gaffney Architects: Kieran Gaffney, Adam Williams, Ivan Fraile-Gisbert, Dana Cherepkova and Dee FarrellStructural engineer: Entuitive / Forshaw GauldM&E: Irons Foulner Consulting EngineersQS: Thomson GrayOther design consultants: Francis Milloy (lighting design), Chalk Plaster (sculptural collaboration) and Old School Fabrications (joinery)Main contractor: SJS Property ServicesSpecialist subcontractors: Gray & Dick (glazing), Cambridge Architectural Precast (cladding) and Hall & Tawse (windows and doors)

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      The Africa Centre finds new home inside former office building in London

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      A lacklustre office building in Southwark has undergone a vibrant makeover to become The Africa Centre, designed by architecture studio Freehaus.

      The Africa Centre first opened in Covent Garden in 1964 as a “home-away-from-home” for the African diaspora in London, where people could meet, connect and enjoy cultural events together.
      After closing its doors to the public in 2013, the institution now occupies a former office building on Southwark’s Great Suffolk Street.
      The Africa Centre takes over a former office blockThe redesign of the building was appointed to Shoreditch-based studio Freehaus, which sought to create an interior that reflects the African continent’s rich array of cultures and traditions.
      To establish the key ideas and themes that would underpin the centre’s interior scheme, Freehaus embarked on a thorough research process.

      A reception was created at ground level to welcome guestsKey points of reference were the work of British-Ghanian architect David Adjaye, Burkinabé architect Diébédo Francis Kére, as well as projects by Niger-based studio Atelier Masōmī.
      The studio also visited other cultural buildings and members clubs around London to pick up inspiration.
      There’s also a pan-African restaurant called Tatale on the ground floor”The key to the brief was for The Africa Centre’s new headquarters to be unmistakably African,” explained Jonathan Hagos, co-director of Freehaus.
      “Given the breadth of diversity on the continent and among the diaspora, we were keen to avoid stereotypes and well-trodden aesthetic tropes.”

      Sam Jacob Studio adds glass-tube entrance to London’s V&A museum

      “At the same time, we wanted to avoid continent-sweeping generalisations – ‘Africa isn’t a country’ is a familiar response, often born of frustration at the dismissive understanding of the breadth in peoples, cultures and traditions that span the African continent,” he added.
      “We wanted to turn this misnomer into a strength,” he continued, “and envisage what an embassy for a continent might look like in the 21st century; a space that demonstrates what connects us and binds us to one another, while celebrating the dynamism of the continent.”
      Latticed banquettes and wooden tables decorate the restaurant’s interiorWith the help of engineers Price & Myers, Freehaus opened up the ground floor of the building to make way for two new entrances.
      One of the doorways opens onto the buzzy Great Suffolk Street, while the other connects the rear of the building to a couple of converted railway arches that The Africa Centre already used for events.
      Clay-plaster walls feature throughout the building, including the barThe ground floor also now accommodates a reception and pan-African restaurant Tatale. The dining space has been decked out with lattice-back banquettes, wooden tables and vibrant pendant lamps that contrast the neutral clay-plaster walls.
      Upstairs on the first floor is a bar and lounge that features patterned armchairs and a large, curved drinks counter clad with relief tiles. The following second floor contains an event space and a gallery.
      The bar is dressed with clusters of patterned furnitureThere are a further two floors in the building that, once funding is obtained, will be transformed into a learning facility and incubator for budding Afro-centric businesses.
      The extra funding will also go towards adding an ornamental screen to the centre’s black-painted facade, which will echo the ornate mashrabiya screens seen in north African architecture.
      A gallery can be found on the building’s second floorA few London cultural spots have recently undergone an update; architecture practice Sam Jacobs Studio has added a contemporary ribbed-glass entrance to the Grade I-listed V&A museum.
      Haworth Tompkins has also created a chainmail-shrouded pavilion to connect two performance spaces belonging to immersive theatre company Punchdrunk.
      The photography is by Taran Wilkhu.

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      Cells in former Berlin prison turned into guest rooms for hotel Wilmina

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      German practice Grüntuch Ernst Architects has converted an abandoned women’s prison and courthouse in Berlin into a “tranquil” hotel.

      Called Wilmina, the hotel occupies a duo of listed 19th-century structures in Charlottenburg that had been forgotten for decades prior to their renovation.
      Grüntuch Ernst Architects has converted a prison into the Wilmina hotelThe former court, which sits at the entrance on Kantstraße, accommodates the hotel’s reception as well as a temporary gallery called Amtsalon.
      An extension housing Wilmina’s restaurant connects the courthouse to the prison’s U-shaped cell block, which fits 44 guest rooms across five levels including a new penthouse floor at the top.
      Grüntuch Ernst Architects also added a roof terrace above the penthouse alongside a library, bar, spa and gym.

      Guest rooms are arranged on narrow galleries around the atriumInteriors were designed to respect the buildings’ existing architecture and reveal traces of their former use.
      “The process involved reversing the spatial configuration and its meaning so that an anti-social space can become an inviting place,” said the architecture firm, which was founded by husband-wife duo Armand Grüntuch and Almut Grüntuch-Ernst in 1991.
      “Through sensitive interventions with deliberate openings, build-ups, superimpositions, relocations and penetrations, the existing structures were expanded, connected and reprogrammed.”
      The rooms occupy the prison’s former cellsVisitors enter the Wilmina via a bright lobby and journey deeper into the hotel through a sequence of courtyards, passages and rooms that become increasingly private.
      In the hotel proper, narrow galleries with wrought-iron balustrades are wrapped around a central atrium, leading to the guest rooms that were set up in the former prison cells.
      Windows were enlarged to offer views into the courtyardA lighting installation with glass pendants is suspended from the ceiling of the atrium to emphasise its height.
      Although no two guest rooms are exactly the same, all of them are finished in light colours, soft textures and warm, tactile materials to create a soothing ambience.

      EPR Architects transforms historic prison into NoMad London luxury hotel

      Where possible, the cells’ small high windows were enlarged to provide views into the main courtyard. But their prison bars remain intact to remind visitors of the building’s history.
      The new penthouse level features floor-to-ceiling windows that offer views down across the complex and its gardens. The new rooms are designed to be minimalist, clear and calm, with fine metal chain curtains that shimmer in the breeze.
      Minimalist bathrooms blend in with the larger interior schemeAt the centre of the site sits the hotel’s restaurant Lovis in an extension constructed using bricks that were removed elsewhere during the prison’s transformation.
      The eatery occupies the site of the former lock yard, its old gates now replaced with large windows providing views of a small enclosed garden with rare ferns, vines, climbing plants and an old birch tree.
      The hotel occupies a U-shaped red-brick cell block”The unique location and the detailed, sensitive transformation make the forgotten place a special experience in Berlin,” said Grüntuch Ernst Architects.
      “Wilmina is a place of discoveries, of surprising visual links, ambiguous layers of space and traces of the past. Wilmina is also a place of natural tranquillity, relaxation and comfort – an oasis in the middle of the city.”
      An extension formed from reclaimed bricks houses the Lovis restaurantMeanwhile in London, EPR Architects and interior design firm Roman and Williams recently transformed the former Bow Street Magistrates Court and Police Station in Covent Garden into the first overseas outpost from American hotel brand NoMad.
      The photography is by Patricia Parinejad.

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      Holloway Li transforms Munich office building into Wunderlocke hotel

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      Wassily Kandinsky’s abstract paintings influenced the colourful yet understated interiors that design studio Holloway Li has created inside the Locke hotel in Munich.

      The aparthotel, called Wunderlocke, contains 360 serviced studio apartments and is situated in Munich’s Obersendling district, taking over an office building that previously belonged to German tech company Siemens.
      A timber desk anchors Wunderlocke’s receptionLondon-based Holloway Li aimed to celebrate the building’s raw structure and reveal its “inner voice”, avoiding a more traditional “material intensive” approach to retrofitting.
      This decision was chiefly informed by the work of 20th-century Russian painter Wassily Kandinsky – a pioneer of abstract art who spent a significant portion of his career in Munich.
      Adjacent to the reception is a co-working area”Kandinsky’s work explores how we can develop a closer relationship to nature through abstraction, rather than through more figurative approaches favoured at the time,” explained Holloway Li.

      “He believed that by connecting with the ‘innerer klang’ (inner voice) of things, an artist could reveal the natural essence of objects and materials.”
      Teal-coloured leather runs around the edge of the bar counterIn line with this idea, the studio stripped back the building to its concrete shell and added a carefully curated selection of furnishings using natural colours and materials where possible.
      At the heart of the ground-floor reception is a curved timber desk inset with panels of wheat-coloured carpet, which were also used to wrap the lower half of the room’s structural columns.
      Yellow and red furnishings bring a burst of colour to the barBeyond the reception is an informal co-working area dressed with plush sea-green sofas and communal timber desks.
      Holloway Li placed leafy potted plants around the periphery of the room and along the trellis-style shelves, creating the impression that the nearby Grünwald forest has “grown into and occupied” the interior.

      Fettle designs Schwan Locke Hotel in homage to early German modernism

      This floor of the Wunderlocke hotel also houses a drinks bar, with the lip of its countertop upholstered in supple teal-coloured leather to encourage guests to get comfortable and hang around for longer.
      Mustard-yellow tub chairs and a red seating banquette provide extra pops of colour.
      The building’s terrazzo staircase dates back to the 1960sThe upper floors of the hotel can be reached via a terrazzo staircase, which dates back to the 1960s but was updated with a stainless steel handrail.
      Painted in natural blue and green hues, each guest suite is designed to function as a small studio apartment with its own lounge area and kitchenette.
      Guest suites are decked out in shades of blue and greenIf guests don’t want to cook in their room, they have the option of eating at Mural Farmhouse – a group of five food and drinks venues spread across seven floors of the Wunderlocke building.
      Run by the founders of Munich’s Michelin-starred restaurant Mural, the complex encompasses an all-day restaurant, a wine bar, cocktail bar, coffee shop and an upscale eatery.
      All of the venues follow a farm-to-table ethos, making use of hand-picked herbs and vegetables from the hotel’s rooftop farm, which offers views over the Bavarian Alps.
      Each suite comes complete with a lounge and kitchenetteWunderlocke is the second Munich outpost from British aparthotel chain Locke. The first, called Schwan Locke, pays homage to early German modernism and features a colour palette informed by the work of Mies van der Rohe.
      Holloway Li was previously tasked with designing Locke’s location in the London district of Bermondsey, which evokes sunny California deserts.
      The photography is by Ed Dabney.

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      Child Studio transforms 19th-century London townhouse into Cubitts eyewear store

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      London practice Child Studio has created an “intimate and domestic atmosphere” inside this store by local eyewear brand Cubitts, which occupies a townhouse in Belgravia.

      Taking over the building’s basement and ground floor, the shop was designed to draw on both the modernist aesthetic of Cubitts’ frames and the history of Belgravia.
      Cubitts Belgravia has a front room with a cast iron fireplace (top and above)The central London neighbourhood was first established in the 1830s in line with plans by Georgian master builder Thomas Cubitt, who also gave the eyewear brand its name.
      “It was important for us to build a layered narrative for this project and to connect the townhouse architecture with the modernist ethos of the brand,” said Child Studio founders Alexy Kos and Che Huang.
      The store’s display stands are designed to look like room dividersThe studio reinstated many of the building’s Georgian design features, which had disappeared over years of renovation works.

      The original wooden floorboards were uncovered and restored, while the walls were painted a chalky yellow hue that was typical of the period.
      Most of the doorways were either extended to reach three metres in height or adorned with ornate architraves that complement the interior’s wall mouldings and cornices.
      Some of the doorways reach three metres in heightIn the store’s front room, the studio installed a cast iron fireplace that is meant to foster an “intimate and domestic atmosphere”.
      “We imagined a contemporary interpretation of a classic drawing room – an elegant living room where guests may be welcomed and entertained,” explained the studio.
      “We were particularly inspired by the pioneering designer Eileen Gray, who lived in this part of London in the early years of her career in the 1900s.”

      Child Studio transforms 60s London post office into Maido sushi restaurant

      On the other side of the space is a custom concertina display stand that’s meant to resemble a traditional room divider.
      This stand is lined with creamy linen-like wallpaper while another stand at the rear of the store was crafted from mahogany and finished with brass edging.
      Domestic decorative items like lamps and armchairs were placed throughout the storeOther homely design features like mirrors and upholstered armchairs were dotted throughout the store as decoration.
      There are also a number of antique light fixtures including Gray’s domed Jumo lamp and a golden leaf-shaped desk light by 1970s Italian designer Tommaso Barbi.
      This includes a leaf-like brass lamp by Italian designer Tommaso BarbiChild Studio has designed several of Cubitts’ eyewear stores across the UK.
      Among them is a branch in Leeds that takes cues from different design periods through history and an outpost in London’s Soho, which draws inspiration from the neighbourhood’s infamous sex shops.
      The photography is by Felix Speller.

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