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      Whittaker Parsons crowns North London mews house with “bolthole” extension

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      Using a combination of copper, larch and structural insulated panels, architecture firm Whittaker Parsons has added an additional storey to a contemporary mews house in Stoke Newington to house a bedroom suite.

      Originally built in 2005, the property belongs to a couple with two older children, who have lived here for the last decade.
      Whittaker Parsons added an additional storey to a London mews houseThe family asked Whittaker Parsons to provide more space with the addition of a loft, as well as to revamp the lower floors including the studio on the second floor, which was reconfigured to create a well-proportioned workspace complete with its own library.
      Daylight floods the new third storey, bouncing off lime-plastered walls while carefully positioned windows provide views of tree canopies and across rear gardens from window seats and the bespoke bed.
      “We set out to design a beautiful, healthy, serene retreat, in which the homeowners could immerse themselves in the beauty of natural materials, a bolthole in the middle of north London,” Whittaker Parsons told Dezeen.

      The extension is accessed via a larch-clad staircaseWith efficiency and quality in mind, the studio used prefabricated structural insulated panels (SIPs) to construct the additional storey, with the aim of minimising waste and saving time.
      “Compared to standard timber construction, it is simpler to control the quality of onsite workmanship and achieve a more robust, air-tight building envelope,” the team explained.
      Generous windows provide views of the surrounding areaExternally, the extension is set back from the street elevation and finished in materials that mirror the surrounding architecture, including black-stained timber cladding, brick slips and patinated copper to tie in with the copper facade on the second floor below.
      Internally, the triangular arrangement of the larch beams was developed to work with the load path of the existing building and the irregular form of the loft.
      “The intention was to make visible and celebrate the structural effort that went into creating this new space,” Whittaker Parsons explained.
      Integrated window seats provide a place to restThe practice created a tranquil master bedroom with a larch-clad and lime-rendered interior, bespoke larch bed frame and walk-in wardrobe made from low-formaldehyde furniture board.
      As the unsealed lime plaster wall finish cures, the lime will absorb almost as much carbon as was emitted in its production, the studio claims.
      “Lime render is a calming tactile material, characterful and soft,” said Whittaker Parsons. “It is a low-carbon alternative to gypsum plaster. It’s also a hygroscopic material, so it naturally moderates the moisture level in the bedroom.”

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      Used alongside the render, white oiled larch panelling spans the spaces between the exposed larch beams, improving acoustic absorption.
      “Often in bedrooms, the ceiling is the most important yet neglected surface,” the studio said. “The larch adds a sense of warmth, calm, and character to the space, creating an articulated ceiling at the top of the house – almost a reward for climbing all those stairs.”
      Whittaker Parsons also created a custom larch-wood bed for the interiorIn the adjoining skylit shower room, fluted travertine tiles line the walls, enveloping the shower area and complementing the travertine floor tiles.
      “The roof light to the shower oversails the fluted travertine tiles, creating the impression that one is showering outside under the sky,” said Whittaker Parsons.
      The basin, splashback and vanity unit are formed from unsealed Calacatta Rosato marble, which according to the studio provides a lower-carbon alternative to fired tiles.
      The vanity in the adjoining bathroom is formed from Calacatta Rosato marbleOverall, Whittaker Parsons says the project is “exceptionally low-carbon”, with the bulk of its embodied emissions coming from the triple glazing, thermal insulation and a single steel beam used to create the opening for the staircase.
      Founded by Matthew Whittaker and Camilla Parsons in 2015, Whittaker Parsons has completed a number of projects in the British capital including The Naked House, which was longlisted for sustainable interior of the year at the 2021 Dezeen Awards.
      The marble is paired with fluted travertine tilesOther sustainably-minded extensions in London include Low Energy House in Muswell Hill, designed by local studio Architecture for London founder for its founder Ben Ridley.
      The photography is by Jim Stephenson.

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      Norm Architects uses “natural forms” and steel details for Chancery House interior

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      Danish studio Norm Architects has worked with pale wood, red bricks, sandstone and stainless steel to create the interior of The Office Group’s Chancery House workspace in London.

      Located above the subterranean Silver Vaults market in London, the 1953 building was given a retrofit by dMFK Architects with a new interior by Norm Architects for The Office Group (TOG).
      It now houses workspaces as well as a gym, a yoga studio, a cafe, a library, event spaces and saunas in an 11,612-square-metre space.
      The interior features brick detailsNorm Architects drew on the building’s existing design when creating the interiors, which it says are rooted “in the spirit of the building”.
      “In this effort to draw in what was already there, we have integrated the traditional red bricks of the facade in the interior in a modern way,” Norm Architects’ Sofie Thorning told Dezeen.

      “This way, the chosen materials are more accentuated than the ones we normally work with, but still with our usual focus on creating comfortable and calm spaces through the use of natural materials,” she continued.
      Wood was used throughout the spaceThe ground floor was reconfigured by dMFK Architects to improve the flow of the building, with the entrance to Chancery Lane made larger.
      This level holds the cafe as well as lounge areas, which were decorated by Norm Architects using mainly wood and brick materials.
      Floor-to-ceiling glazed walls offer views and access to two interior courtyards, which also let light into the building.
      Norm Architects played with natural materials”By working with natural forms, materials and colors we create spaces that feel good, look good and that last,” Thorning said.
      “When combining soft and hard materials like textile and bricks, the space feels stimulating to the user, while also exuding this warmth that is so important in order to both work and relax in the spaces of the house.”
      Workspaces are located on the upper floors of the buildingThe same material palette was used for the workspaces, which are located from the first floor and up in the eight-storey building.
      Norm Architects also restored some existing materials in the building’s communal spaces.

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      “The dominant materials, colours and patterns of the space all stem from the existing building, [which is] why red bricks, sandstone, concrete, and stainless steel are at the center of attention,” Thornig explained.
      “Moreover, we have preserved existing terrazzo elements in staircases and hallways, while mirroring the green elements of nearby parks within the internal courtyards.”
      Silvery steel details nod to the Silver Vaults below the buildingIn addition, the studio wanted to nod to Chancery House’s location above the Silver Vaults by using silver-coloured materials.
      “Since the London Silver Vaults are a big part of the building’s history and will continue to be so, we knew right away that we wanted to pay homage to it in the interior,” Thorning said.
      “We decided to introduce both brushed and polished stainless steel to the material palette as a representation of silver, carrying it out as details and joinery throughout the building.”
      A jute rug contrasts a patterned-stone coffee tableThe pale wood and red brick used throughout the building were matched with rustic textures, jute rugs and bobbled pillows to add to the natural feel of the interior.
      The building’s exterior was clad in WasteBasedBricks, which incorporate a minimum of 60 per cent recycled building waste. On Chancery House’s roof terrace, warm rust-red steel garden furniture matches the red hue of the brick walls.
      “We wanted to create a project that was mindful of the character of the area, capturing the spirit of the place in the hope that it will serve the neighborhood as a hub grounded in its context,” Thorning concluded.
      Steel and brick decorate the interiors of Chancery HouseNorm Architects often works with natural materials. Other projects by the studio include a “hotel in the sky” in Japan and an inside-out-greenhouse restaurant.
      The photography is by Jake Curtis.

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      Snøhetta creates Holzweiler store informed by Norwegian coastline

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      Architecture studio Snøhetta has completed a shop for fashion and lifestyle brand Holzweiler in Chengdu, China, informed by its Norwegian heritage.

      Located in Taikoo Li mall in central Chengdu, the 130-square-metre store is Norwegian brand Holzweiler’s first outpost outside of Scandinavia.
      The exterior of the store is covered with LED screen”The store features recurring themes of currents, reflections and contrasts inspired by landscapes and coastal movements, a bespoke concept of the forces of norwegian nature playing on our shared heritage,” Snøhetta explained.
      “With the aim of transporting Holzweiler’s love and deep respect for its origins, there is an immediate and consistent reference to the natural world that harks to the brand’s home country.”
      The interiors nod to the Norwegian coastal linesThe exterior of the store features a full-size LED screen, which will be used to display campaigns that showcase that brand’s connection to nature.

      A glass wall framed with wavy lines divides the LED screen into two parts, revealing the store’s warm clay-toned interiors to visitors.
      The reflective surface of the ceiling resembles sky and oceanThe entrance of the store was crafted from floor-to-ceiling sand-blasted stone that extend to the product display area where mechanical arms present Holzweiler’s signature silk, lambswool and cashmere scarf designs.
      Wavy lines were widely adopted inside the store, as a nod to to the shorelines along Norway’s extensive coastline. A series of hanging lights were suspended from the reflective surface of the ceiling, which was clad in steel with a sandblasted finish.

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      The clothing racks made with the same steal material run along the curved wall, while the forms of the display tables placed in the centre of the space were designed to evoke coastal rock formations.
      Natural materials were used throughout the store, sourced locally from China. Meanwhile, all fixtures within the store were designed to be flexibly dissembled and repurposed in the future.
      A hero wall with mechanical arms is used to present Holzweiler’s signature productsThe point of sale area is tucked away at the back of the store separated from the main shopping area to provide privacy for customers.
      Snøhetta is a long-term collaborator of Holzweiler’s, having designed the company’s flagship store and showroom in Oslo, as well as its first international outpost in Copenhagen.
      The Studio has recently completed a planetarium in France, featuring two domes surrounded by sweeping wooden walls and a shingle-clad viewing tower in Austria.
      The photography is courtesy of Holzweiler.

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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.”

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      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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      Jenny Bukovec draws on “soulful” local heritage for Kentucky hotel

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      American designer Jenny Bukovec has looked to Kentucky’s heritage for the interiors of a hotel in Lexington, a city famed for bourbon production and horse racing.

      Described by the hotel team as “the first high-end hotel in the horse and bourbon capital of the world,” The Manchester sits on the site of the historic Ashland Distillery – the city’s first registered bourbon producer, which was established in 1865.
      The lobby bar at The Manchester hotel features vaulted ceilings and eclectic lounge furnitureIts location in the heart of Manchester Street’s historic Distillery District places guests within close proximity to a host of bourbon distilleries, breweries, bars, restaurants and event spaces.
      Hoteliers Nik Feldman and Hank Morris tapped New York City-based Bukovec to design “soulful” interiors for the public areas and 125 guest rooms that draw upon the region’s heritage.
      The equestrian-themed main restaurant, Granddam, is designed with walnut wainscoting and green accentsIn the lobby, a wall of hit-and-miss brickwork is modelled on the neighbourhood’s historic rickhouses – structures used for storing and distilling spirits.

      Corbelled arches within the brick wall lead through to a bar with vaulted plaster ceilings, eclectic lounge furniture, and details that include handmade bejmat tiles and amber-toned fluted glass.
      Geometric patterned tiles and wicker furniture decorate the Lost Palm rooftop barThe hotel’s main restaurant is named Granddam “after a wise, figurative matriarch racing horse” and serves a contemporary take on traditional Appalachian cuisine.
      Seating 140 covers, the space is encircled by square-panelled walnut wainscoting, huge floor-to-ceiling windows and teal-hued leather banquette seating.
      The rich hues in the guest rooms evoke those associated with Kentucky’s Bluegrass music tiesGreen floor tiles and cushions match the ceiling colour and complement the taupe tones of the walls and furniture upholstery.
      “The 140-seat dining room follows the hotel’s equestrian aesthetic and is designed as a modern reinterpretation of nearby stables, featuring rich walnut walls and horse saddle-inspired woven leather seating,” said the hotel team.
      Among the room categories are five with wooden bunk beds that sleep four guestsA very different aesthetic was chosen for Lost Palm, a rooftop bar and lounge that takes cues from art deco nostalgia while repeating the same arched forms found in the lobby.
      Bukovec combined wicker furniture, rattan panels, geometric patterned floor tiles and tropical planting as a nod to 1960s South Florida and its horse racing culture – for which Lexington is also famed.

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      The dark woods and rich hues used in the guest rooms evoke those commonly associated with Bluegrass music, another regional specialty.
      Room categories range from standard kings and double queens up to one- and two-bedroom penthouse suites with clawfoot tubs, as well as five bunk-bed rooms that each sleep four guests.
      The 7th-floor gym is kitted out with tanned leather equipmentA gym located on the 7th floor features herringbone parquet flooring and tanned leather equipment.
      The Manchester also offers a variety of guest experiences, including distillery tours, bourbon tastings, fly fishing, polo lessons and trail riding.
      The hotel occupies a brick building on the site of a historic bourbon distilleryMany visitors to Kentucky come for its whisky heritage and industry, which has ties to several big-name architecture firms.
      In 2018, Shigeru Ban unveiled a proposal to build a trio of mass timber pyramids for the Kentucky Owl distillery, and more recently, RSHP unveiled its design for Horse Soldier Bourbon’s new home in the state.
      The photography is by Matt Kisiday.

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      Eight airy interiors that draw on Mediterranean living

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      With summer in full flow, we have gathered eight residential and hotel interiors for our latest lookbook that each has a breezy and cooling Mediterranean style.

      Mediterranean interiors can often be defined by their minimal, paired back aesthetic that focuses on creating bright, airy and cool living spaces that offer an escape from the heat of the sun.
      White-washed walls, exposed brick and stone or terracotta floors typically serve as the basis for these interiors with furniture made from natural materials.
      From hotels in Greece built into caves to a home in a former ruin in France, here are eight interiors that are influenced by the Mediterranean.
      This is the latest in our lookbook series, which provides visual inspiration from Dezeen’s archive. For more inspiration see previous lookbooks featuring Barbie-pink interiors, rustic interiors and Wes Anderson-style interiors.

      Photo is by Simone BossiMA House, France, by Timothee Mercier
      Architect Timothee Mercier of Studio XM converted this former ruined farm building in Vacluse, France into a home that aimed to honour the original features of the building.
      The interior of the home was blanketed in white, covering its walls and exposed stone surfaces. The space was sparsely decorated with light wood furnishings and natural materials to give the interior a Mediterranean feel.
      Find out more about MA House ›
      Photo is by César BéjarCasa A690, Mexico, by Delfino Lozano
      Named Casa A690, this three-storey building dates back to the 1970s. It was renovated by Mexican architect Delfino Lozano who looked to combine Mediterranean and Mexican aesthetics.
      “We use the term Mexiterraneo to describe the materials and feeling we try to give our projects, in which we interpret the Mediterranean architecture – simple, pure materials – and mix it with our Mexican traditional architecture,” said Lozano.
      Find out more about Casa A690 ›
      Photo is by Karolina BąkBerlin summer loft, Germany, by Loft Szczecin
      Polish studio Loft Szczecin looked to historic Mediterranean architecture when overhauling the interior of this apartment in the suburbs of Berlin.
      The brick walls of the home were painted white while the floors of the interior were finished with old bricks that were sourced from industrial demolitions across Poland. Throughout the apartment, doors were removed to create more of an open-plan interior.
      Find out more about Berlin summer loft, ›
      Photo is by Fernando GuerraPura Comporta, Portugal, by Falcão de Campos
      In Portugal, Lisbon studio Falcão de Campos implemented a Mediterranean-informed interior scheme throughout this triple-pitched roof beach house.
      White walls were paired with minimal architectural detailing and finishes to achieve a Mediterranean look. A natural-toned rug was used to zone the living area, while a 10-person wooden table occupies the dining area of the home.
      Find out more about Pura Comporta ›
      Photo is by Giorgos SfakianakisSaint Hotel, Greece, by Kapsimalis Architects
      Greek architecture studio Kapsimalis Architects transformed a series of former homes, barns and cellars on the island of Santorini into a hotel with rooms in caves.
      The interior was designed to match the all-white exterior of the hotel. Each of the rooms features an almost all-white finish with the exception of their poured concrete floors and furnishings.
      Find out more about Saint Hotel ›

      Summer house, Greece, by Kapsimalis Architects
      Large arched openings add character to the open-plan interior of these Santorini apartments, which were designed by Kapsimalis Architects.
      Throughout the space, small, wood-framed windows pierce the walls and furniture was organised sparsely.
      Find out more about summer house›
      Photo is by José HeviaLas 3 Marías, Spain, by Bajet Giramé and Nicolas Burckhardt
      Terracotta tile floors, large arched openings and bi-folding glass doors blend the boundaries of the interior and exterior at this Spanish holiday home, which was designed by Bajet Giramé and Nicolas Burckhardt.
      Much like homes found across the Mediterranean, white stucco covers its walls and Valencian terracotta tiles run through both the interior and exterior.
      Find out more about Las 3 Marías ›
      Photo is by Prue RuscoeWoorak House, Australia, by CM Studio
      CM Studio looked to bring a coastal, Mediterranean feel to the interior of this home in Australia through the use of a paired back interior palette and natural materials such as wood, stone and paper.
      In the dining room, a wooden table, chairs and bench were placed beside a glazed corner of the home beneath exposed beams that run through the home.
      Find out more about Woorak House ›
      This is the latest in our lookbook series, which provides visual inspiration from Dezeen’s archive. For more inspiration see previous lookbooks featuring Barbie-pink interiors, rustic interiors and Wes Anderson-style interiors.

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      Blobby sculpture functions as cash desk inside Rains’ Aarhus boutique

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      Rainwear brand Rains has juxtaposed minimalist restraint with free-form contemporary artworks inside its revamped flagship store in Aarhus, Denmark.

      The brand’s first-ever store, originally opened in 2016, was updated with the introduction of industrial touches such as graffiti and stainless steel hardware alongside custom works by local artists.
      “We want to tickle the customers’ curiosity,” Rains’ in-house design team told Dezeen.
      A blobby sculpture envelops the cash desk of this Rains storeAt the centre of the store, Danish artist Jacob Egebjerg played with the convention of the cash desk by creating a vast sculptural element to envelop this functional area.
      Carved from polystyrene foam, the sculpture resembles a cascade of liquid caught mid-splash, which tumbles from the recessed, illuminated ceiling down to the concrete floor in a nod to the brand’s waterproof rainwear.

      The sculpture was created by Danish artist Jacob Egebjerg”The store was the first Rains store ever and we really wanted to manifest that with an extraordinary installation,” the design team explained. “Egeberg was tasked with creating a work of art with an integrated desk that would attract the attention of passers-by.”
      “It brings a contrast to the clean shapes and surfaces of our point of sale,” the team added. “Our products are very clean, so to add contrasts to our stores, we use shapes and surfaces to create this duality.”
      It was carved from polystyrene foamAllowing Egebjerg’s sculpture to take centre stage, the rest of the store is an exercise in cool, restrained minimalism.
      Display cases are formed from industrial materials such as stainless steel and glass, chosen for its transparent qualities.
      “Your eye can see the full room and isn’t blocked by a non-see-through material,” the team explained. “The products are just floating in the room.”

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      Echoing the qualities of the glass and steel, the Rains team used large-format concrete tiles for the floor, creating a “modern, refined but still simple base for the sculpture”.
      Downstairs, in a rare concession to softness, the design team opted for a custom black carpet with a distressed patina effect – another nod to the industrial.
      “The carpet was chosen to give the white room a contrast and some more depth, while also providing some great acoustic benefits,” the design team explained. “The raw ‘scratchy’ print has been chosen to match the raw expression in the walls and ceiling.”
      Graffiti by Peter Birk covers the staircaseOn this level, a futuristic black display plinth was carved from the same polystyrene foam as the sculpture on the ground floor.
      Against a palette of greys and whites, colour leaps out in the form of another site-specific artwork: a graffiti-inspired piece that decorates the staircase, designed by Rains and realised by local artist Peter Birk.
      “When we work with external artists, we also let them express themselves so their personal style shines through,” the brand explained.
      Another styrofoam sculpture forms a display stand in the basementOther sculptural shop interiors featured on Dezeen include a swimwear pop-up by SKIMS with a three-tiered diving board at its heart and an “otherworldly” moss-covered installation at a luxury bag store in Putrajaya, Malaysia.
      The photography is by Rains.

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      Smith Hanes Studio brings “a sense of calm” to Carmel restaurant in Atlanta

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      Atlanta-based Smith Hanes Studio has used a palette of natural colours and materials to help diners at this restaurant imagine they’re beside a beach.

      A laid-back, coastal vibe was the goal for the Carmel restaurant, located on a cobblestone street in Atlanta’s Buckhead Village.
      The U-shaped bar at the entrance to Carmel is wrapped in rattanFounder Tal Baum of Oliva Restaurant Group wanted to create a space that would transport guests to the casual seaside ambience, so she tasked Smith Hanes Studio with designing an environment that draws upon a variety of beachside communities.
      “[Baum] wanted us to bring a sense of calm and expansiveness to Carmel, like you’d experience on the Mediterranean coast,” said studio founder Smith Hanes. “Our interior designer Janine MacKenzie accomplished that with a beautiful warm palette of naturals that coax us to remember the balmy indoor-outdoor breezes of Tulum or Puerto Escondido beach.”
      Lime plaster covers the walls to evoke a coastal aestheticA variety of local artists and craftspeople were brought on to achieve the desired effect. Lime plaster was hand-applied to surfaces by Super Delicious Walls and custom fibre installations by Sonya Yong James were added as accents.

      Meanwhile, upholstery and millwork were crafted by fabricators Hancock Surface Studio, Onemost Studio and Bjork Studio.
      In the dining room, woven pendant lights emit a warm sunset-like glowUpon entering the establishment, a U-shaped bar is wrapped in rattan, matching a light fixture suspended above that follows the same shape.
      Folding back a large wooden window opens the bar area to the street, where additional seating is built into the facade to serve cafe tables.
      Contributions from local artisans include custom fibre installations by Sonya Yong JamesThe back bar is set against a wall of textured, square white tiles, and framed by an arch with curved pillars covered in similar but smaller reddish tiles.
      “The rattan-wrapped bar, amber-tiled barback, glowing drink rail and sculptural lighting evokes a world of cabanas and parts of the Mediterranean where handwoven basketry is commonplace,” said the restaurant team.

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      Past the bar area, a deep arched opening leads into the 1,600-square-foot (149-square-metre) dining room.
      Mossy green banquettes, wooden four-top tables and chairs, and sheer curtains are all washed in a warm glow, “as if the sun is setting low on the ocean’s horizon” according to the team.
      Booth seating is set into niches carved from the wallsThe pendant lamps above the tables are woven from elephant grass and feature matte porcelain bulbs.
      More tilework, this time in sage green, clads the area around the kitchen passover window, which is flanked by niches for booth seating on either side.
      A large window opens to additional seating along the restaurant’s exteriorHanes founded his eponymous studio in 2004, and also opened an office in New York in 2020.
      Focusing on hospitality interiors, the team has previously completed a bar and restaurant in Atlanta that’s decorated with floral installations, and the ground-floor eateries within a renovated hotel in Portland, Oregon.
      The photography is by Tim Lenz.

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