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    Bindloss Dawes converts 18th-century pub into light-filled Michelin-starred restaurant

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    Architecture studio Bindloss Dawes has renovated an 18th-century pub in Somerset, England, to create an “intimate” new home for the Osip farm-to-table restaurant.

    Helmed by chef Merlin Labron-Johnson, Michelin-starred Osip was located on Bruton High Street in Somerset until August of this year, when it was transferred to a nearby Georgian pub built in 1730.
    Bindloss Dawes has created a new home for OsipLocal architecture office Bindloss Dawes stripped the three-storey building back to its original shell by removing a series of recent additions. The studio also stabilised the pub’s existing stone walls and relayed its slate roofs.
    Rewashed in white lime, the textured facade is characterised by limestone door and window frames, which complement the surrounding planted garden that supports Osip’s seasonal menu.
    An open theatre kitchen features floor-to-ceiling glazingOn the interior, Bindloss Dawes sought to illuminate the ground-floor restaurant with natural light while retaining a sense of the pub’s former character.

    Low, beamed ceilings feature across the seating area, which overlooks an open kitchen framed by floor-to-ceiling glazing and crowned by a geometric skylight.
    Earthenware flooring was laid across the seating area”The original Osip had a road-facing window and a small serving hatch, giving diners a limited view of the kitchen,” studio co-founder Oliver Bindloss told Dezeen.
    “In the new restaurant, we have opened up new windows and the garden to create wide views of the surrounding landscape.”
    The kitchen includes chunky bar stoolsBindloss Dawes chose a palette of natural materials when dressing the interior spaces.
    A deep red, locally sourced earthenware floor was laid across the seating area in a nod to the pub’s original charred crimson clinker floors. The breathable material was also selected for its acoustically absorbent properties.
    Artist Max Bainbridge hand-carved a knobbly timber barArtist Max Bainbridge of Somerset studio Forest + Found hand-carved a knobbly central drinks bar out of local timber gathered from the neighbouring woods, while abstract artworks add subtle colour to the otherwise white-washed walls.
    The kitchen is defined by a mixture of stainless steel, timber accents and chunky bar stools upholstered in Somerset textiles. Dimmable lighting was fitted throughout the restaurant to enhance a setting where diners can “focus on the food”, according to Bindloss.

    William Floyd Maclean designs modular timber furniture that “considers a wider picture”

    “The interior design is intimate, filled with natural light and open to the landscape,” said the studio co-founder.
    “Osip’s materials and makers represent the same things as its food – locally sourced and representing the best of Somerset and the south west,” he added.
    Osip includes a garden for growing seasonal produceBindloss Dawes also restored the building’s first and second floors, which extend into the original roof rafters and house four double guestrooms with en-suite bathrooms, furnished to reflect the downstairs restaurant.
    The studio opened its Bruton practice in 2018 and has completed Somerset projects ranging from the renovation of a Grade II-listed house in Pitcombe with a contemporary timber extension to a car barn for a classic Porsche collector.
    The photography is by Dave Watts.

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      Hollie Bowden converts London pub into pared-back jewellery showroom

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      Lime-washed walls meet aluminium display fixtures in this minimalist studio and showroom that designer Hollie Bowden has devised for London brand Completedworks.

      Set over two floors of a former pub in Marylebone, it provides space for Completedworks to design and display its jewellery and ceramics, as well as to host an array of craft-focused classes.
      Hollie Bowden has designed a studio and showroom for CompletedworksThe brand was established in 2013 and up until now, has largely been sold via high-end department stores such as Dover Street Market and Liberty. But founder Anna Jewsbury felt it was time for Completedworks to have its own brick-and-mortar space.
      “We increasingly had clients asking to come and see our pieces in person but felt that we didn’t have a space that felt considered and reflected our vision,” she said. “We wanted people to be able to enter our world and get to know us, and for us to get to know them.”
      Display shelving was crafted from lustrous aluminiumFor the design of the showroom, Jewsbury worked with London-based designer Hollie Bowden, who naturally looked to the brand’s jewellery for inspiration.

      This can be seen for example in the hammered-metal door handles that appear throughout the studio and directly reference the creased design of the gold Cohesion earrings.
      A modular display system in the showroom is clad in lilac linen”[Completedworks] is known for the beauty of the textural surfaces and flowing almost baroque forms,” Bowden explained. “We developed a display language that played off that, with minimal details and strict lines.”
      Almost every surface throughout the studio is washed in beige-toned lime paint, with only a few slivers of the original brick walls and a worn metal column left exposed near the central staircase.

      Hollie Bowden channels the ambience of dimly lit gentlemen’s clubs for London office

      Bowden used brushed aluminium to create a range of display fixtures, including chunky plinths and super-slender shelving units supported by floor-to-ceiling poles.
      The space also houses a couple of angular aluminium counters for packing orders that include discrete storage for boxes and subtle openings, through which tissue paper or bubble wrap can be pulled.
      Shoji-style storage cabinets can be seen in the officeA slightly more playful selection of colours and materials was used for the studio’s custom furnishings.
      In the main showroom, there’s a modular display island sheathed in lilac linen. Meanwhile in the office, designer Byron Pritchard – who is also Bowden’s partner – created a gridded wooden cabinet inlaid with translucent sheets of paper, intended to resemble a traditional Japanese shoji screen.
      Hammered-metal door handles in the studio resemble Completedworks’ earringsThis isn’t Bowden’s first project in London’s affluent Marylebone neighbourhood.
      Previously, the designer created an office for real estate company Schönhaus, decking the space out with dark-stained oak and aged leather to emulate the feel of a gentleman’s club.
      The photography is by Genevieve Lutkin.

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      in Rooms

      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.

      Laplace and Piet Oudolf transform 18th-century naval hospital into Hauser & Wirth art gallery

      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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