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    Luke McClelland uses stone and oak to overhaul Georgian apartment in Edinburgh

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    A select few materials appear throughout this apartment in Edinburgh, which architect Luke McClelland has revamped to let its historic features take centre stage.

    The two-floor apartment is located in Edinburgh’s New Town, set within a Grade I-listed building that dates back to the 19th century.
    Luke McClelland has renovated a Georgian apartment in EdinburghSuccessive years of modifications meant that the home’s grand Georgian proportions and historic details had all but disappeared.
    Local architect Luke McClelland was tasked with sensitively stripping back the interior to reveal its original charm.
    A kitchen suite was added into the home’s dining room”The muted interior is intended to compliment, rather than detract from, the existing building,” he explained. “A simple material palette was agreed with the client: Ceppo Di Gre stone and oak.”

    He started by incorporating the kitchen into the apartment’s generously sized dining room. A bespoke oak wood counter crafted by local joinery studio Archispek now centres the space.
    A new doorway grants access to a utility room, which occupies the old kitchenOne end of the counter serves as a dining table, while the other end has a stove that’s set into a slab of Ceppo Di Gre stone.
    The same stone was used to build the work surface that runs above a series of low-lying oak cupboards at the rear of the room.

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    The former kitchen has been transformed into a utility room where appliances and other household items can be stored, a move that McClelland says will allow the new kitchen to “maintain its clean, sculptural lines”.
    More storage is provided by arched nooks punctuating either side of the opening that looks through to the living area.
    Plump blue Togo sofas by French brand Ligne Roset and expansive abstract paintings by Edinburgh-based artist Arran Rahimian were added to the space to soften the appearance of its stark white walls.
    Arched nooks offer extra storageThe home used to have carpet and vinyl flooring. But this was peeled back to reveal the original pinewood boards, which were carefully sanded and oiled to bring back the brilliance of their grain.
    One exception is the hallway, where porcelain tiles were uplifted to expose flagstones underneath, while the original staircase was repaired and restored.
    Abstract art and deep-blue sofas decorate the living areaThe project also saw McClelland merge two small storerooms to form a bathroom, complete with Ceppo Di Gre wall panelling.
    A new doorway was created between the kitchen and the utility area. Any other major structural changes were avoided so that the building could uphold its listed status.
    A new bathroom was created in the home’s flagstone-lined hallwayThis isn’t the first home that Luke McClelland has completed in Edinburgh. In 2022, he updated a Georgian apartment in the city’s port district of Leith, reconfiguring its convoluted layout to allow in more natural light.
    A few years earlier, he also revamped his own home in the Comely Bank neighbourhood to feature a series of modern, airy living spaces.
    The photography is by ZAC and ZAC.
    Project credits:
    Designer: Luke McClelland DesignConstruction: Pawlowski ConstructionsKitchen fabrication: ArchispekLiving room artwork: Arran Rahimian

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      Kin designs Dentons law firm office interior for more than “just a business meeting”

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      Design studio Kin has created the Edinburgh office interior for global law firm Dentons, featuring a communal rotunda with no doors and an open-plan bar.

      Manchester-based Kin designed the office at 9 Haymarket Square – a mixed-use development in Edinburgh.
      Oranges and greens feature throughout the interiorThe studio sought to “challenge the conventional approach to design for legal practices” when creating the interior, which includes a central rotunda designed as a casual place to gather.
      Built from Scottish oak, the round structure features a circular footprint to counterbalance the existing building’s angles and straight lines.
      Kin positioned a rotunda in the centre of the office”We wanted it to have a homely familiar feeling with no physical doors, just a series of connected spaces,” Kin director Matt Holmes told Dezeen.

      The rotunda was also partially clad with acoustic panels made from recycled plastic bottles, which were fitted to absorb sound and reduce ambient reverberation from around the rest of the office.
      Statement timber arches frame the welcome deskIlluminated, amphitheatre-style seating was positioned in the middle of the rotunda, while individual meeting booths were placed on its perimeter.
      The welcome desk was framed by oversized statement arches set within a boxy timber shelving unit.

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      Elsewhere, Kin added an open-plan bar to the office, made from bespoke wooden rods and solid terrazzo.
      “The bar was designed to act as a focal point for the client space – somewhere for people to gravitate around as they leave the concierge desk,” said Holmes.
      “A visit [to Dentons] is not just a business meeting, but an experience,” he added.
      Potted plants add a lush touchThroughout the office, the studio opted for orange and green hues for working areas and used both smooth geometric tiles and more tactile surfaces.
      “The materiality draws inspiration from Scotland’s abundant natural landscape through warm timbers and rich and textured fabrics,” said Holmes.
      “Whilst balancing them against the warm tonal colour palette and strong geometry of Edinburgh’s built environment, the rooftops and tenement tile patterns provided so much inspiration.”
      Materials were informed by “Scotland’s abundant natural landscape”Kin worked with local craftspeople when building the project.
      Other offices designed to make their occupants feel at home include a real estate office in Tokyo created by Flooat to be “as stress-free as possible” and Mason Studio’s self-designed office in Toronto that also doubles as a space for community programming such as exhibitions and other events.
      The photography is by Amy Heycock.

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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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      Cooking Sections and Sakiya explore importance of non-human species in joint exhibition

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      Turner Prize-nominated art duo Cooking Sections and Palestinian research collective Sakiya have created an exhibition in Edinburgh called In the Eddy of the Stream, which reevaluates the significance of plants and other organisms in our ecosystems.

      The multimedia show is on display at the Inverleith House of the Royal Botanic Garden Edinburgh as part of the science centre’s three-year Climate House exhibition programme.
      In the Eddy of the Stream includes installations, performances and sculpturesSpread across six galleries, the exhibition presents a range of work from research-heavy installations to live performances, developed by Sakiya and UK-based Cooking Sections.
      The show aims to “draw attention to the breakdown of ecosystems through the removal of plants and the ensuing long-term harm to people, communities and other species,” according to Cooking Sections.
      In particular, In the Eddy of the Stream intends to highlight how certain plants and non-sentient animals like oysters have been threatened by the complex histories of land ownership in Scotland and Palestine.

      Recalling Recollection investigates the history of Palestinian plant species”The installations, performances and materials in this exhibition challenge how botany has been used as a mechanism of control and how it might identify new horizons,” Cooking Sections said.
      “We want visitors to look again at the impact of our relationship with nature and non-human species and imagine new ways, in which to develop that vital relationship to the benefit of all parties.”
      From the Shores that Found their Sea is a group of mosaics made from waste shellsOne installation, named Recalling Recollection, showcases 33 botanical specimens of edible and medicinal plants, which the British Empire classified as a threat to its wheat monocultures during the country’s occuption of Palestine in the wake of the first world war.
      Sakiya has presented the specimens alongside postcards from Palestine in both Arabic and English that share stories, anecdotes and relevant folklore attempting to reclassify the plants as vital organisms.
      “In the same gallery, an oak baseboard depicting the 33 plants lines the space in reflection and opposition to the room’s ornate cornicing,” Cooking Sections founders Daniel Fernández Pascual and Alon Schwabe told Dezeen.
      Intertidal Polyculture includes ropes and nets made from biomaterialsAnother piece, From the Shores that Found their Sea, features a collection of wall mosaics formed from terrazzo-style tiles that are made out of waste mussel and oyster shells rather than traditional carbon-intensive cement.
      The shells were sourced from restaurants on the Scottish islands of Skye and Raasay that have adopted Cooking Sections’ Climavore menu – a regenerative approach to food sourcing developed by the art duo, which is also used by eateries at the Tate and V&A museums in London.

      “Food is one of the main drivers that is shaping the ecology of the planet” says art duo Cooking Sections

      A room with electric blue walls houses Cooking Sections’ Intertidal Polyculture project, a group of nets and ropes crafted from heather, kelp and purple moor grass instead of sterile plastics.
      When placed underwater, these natural nets and ropes encourage intertidal species to attach to them and grow.
      “All of this builds up towards a new framework for collective usership of the coast, a working process to advocate for the establishment of the tidal commons in Scotland,” explained Fernández Pascual and Schwabe.
      Oyster Readings is an installation and performance pieceOyster Readings is both an experimental installation and a playful performance piece that must be booked in advance.
      Here, visitors are invited to sit on organically shaped stools arranged around a matching table, both formed from a material made from crushed oyster shells in place of concrete.
      The piece is a play on traditional palm readingsEnveloped by a green fringe curtain, this space hosts palmistry-style readings where experts reveal information about the state of Scotland’s seas by analysing the patterns of local oyster shells, in a practice similar to studying tree rings.
      “Oyster Readings foresee the future of the coast through the ridged surface of an oyster shell, allowing you to read into our common oyster futures,” said Fernández Pascual and Schwabe.
      In the Eddy of the Stream presents various multimedia installationsIn the Eddy of the Stream gets its name from the concept of an eddy, which describes “a sheltered area where water flows back upstream against the current” and, according to Fernández Pascual and Schwabe, embodies the work they created with Sakiya.
      Similar projects by Cooking Sections, which is known for its focus on climate change, include an installation in Sharjah highlighting desert plants as an alternative to water-hungry greenery in arid cities.
      In the Eddy of the Stream is on show at Royal Botanic Garden Edinburgh as part of the Edinburgh Art Festival from 2 July to 18 September 2022. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.
      The photography is by Shannon Tofts. 

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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.

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      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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      Architect couple turns Edinburgh apartment into modern living space

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      Married architects Luke and Joanne McClelland have overhauled their own apartment in Edinburgh, Scotland, to feature a sequence of contemporary light-filled living spaces.The lateral apartment spreads across the drawing-room levels of two adjoining Georgian townhouses in Edinburgh’s Comely Bank neighbourhood.
      Joanne and Luke McClelland – who runs his own architecture studio called MCLND – purchased it back in 2018, having spent the past eight years living in a cramped flat in London.

      Despite the grander scale of the Edinburgh apartment, it still had some significant problem areas.

      The north-facing living area had hardly any access to natural light, the bathroom had a dated, 70s-style turquoise interior and the kitchen was small and felt isolated from the other rooms.

      To create a bright and modern home, the McClelland’s decided they had to completely reconfigure the floor plan.
      The former kitchen has been opened up and now includes a dining area, complete with white-painted walls and oak herringbone floors.

      Along the rear wall runs a series of matt-black and wooden cabinets which were all sourced from IKEA – although the architects both have previously designed homes for wealthy clients, they didn’t feel the need to use expensive brands to achieve a high standard of design.
      “Having specified kitchens at over 10 times our available budget, we tried to use affordable products to recreate the specific qualities that previous clients associated with luxury, simplicity, symmetry and integration,” said the pair.

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      To complement the cabinetry, black taps, pendant lamps and door handles have also been incorporated in the space. Black-frame chairs with woven seats have also been placed around the dining table.

      Doorways have been widened to let sunlight from the south side of the apartment penetrate the new living area, which has been created in a former bedroom.
      It’s dressed with a slate-grey sectional sofa, a couple of armchairs upholstered in forest-green velvet armchairs and a graphic monochrome rug.

      Jet-black paint has also been applied to the surround of the room’s fireplace, which used to be bright orange.
      “Whilst it didn’t fit with the Georgian property, there was a charm in the curved bricks and sheer brutality of the design,” the architects explained.

      The architects split the old living area to form two separate bedrooms, both of which feature original pine flooring and ornate cornices.
      A cupboard in the apartment and the disused pantry have together been transformed into a shower room. Stark white tiles have been applied in a grid-like fashion across its walls, while the floor has a striking triangle print.

      In the main bathroom, surfaces have been updated with glazed green tiles which clad the lower half of the walls and the front of the tub.
      The sink basin perches on top of a restored 1960s wooden sideboard by Danish designer Ib Kofod Larsen.

      Luke McClelland launched his own studio this year after leaving his position at Studio 304. He and his wife, Joanne McClelland, met whilst both studying architecture at the Edinburgh College of Art.
      Their apartment joins a number of design-focused properties in the Scottish capital.
      Others include Flitch House by Oliver Chapman Architects, which references the Arts and Crafts movement, and another home by studio Archer + Braun, which has a red-sandstone extension.
      Photography is by Zac and Zac.
      Project credits:
      Architects: Luke and Joanne McClellandStructural engineer: McColls

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