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      Chipboard and recycled denim define spaces inside Microloft in Melbourne

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      Australian architecture practice Studio Edwards has completed an exercise in contemporary small-space living with this 24-square-metre micro apartment in Melbourne’s Fitzroy district.

      The clients, a young couple, approached Studio Edwards to remodel the tiny studio apartment on the top floor of a 1980s apartment block.
      Microloft is a 24-square-metre apartment in Melbourne”They asked for a home that felt unified and clutter-free, with ample storage, an efficient kitchen with space for cooking and dining, a comfortable lounge and quiet sleeping zones,” founder Ben Edwards told Dezeen.
      “Microloft provides a solution for inner-city living that navigates the constraints of limited space and ageing housing stock through an interior that provides the clients with a functional and coherent dwelling.”
      Aluminium was used to form kitchen counters and shelvesRather than using partitions or walls, spaces are defined by custom furniture pieces that provide visual connections.

      A horizontal raw aluminium surface forms angled countertops in both the kitchen and dining area before extending through an existing double archway into the sleeping area beyond.
      Chipboard forms several other storage units throughout Micoloft”Angled elements act in a similar way to room dividers, nothing extends higher than the datum line, helping the space to remain open,” said Edwards.
      “The kitchen melds seamlessly into a dining space via the angled countertop, while triangular storage shelves make use of the corners of the room.”

      Studio Edwards conceals “jewel-like” eyewear store behind perforated aluminium facade

      The angular wedge shape of the aluminium counters is mirrored in a wall-mounted console and a custom-made sofa with bookshelves integrated into its base, both made from oriented strand board (OSB).
      Above the datum line, one wall is clad in grey mirrored panels to make the apartment appear larger while creating a visual link to the grey-painted exposed brick walls and the heavily patinated concrete floor.
      The bed sits on a raised chipboard plinth to maximise bedroom storage, while the sliding door of the wardrobe, as well as the apartment’s front door, are wrapped in recycled denim to provide further textural interest as well as acoustic softening.
      Among them is the wardrobe in the bedroom”Use of raw aluminium surfaces, along with the OSB plinth that elevates the bed, provide creative storage solutions while delivering refined aesthetic appeal,” said Edwards.
      Simple IKEA stools were customised to fit in with the apartment, with a bedside stool wrapped in recycled denim to further soften the acoustics in this space.
      In the dining area, the same stools were extended with aluminium legs to create high seats for bench-top dining.
      A recycled denim panel forms the wardrobe’s sliding doorMicro homes are among a number of solutions being explored by architects and interior designers in response to Melbourne’s worsening housing crisis, as the city saw record rent increases last year.
      Others have explored creating multi-generational homes where family members can split both spaces and costs, as seen in this house on a narrow infill site by Matt Gibson and this adaptable suburban home by Austin Maynard Architects.
      Maynard also recently self-funded the construction of an “ethical housing” block in inner-city Melbourne, accommodating 20 low-cost, eco-conscious apartments with enough room for young families.
      The photography is by Peter Bennetts.

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      Design Theory updates mid-century coastal home in Perth

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      In the City Beach suburb of Perth in Western Australia, interiors studio Design Theory has updated a tired house from the 1960s while remaining true to the rich palette of natural materials in the original design.

      The young client wanted a home where she could entertain friends and live with her dogs in a durable, easy-to-clean, pet-proof home with a reworked plan making space for three bedrooms and two bathrooms.
      Design Theory has renovated a 1960s house in Perth”The brief was, on the surface, simple: to update the home while keeping its considerable mid-century charm,” said Design Theory.
      “While its strengths lay in its architectural form and south-facing windows, our innovative approach to the project was essential in bringing contemporary functionality and sustainability to the fore,” the studio added.
      “By specifying with our client’s lifestyle in mind and considering every detail, she feels relaxed to use the house the way she wants to.”

      Carpet tiles bring tactility into the sunken loungeOnce the project was underway, Design Theory quickly discovered that the structure was largely rotten and had suffered significant termite damage, so extensive restoration work was required.
      “We established an early rationale to restore base-building elements in keeping with the original architecture and interior elements,” the studio said.
      “Joinery, finishes and furniture would be new, informed by mid-century design. This allowed the home to evolve yet respect the heritage of this special building.”
      Yellow mosaic tiles feature across the kitchen counterOtherwise, the house only needed sensitive restoration and a light touch to bring it up to date, according to the studio, due to its prescient emphasis on natural light, fresh air and modern, unpretentious living.
      “Our design cues were taken from the era of the house’s original design, a time of humbler, honest materials and restrained detailing,” said Design Theory co-founder Lisa Reeves.
      “Where cabinetry needed restoration, it was updated in respectful ways, always with a nod to what may have come before us.”
      Design Theory introduced Blackbutt timber details to the interiorThe material palette celebrates warm, earthy materials: exposed brick in terracotta tones, native Blackbutt timber and a cork-like Forbo Marmoleum on the floors.
      In the sunken lounge area, carpet tiles bring an added element of comfort and a distinctive gridded visual effect.
      The heavy use of richly toned timber and brick is balanced by the white of the painted wall sections, the grid-like window frames and low-hanging pendant lighting.

      Ten timeless mid-century modern interiors

      For the kitchen counters and the bathrooms, simple mosaic tiles continue the textural theme, while referencing the home’s early-60s origins.
      “We embraced a quintessentially West Australia landscape-inspired palette of Eucalyptus greens, warm timbers and sunset oranges,” the studio said.
      Forbo Marmoleum flooring was added for textural interestIn the kitchen, subtle detailing on the cabinetry such as the full-width handles adds visual interest without grabbing undue attention, while an orange range cooker adds a retro touch.
      The client acquired several pieces of vintage furniture along with the house, which Design Theory was keen to retain and restore.
      Mint green tiles feature throughout one of the two bathroomsAs a counterpoint to these mid-century elements, contemporary furniture in gently curving forms softens the rigorous lines of the original architecture and prevents the interiors from feeling like a period pastiche.
      Key pieces of hardware such as original door furniture and pendant lighting were also refurbished and reinstated, “lending an authenticity to the home’s new life”, according to the studio.
      The built-in bathtub is also made from multicoloured mosaic tilesOther residential projects in Perth that have been featured on Dezeen include a family home formed from arched panels of precast concrete and a wood-and-brick extension for a couple of empty nesters.
      The photography is by Jack Lovel.

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      YSG draws on beach clubs of Ibiza and Cancun for redesign of Sydney coastal home

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      Australian interiors studio YSG has updated a holiday home in Sydney’s Palm Beach suburb, layering it with a maximalist mix of colours, patterns and textures.

      The 400-square-metre house belongs to a young family who wanted a place to escape during the holidays while still providing space for remote working.
      YSG renovated a holiday home in Sydney’s Palm BeachThe home’s original furnishings were included in the sale but the clients were less than enthused by the nautical colour palette, seashells and model yachts.
      “The weathered features and cliched seaside tropes, amongst other things, deterred their visits,” said Yasmine Ghoniem, founder and director of YSG.
      Its living and dining area are separated by a small stepYSG took cues from the rustic beach clubs of Ibiza and Cancun for the revamp, with a touch of French Riviera refinement to create “a palpably playful mood for entertaining”.

      The house was given a full overhaul, with worn floorboards sanded back to reveal warmer timber accents while windows and doors were replaced with more slimline versions.
      Details from a painting in the lounge were carried over onto the wallsIn the sunroom, tongue-and-groove panelling was removed for a more contemporary look while a mirrored wall was taken out because it caused the room to overheat.
      A new rose-tinted marble floor extends to skirting height, amplifying the sense of space while helping to keep the room cool. In the kitchen, YSG added a stone island “that recalls the ombre shades of a freshly poured tequila sunrise”.
      Chequerboard tiles surround the poolThe couple also asked for a second master suite, so that they could each have their own retreat while working remotely.
      “We designed integrated marble and timber desks, enabling both to simultaneously work privately from their rooms whilst enjoying views from the upper level,” Ghoniem said.

      YSG designs playful Sydney penthouse for empty nesters

      For the all-important exterior areas, which wrap around the house on each level, YSG provided a material refresh by removing the old heavy paving and weathered grey timber as they distracted from the views.
      The pool area now features a chequerboard pattern of tumbled marble cobblestones while the dark blue pool tiles were replaced with a lighter finish and the chrome fence posts were powder-coated in a soft white tone to prevent glaring reflections.
      The home’s stone kitchen island is made from thickly veined stoneYSG added a playful painting in the living room that acted as a starting point for the home’s entire interior scheme, including the colour palette of ochres, yellows, and reds.
      Its motifs such as palm trees and fruit are repeated throughout the house across prints and cushions, as well as being hand-painted onto walls and doors.
      The home also has a second lounge areaEven the painting’s chequered top border is continued as a hand-painted datum line across the living room to enliven the otherwise plain walls.
      Ghoniem also repeated the same device on the side of the raised step that lead to the dining area, “artistically acknowledging a trip hazard”.
      The bedrooms were designed to provide space for remote workingIn the sunroom, hand-painted swirls soften the beams while in one of the master bedrooms, the vertical red lines of a nude painting were playfully continued onto the wall above the artwork.
      The rich material palette features many types of marble, including Giallo, Toledo and Tiberio along with honed travertine and French wash walls, while the textiles include linen and kimono silk.
      Chequerboard tiling also features in some of the bathroomsYSG has completed a number of projects across Sydney, including another house in a coastal suburb with tactile finishes and a penthouse for a couple of empty nesters.
      The photography is by Prue Ruscoe.

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      India Mahdavi creates colourful scenography for Pierre Bonnard exhibition in Melbourne

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      Iranian-French architect India Mahdavi has designed an exhibition to present works by French painter Pierre Bonnard at the National Gallery of Victoria in Melbourne.

      Pierre Bonnard: Designed by India Mahdavi presents more than 100 works by the famed 20th-century artist who is celebrated for applying an iridescent palette.
      India Mahdavi has offered her take on Pierre Bonnard’s paintings through the exhibition scenographyThe scenography design by Mahdavi, also known for her use of colour, is intended to create “an impression of his world, through my own eyes” according to the architect.
      Instead of typical white gallery walls, the spaces are awash with bold hues and patterns that she has chosen to complement the artworks.
      The architect chose colors and patterns to complement the artworksMany of the shades of yellow, pink, orange and green that adorn the walls and floors are lifted directly from the canvases, while floral-inspired repeated patterns offer a contrasting backdrop.

      Large carpets continue these motifs at different scales across the floors.
      Many of the colours were lifted from the artworksMahdavi has also placed some of her own furniture designs in the gallery spaces, offering visitors the opportunity to pause and appreciate the paintings and their surroundings.
      “Mahdavi envelopes Pierre Bonnard’s works in an environment that complements Bonnard’s distinct use of colour and texture, and evokes the wistful domestic intimacy for which his paintings are renowned,” said the National Gallery of Victoria (NGV).
      Several of Mahdavi’s furniture designs are placed in the galleriesBonnard was born in 1867, and his artistic career took off in the 1890s in Paris, where he began capturing street life.
      The artist’s focus then moved to domesticity, followed by landscapes thanks to the influence of his friend and neighbour in Normandy, Claude Monet.
      The exhibition is divided into 11 themes based on the subject matter of Bonnard’s paintingsBonnard later relocated to the south of France and created a large body of work there before his death in 1947.
      “The paintings of Pierre Bonnard depict intimate domestic interiors, natural landscapes and urban scenes with subtlety, wit and a sensuous approach to colour and light,” said the gallery.
      Some of the spaces are decorated entirely in one colourThe exhibition features loans from the Musée d’Orsay in Paris, which holds the world’s largest collection of Bonnard’s work, along with significant loans from other museums and private collections from around the world.
      It is organised around 11 themes, which include landscapes, interiors, still life, early nudes, and large decorations.

      India Mahdavi’s striped scenography provides backdrop for furniture exhibition

      There are also sections dedicated to his depictions of music and theatre, views from his 1920s studio in Le Cannet, and scenes of nature and daily life around the town.
      “For Bonnard, landscape painting was a hybrid genre and often included glimpses of interiors and still lifes,” said the gallery.
      Mahdavi is renowned for her use of colourThe gallery has hosted many immersive exhibitions and installations in recent years, including a scaled-down version of Greece’s famous Parthenon temple, a mist-filled chasm in its sculpture garden, and Nendo’s take on the drawings of MC Escher.
      Mahdavi’s best-known projects include the Gallery dining room at London restaurant Sketch, which she originally created in pale pink, then transformed with golden tones in 2022.
      Pierre Bonnard: Designed by India Mahdavi runs until 8 October 2023She recently updated six rooms within Rome’s 16th-century Villa Medici to feature an array of contemporary and colourful furniture.
      Pierre Bonnard: Designed by India Mahdavi forms part of NGV’s Melbourne Winter Masterpieces series, and runs from 9 June to 8 October 2023. For more exhibitions, events and talks in architecture and design visit Dezeen’s Events Guide. 
      The photography is by Lillie Thompson.

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      Capella hotel takes over former government building in Sydney

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      Architecture firm Make and interior design practice BAR Studio have converted Sydney’s heritage-listed Department of Education building into the latest outpost from Capella Hotels.

      The adaptive reuse project involved adding a modern extension with curved glass corners to the building’s roof, set back from its sandstone facade to respect the original Edwardian Baroque architecture.
      With these four additional floors, the building now measures eleven storeys high and houses 192 guest rooms alongside bars, restaurants and a 20-metre swimming pool that occupies the former sixth-floor gallery.
      Sydney’s Department of Education building was converted into a Capella hotelSince the Department of Education was constructed in Sydney’s historic Sandstone Precinct in 1912, its interior had been compromised with countless ad-hoc changes, according to Make.
      The studio worked to restore the sense of grandeur envisioned by the original architect George McRae, for example by reinstating the internal garden courtyard on the ground floor.

      “Stitching together the existing Edwardian Baroque-style structure with a new contemporary layer of architecture is one of many things that makes this landmark project stand out as a hotel,” Make designer Michelle Evans told Dezeen.
      It now houses 192 guest rooms and restaurants including Brasseries 1930″Capella Sydney has been a joy to work on, as it builds on our growing portfolio of reusing and adapting existing and heritage buildings,” she added.
      Picking up the baton from Make, hospitality design firm BAR Studio was tasked with creating luxurious yet contemporary interiors for the hotel that work seamlessly with the history of the building.
      “The heritage building that houses Capella Sydney provided us with the underpinning for the interior design,” said co-founder Stewart Robertson.
      A swimming pool occupies the building’s sixth-floor galleryWhile the building’s exterior was largely intact, only a few areas of historical significance remained inside.
      Some of these spaces offered incredible opportunities for reinvention, such as the gallery on the former top floor, which has become the Auriga spa and pool.
      Meanwhile, references to the original steel-framed windows were incorporated into the interiors via a recurring motif of framed forms.

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      Steel in black and bronze finishes was used throughout the building to frame doors, windows and screens, making a subtle reference to the district’s origins in the age of industry.
      This serves the practical purpose of delineating and dividing spaces but also brings a restrained form of embellishment, Robertson said.
      “We’ve used framing techniques to create separation but also to build an organic connection between the public spaces,” he explained.
      “We wanted the colour and finish to feel appropriate to the original era but also for these elements to read as new and sophisticated insertions.”
      The same floor also houses a spaA palette of natural materials brings a sense of subtle luxury to the bedrooms and communal spaces.
      Steel was used alongside honed marble, sandblasted travertine, natural wall coverings and light and dark timber. This approach enables the heritage features as well as the art and objects to become the focal points.
      The colour palette, too, is simple and neutral, taking its cues from the material palette with stone-coloured walls and tan leather upholstery.
      Each treatment room sits under a one of the original roof lanterns”The neutral base palette of cream stone and dark and light timber integrates with the existing architectural and design elements but sets a warm and soothing mood, creating a real sanctuary from the surrounding city,” explained Robertson.
      In keeping with the light touch of the new architectural interventions, much of the furniture draws on the concept of campaign furniture – traditionally made for military campaigns and therefore easy to transport.
      “These portable and ingenious pieces bring the comforts of home to remote places,” said Robertson.
      A recurring motif of framed forms features throughout the hotel’s interiorsOther Capella hotels include the Norman Foster-designed Capella Resort – set on an island off the coast of Singapore – and the Capella Sanya, which won the 2020 AHEAD Asia award for best landscaping and outdoor spaces.
      The photography is by Timothy Kay.

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      Daniel Boddam converts Sydney warehouse into calm and plant-filled office

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      Local firm Daniel Boddam Studio has transformed a warehouse in Australia into a workplace for landscape design practice Wyer & Co, bringing nature into the space by using greenery and natural materials.

      “I saw the project as an extension of Wyer & Co’s desire to bring in nature,” said Daniel Boddam, founder of Daniel Boddam Studio.
      “Sustainability was discussed with the client from the outset and informed every aspect of the design – from materials and furniture to services and staff amenities.”
      Green plants at the front door soften the red brick and black steel of the industrial warehouseLarge green plants at the entrance were used to conceal the building’s oversized dark steel doors, with the aim of reducing the scale and softening the red brick industrial warehouse.
      A sandblasted limestone floor was extended from the building’s exterior to the interior to connect the spaces.

      At the front foyer, a large miniature date palm (Phoenic roebelenii) reaches towards the skylight above, reflecting the tone of the entrance garden.
      Locally designed and crafted furniture was selected by the studioBehind the foyer is a gallery used for client presentations, industry events, talks and workshops. A series of bespoke, honey-coloured plywood cabinets decorate the space and showcase materials the studio uses in its work.
      Throughout the office, workstations and meeting rooms were clad in various natural materials. Pine plywood, Tasmanian oak, walnut and sandblasted limestone create a warm palette that has been subtly embellished with cork and brass.
      The office interiors features a variety of natural materialsDownstairs, an underground staff area holds plywood lockers and a kitchen space, and was designed to encourage staff to gather and socialise away from their desks.
      Swiss cheese plants (Monstera deliciosa) were selected as the main indoor plant and used to trail the walls and ceilings to create a green environment over time.
      Custom pots made with milled steel and finished in a clear powder coat nod to the industrial origin of the warehouse.

      SSdH tucks Melbourne warehouse apartment into former chocolate factory

      Daniel Boddam Studio also curated a series of locally designed and crafted furniture for the workspace, including its low-lying Booham chair and the Wave sofa and armchair in the welcome foyer that nod to the coastal location of the office.
      A meeting room opposite the foyer features the studio’s Geo Long table, accompanied by a custom-designed cabinet.
      Materials used in the client’s work are displayed on plywood cabinets”The result is a quiet and considered interior that harmonises with the Australian landscape and celebrates the artisanal; a testament to simplicity, comfort, calmness and wellbeing,” Boddam concluded.
      This project was longlisted in the small workspace interiors category of Dezeen Awards 2022.
      Elsewhere in Australia, Dane Taylor Design has completed a multipurpose garden room in New South Wales with a compact form clad in charred wood, while Matt Gibson Architecture + Design has transformed a Victorian home in Melbourne’s suburbs with a faceted extension clad in black metal.
      The photography is by Pablo Veiga.

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      Studio Plenty designs Light Years diner in Byron Bay to feel like “a warm hug”

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      Asian diner chain Light Years has renovated its restaurant in the Australian surf town of Byron Bay, with interiors conceived by local practice Studio Plenty in collaboration with home-grown artists and designers.

      The team behind Light Years wanted its flagship eatery to mirror the playful visual identity established across its three other venues on Australia’s East Coast while refining and elevating their aesthetic.
      Studio Plenty has renovated the Light Years diner in Byron Bay”We were asked to reimagine the Byron Bay restaurant, taking cues from its sister diners but with greater restraint in composition,” Studio Plenty founder Will Rathgeber told Dezeen.
      “We were looking to achieve something refined without letting go of the relaxed culture behind the brand, with satisfying colours and patterns, and playful shapes and materials.”
      Terracotta tiles were used to finish the walls and floorsSoft corners and gently curving walls help to create a sense of intimacy, according to Rathgeber, while the restaurant’s colour palette of soft pink and terracotta tones “embraces you like a warm hug”.

      Underpinning the playful feel of the eatery is a careful focus on the practicalities, with arched openings and material thresholds helping to define three distinct spaces – the main dining room, a curved bar with counter seating and a private dining area for larger groups.
      Arched openings separate the restaurant’s different dining areasThe restaurant’s material palette incorporates handmade terracotta tiles with a rustic brushed finish and a rusty colour that is also picked up in the restaurant’s floors and the Fibonacci terrazzo bar counter.
      In the main dining room, the ceiling was treated with an acoustic spray to absorb sound while contributing to the earthy, vernacular look of the diner thanks to its bumpy texture.
      Rattan acoustic panels cover the ceiling near the entranceSince the acoustic spray does not adhere to pipes, Studio Plenty specified a motorbike exhaust wrap for the pipes to achieve a harmonious ceiling plane.
      In the bar area, ceilings are clad in rattan acoustic panels by local product designer and interior stylist Sarah Ellison, who also worked with Studio Plenty to design the restaurant’s custom furniture including the chunky tables and bistro-style chairs.

      Eight earthy kitchens where terracotta tiles add warmth and tactility

      Artist collective Studio of the Sun created two colourful murals for the restaurant, with one featuring playful illustrations laser-printed onto a section of glossy white tiles.
      “The client was committed to a locally focussed project, hence approaching Studio Plenty to design the restaurant and Sarah Ellison and Studio of the Sun to collaborate,” said Rathgeber.
      A curved terrazzo bar provides counter seatingRathgeber founded his Byron Bay practice in 2020 after cutting his teeth working for architecture firms Woods Bagot and Jackson Clements Burrows in Melbourne.
      “We believe happiness is achieved through sensible design, not excess,” he explained of his studio’s ethos. “We have an appetite for rational design and an obsession with functionalism.”
      The private dining area is defined by a Studio of the Sun artworkElsewhere in Byron Bay’s bustling bar and restaurant scene, Australian studio Pattern has designed the interiors for an eatery serving South America-style small plates and cocktails.
      Its patchy grey surfaces and concrete fixtures were designed to reflect the “raw beauty” of late-night eateries in Mexico.
      The photography is by Jessie Prince.

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      SSdH tucks Melbourne warehouse apartment into former chocolate factory

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      Local studio SSdH has designed a split-level, mezzanine-style apartment characterised by eclectic furniture, which is housed within an old chocolate factory in Melbourne.

      Kerr is a warehouse apartment in Melbourne’s Fitzroy suburb, located in a building that was once home to the historic MacRoberton’s Chocolate Factory before being converted into residential units in the late 1990s.
      Kerr is one of a number of apartments arranged around a central atriumAdapted into “apartment shells” arranged around a striking central atrium, the units were first designed with only basic amenities to allow occupants to determine their own interior designs.
      SSdH recently renovated Kerr, one of these units, as a three-bedroom, two-bathroom dwelling that intends to expose but also refresh the building’s original architecture.
      “The design pays homage to history while being decidedly contemporary,” studio director Jean-Marie Spencer told Dezeen.

      The home is divided by a white-painted staircaseThe mezzanine-style apartment is split across two levels by a staircase with a white-painted gridded steel mesh balustrade. Doubling as a lightwell, the staircase is illuminated by the apartment’s original single factory window.
      Upstairs, the open-plan living space includes a kitchen fitted with geometric cabinetry made from local spotted gum timber, as well as brushed stainless steel and nickel fixtures.
      Spotted gum timber and stainless steel define the kitchenThe similarly minimalist lounge area is delineated by smooth sliding doors made of the same spotted gum, which are offset by existing structural beams and columns painted in bright white.
      A sage-green two-seater armchair is positioned next to a chunky column floor lamp by emerging designer Annie Paxton and a distinctive coral-blue vase.
      A two-seater armchair features in the lounge area”Old wall and ceiling linings, trims and details are stripped back to expose original materials and structural framing,” explained Spencer.
      “An application of white unifies what was, subsequently giving the ‘new’ its own platform through contrast,” she added.
      SSdH also included timber accents downstairsTwo bedrooms and a bathroom are contained downstairs, while a bedroom and an en-suite feature on the upper level.
      All three bedrooms are defined by the same pared-back white and wooden elements as the communal areas. Inside one of them, a mushroom-like floor lamp made from lumps of blue sculpting plaster adds a playful touch.
      Among the eclectic furniture is a mushroom-like lampGleaming geometric tiles in shades of blue and yellow feature in each of the bathrooms, which also have bulbous sconce lights.
      Timber operable doors and translucent curtains leading to the sleeping areas were designed to balance the airy openness of the living spaces, according to Spencer.
      One bathroom is clad in bright blue tiles”Living areas, where privacy is less of a concern, invoke a spilling out to the street to make the most of the light and air,” said the studio director.
      Other sculptural accents inserted throughout the apartment include boxy aluminium corner stools under the stairs and a fluted side table crafted from a solid piece of timber.

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      SSdH added double glazing to Kerr’s existing large factory window to provide both thermal and acoustic benefits to the apartment, which is located in close proximity to a busy street.
      “This glazing, along with the thermal mass embodied within the heavy masonry building allowed the apartment to remain un-airconditioned, relying on passive cross ventilation from the shared building lobby to maintain temperatures and reduce energy consumption,” said Spencer.
      Boxy aluminium corner stools are tucked under the staircaseFormerly industrial spaces are popular locations for residential conversions.
      Local firm Studio McW transformed an east London warehouse into a live-work space for climate activists and filmmakers Jack Harries and Alice Aedy while Auba Studio designed an apartment in a 1980s bakery in Palma de Mallorca.
      The photography is by Pier Carthew.

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