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      Tala Fustok fills Hyde Park apartment with contemporary art and vintage furniture

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      Tala Fustok Studio has transformed the interior of an apartment in west London into a “calm sanctuary” containing carefully chosen artworks and furnishings influenced by the travels of its owner.

      The Palace Gate apartment is located on the fourth floor of a Victorian mansion block neighbouring Hyde Park in the Royal Borough of Kensington and Chelsea.
      Tala Fustok has designed the The Palace Gate apartment in LondonLocal interior designer Tala Fustok set out to turn the four-bedroom property into a relaxing pied-a-terre containing a collection of contemporary artworks.
      “I wanted to create a calm sanctuary to balance the hustle and bustle of the city and the owner’s lifestyle,” Fustok told Dezeen.
      “Our client is an ardent traveller, frequenting North Africa and copious European cities,” she added. “We wanted to ensure this was reflected in the design, as a sort of escapism and bringing a dose or reminder of those settings to their London home.”

      Integrated storage conceals steel beams in the living roomThe interior features a palette of soft colours intended to evoke a sunset, with textures of stone and earthy fabrics adding to the nomadic and natural feel.
      The 252-square-metre interior was reorganised through several structural interventions that opened up the living and dining area, as well as combining two bedrooms to form a large principal bedroom and dressing area.
      A woven chair and a vase from east London’s M.A.H Gallery stand in the entrance hallIn the main living space, steel beams are concealed within a room divider featuring curved surfaces and open shelves that allow light and views throughout, while providing spaces for displaying artwork.
      Deep hues and textures including plastered walls and velvet upholstery add richness and variety to the scheme, making the most of the light that floods into the southwest-facing spaces.
      Wooden cabinetry contrasts with brass details in the kitchenA monochromatic colour scheme forms a simple backdrop for the artworks, vintage furniture and bespoke elements created to enhance the home’s restful atmosphere.
      Fustok’s studio was involved in selecting the unique furnishings and art for the home in order to elevate the spaces and create consistency throughout the different rooms.

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      A pared-back entrance hall – containing a Venetian mirror, a woven chair and a vase from east London’s M.A.H Gallery – leads through to the dining room where a mirror from The Antique Mirror Company hangs above a painted brick fireplace.
      A 1970s Italian travertine table combines with a curved sofa to create a space for informal dining. On top of the table is a centrepiece from London’s Vessel gallery and beneath sits a shaggy rug by designer Tim Page.
      A huge pink-velvet bed is the centrepiece of the bedroomFustok added double arched doors to connect the dining room with the adjacent kitchen, where wooden cabinetry contrasts with brass details including the cooker hood.
      The living room features a travertine fireplace along with a mirror and rug that match those used in the dining room. Bespoke furnishings made of bleached plywood, brass and timber contribute to the space’s relaxed, rustic character.
      The same pink tones carry over into the bathroomIn the main bedroom, a 1960s-style bed upholstered in dusty pink velvet provides a bold centrepiece.
      The tapestry above the bed is from London gallery Schmid McDonagh, while a bespoke mirror by French artist Christophe Gaignon is positioned above the stone fireplace.
      A dressing area alongside the main bedroom is arranged around a bespoke storage island wrapped in leather and plywood, which is illuminated from above by a pendant light from British design studio Pinch.
      The dressing room is arranged around a bespoke storage islandThe Moroccan-informed en-suite bathroom contains a bespoke travertine sink and zellige tiles in the shower. The design of this space encapsulates the nomadic inspirations seen throughout the residence.
      Tala Fustok studied at the Architectural Association before setting up her studio in west London.
      Her previous projects include a Manhattan loft with a calm ambience and an office for game developer Ninja Theory in Cambridge, which features a blood-red bar and an all-blue cinema room.
      The styling is by Sania Pell and photography by Michael Sinclair.

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      Renovated Mayfair pub The Audley is filled to the brim with art

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      Artworks by Andy Warhol, Lucian Freud and more can be seen throughout The Audley pub and its restaurant in London’s Mayfair, designed by architecture studio Laplace.

      The venue occupies a listed five-storey building dating back to 1888, which formerly functioned as a pub with rooms for staff upstairs.
      Laplace designed The Audley pub (above) and its restaurant (top image) in LondonNow, the ground-floor public house has been restored while the upper levels were converted into the Mount St Restaurant, complete with four private dining rooms.
      The renovation was commissioned by Artfarm – the hospitality company of Hauser & Wirth founders Iwan and Manuela Wirth – with the aim of upgrading the pub’s interior while preserving its original features.
      British artist Phyllida Barlow has created a colourful collage on the pub’s ceiling”The word Audley is English Anglo-Saxon for ‘old friend’ and the pub has been an old friend to people who live and work in Mayfair ever since it opened in Edwardian times,” said Artfarm’s CEO Ewan Venters. “We wanted it to remain just that.”

      “This area is so rich in culture and history, and where better for those stories to continue than at the local pub?”
      Mount St Restaurant sits above the pub on the building’s first floorFrench studio Laplace was selected to lead the pub’s redesign, having already worked on a number of Hauser & Wirth’s international art galleries including its outposts in Somerset and on the Spanish island of Menorca.
      In the ground-floor pub, the studio freshened up the woodwork and brought in a team of specialists who, over the course of eight weeks, hand-polished almost every surface of the interior.
      Restoration work was also carried out on The Audley’s 19th-century clock and fireplace, and a new chestnut-brown leather banquette was installed.
      Artworks cover every wall of the restaurantThe ceiling is now covered in a newly commissioned collage by British artist Phyllida Barlow. It comprises brightly coloured sheets of paper that were pasted into an abstract pattern, at points forming arch shapes that mimic the curvature of the pub’s windows.
      More artworks by the likes of Turner Prize-winner Martin Creed and Canadian artist Rodney Graham were mounted on the walls.
      The salt and pepper shakers take cues from artist Paul McCarthy’s Tree sculptureThe Audley sells traditional pub snacks while in the upstairs Mount St Restaurant, a full menu of classic London dishes is on offer.
      This first-floor space is jam-packed with art pieces including a self-portrait by Lucian Freud, a lobster print by Andy Warhol and an abstract landscape by painter Frank Auerbach that depicts London’s Primrose Hill.

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      The floor is taken over by a bold mosaic created by American artist Rashid Johnson and made up of different types of marble. Another American artist, Matthew Day Jackson, is responsible for the crimson-coloured dining chairs with wriggly frames.
      Art also inspired the restaurant’s finer details; the salt and pepper shakers are modelled after Paul McCarthy’s playful sculpture Tree while the lamps that centre each of the leather-topped tables are based on Swiss artist Sophie Taeuber-Arp’s work Powder Box.
      “We have created coherent spaces in which art and design flow naturally, avoiding the pitfalls of obsolete artistic or aesthetic statements,” explained Laplace.
      The Swiss Room is one of four private dining rooms on siteThe project also saw the studio create four private dining spaces on-site, which are available for hire.
      On the building’s second level is The Swiss Room, designed to celebrate the nationality of Iwan and Manuela Wirth, who founded Hauser & Wirth together with Ursula Hauser in Zurich in 1992.
      Here, the parquet oak floor was stained brown, red and teal-blue to emulate a watercolour by Taeuber-Arp.
      Palazzos inspired the rich look of The Italian RoomNearby is the Italian Room & Bar, which draws on the aesthetic of grand palazzos. Its walls are painted a rich mustard-yellow hue, while deep-green Verde Alpi marble from Italy was used to craft the countertop of the bar and the flooring.
      The building’s third level accommodates The Scottish Room with a nine-metre-long oak table at its centre surrounded by hand-carved chairs, each inlaid with a custom tartan designed by weaver Araminta Campbell.
      Directly above hangs a dramatic antler chandelier.
      An antler chandelier is the focal point of The Scottish Room. Photo by Sim Canetty-ClarkeFinally on the fourth level is The Games Room, which Laplace styled to have the feel of a “clandestine enclave”.
      It features tasselled ceiling lamps, a blood-red tufted sofa and a one-off rug made by Laplace in collaboration with the former assistant of French-American artist Louise Bourgeois.
      At this level, guests can also see the inside of the building’s turret, which features an erotic fresco by British artist Anj Smith.
      Plush furnishings fill The Games Room. Photo by Sim Canetty-ClarkeLondon’s affluent Mayfair neighbourhood is a hotspot for bars and restaurants.
      Among them is the recently-opened Bacchanalia, which features giant mythology-inspired sculptures by Damien Hirst, and The Red Room bar inside The Connaught Hotel, which is designed to feel like an art collector’s home.
      The photography is by Simon Brown unless stated otherwise. 

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      Dishoom Canary Wharf recalls 1970s Irani cafes near Bombay Stock Exchange

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      Prolific restaurant Dishoom has opened its first new London venue in five years, featuring an interior designed around a “financial fraudster from the 1970s”.

      As with previous venues, restaurant co-founders Shamil and Kavi Thakrar teamed up with architecture studio Macaulay Sinclair on the design of Dishoom Canary Wharf.
      Dishoom Canary Wharf is the restaurant’s sixth venue in LondonReferencing its setting near many of London’s banking headquarters, the design imagines an Irani cafe near the Bombay Stock Exchange in 1970s India.
      “When we create a Dishoom, we always start with a story,” explained Shamil Thakrar.
      The entrance leads into a double-height bar”We imagined the fictional owner of the restaurant to be a financial fraudster from the 1970s who owns a cafe on Dalal Street, close to the Bombay Stock Exchange,” he told Dezeen.

      “This story gave us an opportunity to experiment with the aesthetic and feeling of the 1970s in Bombay, which, as you can imagine, has a rich history of financial intrigue.”
      The backdrop to this space is a high-gloss teal wallKey to the design is the retro furnishings that feature throughout the 750-square-metre restaurant.
      Vintage chairs, lighting fixtures and ornaments were sourced from antique dealers in Mumbai (formerly Bombay), carefully restored and shipped back to the UK.
      “The procurement process for each Dishoom starts with the sourcing trip,” said Ian Roome, associate director at Macaulay Sinclair.
      A vintage clock provides a focal point within the bespoke joinery of the barOne of the most important finds was a vintage diamond-shaped clock, which is set into bespoke joinery as the focal point of a grand bar that greets guests when they first arrive.
      According to Roome, this element draws inspiration from the lobby clock in Mumbai’s West End Hotel, which is located in the same neighbourhood as the Bombay Stock Exchange.

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      “The position of the 10-metre bar servery is, in our opinion, the key component in the restaurant,” he told Dezeen.
      “It creates an impressive focal point in the Permit Room bar, engaging with guests from all angles and viewpoints.”
      Restored vintage furniture features throughout the dining spacesThis double-height arrival space is naturally divided into zones by different furniture types that include low-slung lounge seats, banquette booths and cushioned leather bar stools.
      Rotating ceiling fans and rattan panelling – both Dishoom staples – also feature here, while the backdrop is a glossy teal wall that takes its cues from the Bombay Gymkhana.
      “We researched 1970s Bombay extensively,” said Roome, before reeling off a list of places in Mumbai’s Fort area that were visited as part of the design process.
      “They guide every single detail of the design aesthetic and tone,” he said.
      Retro wallpaper infills timber wall panellingThe dining spaces are more intimate in scale, set beneath a mezzanine-level kitchen.
      These spaces are filled with texture, thanks to parquet and patterned-tile floors, panelled walls infilled with retro wallpaper, and a mix of wood and marble tabletops.
      Seating upholstery comes in patterned fabric and leather in shades of green, yellow, brown and red. A family room sits off to one side, with colours that reference the stairwell of the Parsi Lying-In Hospital.
      The family room features green leather seating upholsteryThe Dishoom restaurants, which first launched in 2010, are based on the Irani cafes that were once widespread in Bombay but are now increasingly rare.
      There are now six Dishooms in London, including one in a former transit shed near King’s Cross station, plus outposts in Edinburgh, Birmingham and Manchester.
      Shamil Thakrar explained the concept in a 2010 interview with Dezeen founder Marcus Fairs.
      Old photographs hang on the wallsWith Dishoom Canary Wharf, Thakrar hopes to have created a stronger sense of 1970s glamour than in any of the restaurants.
      “It feels like one of the richest designs we’ve created,” he said. “The room furthest back feels to me like the Air India first class lounge circa 1973, although I’m too young to remember this of course.”
      “I also love the artwork, which works again to reinforce the character and the time setting of the protagonist in our story.”

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      London apartment features fish and chip shop-informed kitchen

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      A steel kitchen that references London’s many fast food shops takes centre stage in this apartment designed by local studio Holloway Li for its co-founder Alex Holloway, which also has a bathtub in the living room.

      Located in north London’s Highbury, the apartment is set in a converted Victorian house and was renovated to create a home-cum-photography-studio for Holloway and his partner Elle Parmar Jenkins, founder of vintage furniture store Goods In.
      The apartment includes a custom-built stainless steel kitchenHolloway Li sought to update the single-storey space while also maintaining many of its original features.
      Part of this process included removing the master bedroom entirely to create an open-plan living space from what were originally separate rooms, and adding two extra windows to illuminate this interior.
      Holloway Li looked to local fast-food shops to create this design”We exposed and retained the original timber verge beam keeping all the screws and not cleaning it up at all,” said Holloway, who founded the studio with Na Li in 2018.

      “We wanted to express the formation of the external butterfly roof internally by opening up the ceilings to show the vaulted geometry internally,” he told Dezeen.
      This triple-aspect living space contains a striking kitchen clad in circle-brushed stainless steel with a curved splashback that takes cues from the kebab and fish and chip shops that Holloway grew up surrounded by in London, according to the designer.
      Pink and orange accents feature throughout”A lot of our studio work often fuses aspects of what people might consider ‘low culture’ with a more high-brow aesthetic,” said Holloway, who explained that the kitchen was not created as a parody, but rather intends to honour the materials found in fast food outlets.
      “This is what London is – a mix of high and low always across the road from one another. It’s part of what makes it interesting, and having grown up here it was important to add those vernacular visual flavours into the space,” he added.
      “Also, I hadn’t seen that material [circle-brushed steel] used in a domestic setting before so I knew it would be unique.”
      A bathtub was inserted into the living spaceThe studio chose a neutral colour palette interrupted with pops of vibrant colours such as orange and blue, which was led by the rosy-hued exposed plaster walls that frame the space.
      Breaking with tradition, Holloway decided to insert a bathtub into the living space where the master bedroom used to be to make use of its panoramic natural light and to add an alternative touch to the apartment.
      The same resin used to create the dining table top is found in the bathroomIt is positioned next to a bespoke timber Holloway Li desk and a vintage Eames office chair that Parmar Jenkins uses when she works from home, while light-hued Douglas fir flooring and chunky geometric sconce lights add to the warm interior.
      Other furniture pieces by the studio include a chubby orange armchair that Holloway Li launched at this year’s London Design Festival in collaboration with Uma Objects as well as the dining table and a shower screen that were both formed from a gridded resin off-cut salvaged from a previous project.

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      Holloway’s favourite element of the apartment is “the windows and reflections,” he said. “It is very rare to have a room in a Victorian terrace that has windows on three out of four of its sides.”
      “The kitchen in turn – on the old side that doesn’t have a window – reflects the opposite windows so it actually feels like you are surrounded by light,” he added.
      Colours in the living space are also hinted at in the apartment’s one bedroomThis apartment is not the first of Holloway Li’s interior designs that intend to directly respond to their contexts.
      Previously, the studio dressed the Wunderlocke hotel in Munich in hues that nod to the paintings of the late Munich-based painter Wassily Kandinsky, while it designed bathroom brand Coalbrook’s showroom with industrial materials that echo the building’s original function as a tobacco-pipe factory.
      The photography is by Edmund Dabney. 

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      Self-Portrait wraps London store in mint-hued Cornish clay and tonal surfaces

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      Luxury fashion brand Self-Portrait has opened a store in London with mirrored surfaces and Cornish clay walls that combines “minimalism, materiality and colour.”

      Located on the corner of Kings Road and Duke of York Square in Chelsea, London, the 200-square-metre store was designed by Self-Portrait founder and creative director Han Chong in collaboration with New York-based architect Andreas Kostopoulos.
      The store was designed by Self-Portrait founder Han Chong and architect Andreas Kostopoulos”Inspired by spatial design and the idea of self-reflection, features in a myriad of textures including chrome and mirror dominate the interior walls and reflect tonal surfaces in mint green,” Self-Portrait said of the interior.
      “By leveraging on minimalism, materiality, and colour, we wanted to create an intimate, sensory and focused experience, free from any interferences or visually distracting architectural qualities and functions that can typically overwhelm retail environments,” said Kostopoulos.
      Tonal surfaces were added to the interior of the storeThe store interior is characterised by natural materials. Mint-pigmented Cornish clay covers its walls and provides a textural quality through its visible markings, which are reminiscent of limewash.

      Custom terrazzo flooring in hues of white, grey and mint blankets the majority of the floors while some areas, including fitting rooms, were decorated with plush carpets in matching colours to add a softer touch to the space.
      Mirrors visually extended the space and blurred the boundaries of the storeBetween the textural clay walls, expanses of mirrored panels adorn the vertical surfaces and surround street-facing windows from floor to ceiling to visually extend and blur the boundaries of the retail space.
      “I love the idea of spatial perception, blurring the lines between the interior and exterior, vertical and horizontal,” explained Chong.

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      While using rich and textural materials, Chong and Kostopoulos also looked to create a space that was minimalist and free from distracting architectural elements by reducing the store to its bare essentials.
      Overhead lighting throughout was subtlety concealed behind a gridded, drop ceiling that creates a contemporary and modernist look while also adding a contrasting textural quality.
      Cornish clay was applied to the walls to create a textural finish”I am so proud of the space we have created – it’s the perfect blend of art and architecture, which provides a serene and minimalist home for our collections,” Chong continued.
      “For me, this store has become the perfect physical manifestation of our brand – it’s a contrast of the effortless and the studied, with a focus on quality, materials and craft.”
      Custom terrazzo covers the floor of the storeSelf-Portrait’s ready-to-wear collections were displayed on chrome-finished clothes rails in front of windows while accessories were organised across chrome display tables.
      Antique furniture was combined with contemporary pieces throughout the store. A Max Lamb chair was neatly placed in a mirrored corner of the retail space, while wooden chairs were scattered throughout.
      Antique furniture was combined with contemporary piecesSelf-Portrait is a contemporary luxury brand that was founded by Chong in 2013 after he graduated from womenswear design at Central Saint Martins.
      Elsewhere in London, AMO created a terracruda-clad shop-in-shop at Selfridges that featured curving display areas and brutalist-style furniture for French fashion brand Jacquemus.
      Design studio Perron-Roettinger recently unveiled its design for a pop-up store for Kim Kardashian’s homeware brand SKKN, which the studio clad in raw plaster and cement.

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      Butterfly House renovation contrasts traditional features with modern materials

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      British studio Will Gamble Architects has modernised a heritage-listed terraced house in south London, adding a series of bespoke joinery elements that help to repurpose the existing living spaces.

      Known under the nickname Butterfly House, the project involved the refurbishment and reconfiguration of a Grade II-listed home in Lambeth for a couple of lawyers and their two young children.
      Will Gamble Architects has renovated the interior of Butterfly House in LondonThe building, which dates back to the 1840s, was originally conceived as a four-storey family home. But it had previously been knocked through to a neighbouring property and separated vertically into flats before being returned to a single dwelling.
      Will Gamble Architects was asked to create a contemporary home that makes the most of the available space while retaining the features and character of the existing architecture.
      Micro-cement covers the chimney breast in the dining room”Despite its heritage listing, the building had been messed around with and many of the original features were ripped out,” project architect Miles Kelsey told Dezeen.

      “We were required to preserve the proportions of any rooms that hadn’t changed too much and focused on identifying the minimal permissible alterations that could have the biggest spatial impact.”
      A built-in bench provides seating in the dining areaThe scheme returns Butterfly House to its original interior layout, with the kitchen and dining area on the ground floor, living spaces on the first floor and the bedrooms above.
      In order to adapt the existing floor plan to meet the clients’ needs, the architects repositioned some of the internal openings and introduced joinery elements with built-in doorways and storage.
      The original fireplace in the kitchen was retained”Because we were restricted in what we could do with a listed building, the bespoke joinery allowed us to maximise the potential of each space,” Kelsey added.
      “The joinery also enabled us to create a really clear and coherent design aesthetic throughout the project that responds to the clients’ request for natural and honest materials.”
      A white-painted stairway leads to the upper floorsA restrained, pared-back material palette is applied throughout the interior, with the oak joinery complemented by surfaces of micro-cement and stone.
      The neighbouring property was used as a reference for reinstating original features including the architraves and skirting, which stand out thanks to the sober treatment of the modern additions.

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      “Our idea was that the traditional decorative details should sit alongside more contemporary elements like the joinery to create a strong contrast between old and new,” said Kelsey.
      “We didn’t want to overly embellish the contemporary elements in order to maintain a sense of coherence across the whole project.”
      Light permeates the living room via its refurbished French doorsThe kitchen and dining room on the ground floor are linked by a large oak-framed opening that allows a view through the house towards the windows on the other side.
      A chimney breast in the dining room was reinstated and covered with a pale-grey micro-cement finish that is echoed in the dining table.
      Built-in storage on the other side of the room conceals a new doorBuilt-in cabinetry on either side of the chimney provides practical storage while a bench positioned along the opposite wall offers seating for the dining table.
      The living room on the first floor contains large refurbished French doors on one side and a newly instated door on the other side, set within a full-height storage element.
      The home’s custom joinery is made from warm oak woodThe pared-back material palette extends to the bedrooms on the two upper floors, where the oak joinery is used to create storage, headboards and partition walls such as the one separating the main bedroom from its en suite bathroom.
      Butterfly House takes its name from the typical roof form that tops the terraced property. It also references the bowed floors and ceilings uncovered during the renovation, which were remediated as part of the project.
      Wood also features in the bathrooms of Butterfly HouseWill Gamble founded his eponymous architecture and interiors studio in 2018. Based in Barnes, London, the firms works on commercial and residential projects, often involving the adaptation of historic structures for modern use.
      The practice was longlisted for emerging architecture studio of the year at the 2022 Dezeen Awards.
      Its previously completed projects include a glass-walled extension to a Georgian red-brick house and the transformation of a ruined 17-century parchment factory into a contemporary residence.
      The photography is by Nick Dearden.

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      Christ & Gantenbein adds “techno-futuristic” lobby to Oxford Street office

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      Swiss studio Christ & Gantenbein has completed its upgrade of UK House on Oxford Street, adding a baroque-influenced lobby informed by the building’s history.

      The renovation of the Grade II-listed building aims to respond to the need for communicative corporate architecture. Designed to be a welcoming “place of arrival”, the new lobby combines the baroque themes from the existing building with modern elements.
      Christ & Gantenbein has upgraded UK House on Oxford Street”We conceived this lobby as a location full of hospitality, with a unique mix of baroque and techno-futuristic elements,” said Christ & Gantenbein’s founding partner Emanuel Christ.
      “The result is a creative spatial identity and generous sequence of rooms that offer high-quality experiences for the tenants and visitors alike.”
      The studio has added a baroque-influenced lobbyChrist & Gantenbein’s renovation expands upon the building’s conversion into an office block during the 1970s.  The structure still features two of its original baroque facades, which partially inspired the design of the new lobby.

      “We worked with this history to generate our vision of corporate architecture in the 21st century: bold, futuristic, open, communicative, yet steeped with history,” said the studio.
      Its design references the building’s historyLarge windows framed by bronzed metal at the front of the building draw upon the surrounding retail facades of Oxford Street. The lobby is accessed through a pair of revolving glass doors with frames of chromed stainless steel, which offer views of the mirrored columns inside.
      Inside the lobby Christ & Gantenbein placed a front desk and a coffee point, along with an ancillary space that can be used for meetings. A work by artist Wolfgang Tilmans features on the right wall of the space.

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      A marbled floor made from black and white stone spans the space, forming a checkered pattern which references the history of the building.
      A metal grill ceiling divided into a more subtle grid mirrors the checkered pattern of the floor, spanned by linear lighting elements that illuminate the lobby.
      There is a metal grill ceilingWith “apse-like” endings that project slightly into the lobby, the walls mimic the original baroque forms of the building. The walls are covered in neutral ceramic tiles which act as a subtle backdrop to the space.
      Mirrored columns reflect the patterns from the floor through the lobby, while polished chrome elements, including the elevator doors, feature throughout the space.
      A marbled floor forms a checkered patternBeyond the lobby, the addition of new staircases and elevators has connected the entry hall to a basement space featuring a separate lobby for cyclists and a multi-level bike storage space. Black and white patterns on the epoxy floor mark the route to the bike store, transitioning into a circular pattern to mark the entry to the changing space.
      Other facilities on the level include showers and lockers, along with hyper-modern elements designed by the studio which have been arranged throughout the functional space.
      Other facilities include showers and lockersFounded by Emanuel Christ and Christoph Gantenbein in 1998, architecture studio Christ & Gantenbein was named Architect of the Year in Dezeen Awards 2018.
      Other projects recently completed by the studio include a multifunctional workspace in Germany and a museum for chocolate brand Lindt.
      The photography is by Thomas Adank.

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      Monumental Damien Hirst sculptures feature inside Bacchanalia London restaurant

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      Interior architect Martin Brudnizki Design Studio has created a classical Greek and Roman mythology-informed restaurant complete with sculptures by British artist Damien Hirst in Mayfair, London.

      Named Bacchanalia London, the restaurant is located on a corner site of 1 Mount Street in Mayfair that was previously a Porsche showroom.
      Sculptures more than 2,000 years old sit on the bar at Bacchanalia LondonOpened 1 December, the restaurant has an opulent interior designed by Martin Brudnizki Design Studio that makes use of mosaics, classical details, hand-painted ceiling murals and Greek and Roman artworks more than 2,000 years old.
      The main dining room features five monumental statues designed by British artist Hirst that depict a winged lion, a unicorn ridden by a pair of winged lovers, another unicorn, Medusa and Bacchus.

      Dezeen filmed an exclusive first-look video tour of the restaurant.
      The walls of the main space were covered in floor-to-ceiling murals painted by artist Gary Myatt that interpret French artist Thomas Couture’s 1847 painting Romans in their Decadence.
      However, in Myatt’s murals the classically dressed figures can be seen using laptops and holding iPhones.
      Gary Myatt’s mural depicts classical figures using modern technologyThroughout the restaurant period and modern Greek and Roman art was showcased. Many pieces are over 2,000 years old. Over 300 books of 24-carat gold leaf were used across the interiors of the project.
      Over 400,000 tiles were used in the ladies restroom to conjure orchard greenery inspired by the Garden of Hesperides, where according to Greek mythology golden apples grow.
      The men’s restrooms – with high-gloss black toilets – are supposed to represent Hades’ underworld.

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      Informed by the Roman festival of Bacchus’ drunken celebrations, Bacchanalia London is the latest restaurant from restauranteur Richard Caring.
      At the launch event in November, Caring heralded it as a place for “the drinking of wine in excess and the co-mingling of the sexes thereafter”, adding that “Bacchanalia London could help with the former but guests would have to work out the latter for themselves”.
      Martin Brudnizki Design Studio previously renovated Caring’s other London club, Annabel’s, in 2018. Hélène Darroze at The Connaught is another Mayfair restaurant that has been recently revamped. To mark its 10-year anniversary in 2019, French designer Pierre Yovanovitch overhauled the dining space in the luxury hotel.
      The photography is by Johnny Stephens Photography.

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