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    Energy-saving 10K House in Barcelona is a “labyrinth that multiplies perspectives”

    Spanish studio Takk took cues from snugly stacked Russian dolls for the interior renovation of this Barcelona apartment, which features rooms nestled inside each other to maximise insulation.

    Called 10K House, the 50-square-metre apartment was renovated by Takk using a material budget of only 10,000 euros with the aim of updating the home to be as sustainable as possible.
    10K House is a residential interior design projectThe project was informed by concerns about climate change as well as the global energy crisis faced by homeowners and renters.
    Arranged across one open level, rooms were built “inside one another” in a formation that mimics the layers of an onion and places the rooms that require the most heat at the centre of the apartment, according to Takk.
    The bedroom is raised on recycled white table legs”This causes the heat emitted by us, our pets or our appliances to have to go through more walls to reach the outside,” principal architects Mireia Luzárraga and Alejandro Muiño told Dezeen.

    “If we place the spaces that need more heat – for example, the room where we sleep – in the centre of the Matryoshka [a Russian doll] we realise that we need to heat it less because the configuration of the house itself helps to maintain the temperature.”
    “The result is a kind of labyrinth that multiplies perspectives,” explained the architects, who designed the project for a single client.
    MDF was used throughout the apartmentRecycled table legs were used to elevate these constructed rooms to allow the free passage of water pipes and electrical fittings without having to create wall grooves, reducing the overall cost.
    For example, the raised central bedroom is clad in gridded frames of medium-density fibreboard (MDF) that are enveloped by slabs of local sheep’s wool – utilitarian and inexpensive materials that feature throughout the interior.
    “Despite being a small apartment, it is very complex to ensure that you never get bored of the space,” said Luzárraga and Muiño.
    The remnants of previous partitions were left exposedAfter demolishing the apartment’s existing internal layout, Takk chose not to apply costly and carbon-intensive coatings to the floors and walls.
    Rather, the architects scrubbed the space clean and left traces of the previous partitions and dismantled light fixtures visible, giving the apartment a raw appearance and maintaining a reminder of the original floor plan.
    The kitchen features a metallic sink and low-slung cabinetsThe kitchen is located in the most open part of 10K House, which includes timber geometric cabinetry and an exposed metallic sink.
    According to the architects, the open kitchen intends to act as a facility “without associated gender” and address stereotypes typically attached to housework.

    Energy savings from home insulation “vanishing” after four years

    “Traditionally, the kitchen has been understood as a space to be used mainly by women, whether they own the house or do domestic work,” reflected Luzárraga and Muiño.
    “This has meant that [historically] this space has been relegated to secondary areas of the house, poorly lit and poorly ventilated, especially in small homes.”
    “One way to combat this is by placing the kitchen in better and open spaces, so that everyone, regardless of their gender, is challenged to take charge of this type of task,” they added.
    10K House was constructed using CNC-milled componentThe dwelling was constructed using CNC-milled components that were cut prior to arriving on-site and assembled using standard screws.
    Takk chose this method to encourage DIY when building a home, and armed the client with a small instruction manual that allowed them to assemble aspects of the apartment themselves “as if [the apartment] were a piece of furniture”.
    Takk was informed by soaring energy prices when designing the project10K House is based on a previous project by the architecture studio called The Day After House, which features similar “unprejudiced” design principles, according to Luzárraga and Muiño.
    The architects – who are also a couple – created a winter-themed bedroom for their young daughter by inserting a self-contained igloo-like structure within their home in Barcelona.
    The photography is by José Hevia.

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    Tbilisi's Blueberry Nights hotel makes “people feel like they're inside a movie”

    Georgian architect Sandro Takaishvili has converted an apartment building in Tbilisi into a hotel, with interiors informed by his love of cinema and movie projectors in all 16 rooms.

    Taking over three storeys above a restaurant in the capital’s Vera neighbourhood, the Blueberry Nights hotel features a theatrical colour scheme, Japanese furnishings and moody lighting.
    Blueberry Nights is a 16-room hotel in Tbilisi”The design of the hotel is the culmination of my entire life’s consumption of film,” the hotel’s co-founder Sandro Takaishvili told Dezeen.
    “My intention is to make people feel like they’re inside a movie, where everything feels slightly familiar but otherworldly at the same time,” said the architect, who previously worked as a set designer, filmmaker and photographer.
    Its design references films by renowned film directorsThe hotel was named after My Blueberry Nights – a film by Hong Kong director Wong Kar-Wai – and incorporates visual references to the work of other renowned directors including Stanley Kubrick.

    The main lobby was designed to look and feel like a cosy cinema foyer, complete with dark blue carpeting, walnut wood furniture and seating upholstered in velvet. Guests can check in at a large reception desk fronted in plexiglass that was inspired by retro-futuristic films.
    The guestrooms are sparsely decorated with lights from Japan”From the moment guests step through the doors, a moody cinematic journey begins with dark blue carpets, downlights and a soft soundtrack of noir movie dialogues playing in the lobby,” Takaishvili said.
    As part of the renovation, Takaishvili transformed the building’s attic into two extra guestrooms, for a total of 16 rooms.

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    The bedrooms were designed to evoke the visual style of David Lynch, with custom-made low-slung beds and walnut-veneer cabinets. Room dividers punctured by large circular openings were used to mark different zones within the rooms.
    The warm wooden furniture is offset by splashes of red – in the form of vintage phones, artwork and window shutters made from medium-density fibreboard (MDF) – as well as the white tiles used in the tiny en-suite bathrooms.
    Wooden furniture in the hotel rooms was locally producedOther bedroom decor includes lamps with Noguchi-style paper shades, which Takaishvili imported from Japan, and teak-and-cane chairs by architect Pierre Jeanneret, which were sourced from London.
    “The paper lights give off a soft luminescent effect that creates a cosy ambience,” the architect explained.
    “Some of the simple geometric forms that I used definitely have a mid-century influence but I wasn’t trying to be trendy. I just wanted to achieve a cinematic effect without resorting to obvious movie gimmicks.”
    The architects added vinyl players and records in each roomOne wall was left blank in each room so that guests can watch movies via a smart projector, while music can be played via a selection of vinyl records.
    Other interior projects in Tbilisi include a bookstore-cum-cafe by Georgian designer Lado Lomitashvili and the Stamba Hotel, which occupies the former headquarters of a Soviet printing press.
    The photography is courtesy of Blueberry Nights.

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    Superkül renovates reading room at Toronto's brutalist Robarts Library

    Canadian studio Superkül has updated the reading room at the University of Toronto’s Robarts Library, a notable example of brutalist architecture.

    The project involved renovating the cavernous concrete space on the building’s fourth floor, as part of the university’s larger initiative to revitalise the Robarts Library, which Superkül described as “one of North America’s most significant examples of brutalist architecture”.
    The Brutalist concrete Robarts Library was built in 1973Completed in 1973, the John P Robarts Research Library was designed by local architecture studio Mathers & Haldenby.
    It is both the largest individual library at the University of Toronto and the largest academic library building in Canada.
    Superkül updated the spaces to better serve contemporary learning needsAs an important facility for students and faculty, the reading and study spaces required upgrades to meet contemporary learning styles and equipment, while remaining respectful to the heritage-listed architecture.

    The project also needed to connect the original brutalist structure with the adjacent Robarts Common extension, completed by Diamond Schmitt Architects in September 2022.
    A variety of individual study stations were added to the double-height space”We were tasked with an ambitious goal: to convert the space into a superior contemporary environment for quiet study, collaboration, and digital scholarship in a manner that complements the building’s exalted architectural language and supports accessibility, diversity, and wellness,” said Superkül.
    Spread throughout the 20,300-square-foot (1,886-square-metre), double-height space are individual study areas, new digital stations, consultation rooms and two light therapy zones.
    Natural materials were chosen to bring warmth to the concrete buildingParticular attention was paid to accessibility, through the addition of inclusive study spots that allow users to adjust desk heights, seating configurations and lighting for their needs.
    “We also emphasised clear sightlines and intuitive wayfinding in a symmetrical layout to promote easy navigation,” said Superkül.

    Upgrades to historic Toronto university building include an elevator clad in copper scales

    The studio worked with a team of acoustic specialists to create a sound-dampening system using perforated wood and metal panelling, designed to blend in with the interior architecture.
    This scheme allows communal study groups to converse without disturbing other students.
    Particular attention was paid to accessibility, through the addition of inclusive study spotsFor the new elements, a variety of natural materials were chosen to add warmth to the concrete building, including custom-designed bronze screens and details that play on existing motifs.
    “To honour the distinctive geometry and materiality that make Robarts Library such a prodigious icon, we hewed closely to an overarching objective: create a robust and respectful design that honours the existing architecture and complements the library’s other spaces,” the studio said.
    An acoustic-dampening system was created to prevent communal study sessions distracting from quiet workAlso at the University of Toronto, studios Kohn Shnier and ERA Architects recently renovated the historic University College building to make it more accessible.
    Superkül’s previous projects have included an all-white vacation home in the Ontario countryside.
    The photography is by Doublespace.
    Project credits:
    Architect: SuperkülStructural engineer: EntuitiveMechanical and electrical engineer: HH AngusAcoustics: AercousticsCost: Marshall & MurrayCode and safety: LRI

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    Pihlmann Architects creates sleek brewery in former Copenhagen slaughterhouse

    Bulbous steel tanks hang from where carcasses used to be suspended at the ÅBEN brewery in Copenhagen, which local studio Pihlmann Architects transformed from a slaughterhouse into a restaurant and bar.

    Located in Copenhagen’s Meatpacking District, the brewery is housed in a 1932 butchery that has been used for various commercial activities since the early 1990s.
    Visitors enter ÅBEN through the building’s original blue-rimmed doorsPihlmann Architects maintained and restored many of the slaughterhouse’s original features as part of the renovation for Danish beer company ÅBEN.
    “Turning the space back into a food production facility, with all the pragmatic measures we had to keep in mind, generated our ideas from the very beginning,” studio founder Søren Pihlmann told Dezeen. “Bringing back the authentic character of the space was key.”
    Conical steel fermentation vessels were suspended where carcasses used to hangArranged across one open-plan level, the brewery features the original gridded rail system from which 980 carcasses used to hang when the space was a slaughterhouse.

    Pihlmann Architects replaced the carcasses with conical fermentation tanks that are reached via a low-hanging galvanised steel walkway – also suspended from the listed building’s original sawtooth roof.
    Pihlmann Architects was led by the building’s industrial historyGeometric clusters of white wall tiles that have been preserved since the 1930s were also kept in place, echoing the brewery’s original purpose.
    “Bringing the key elements back to a worthy condition was more of a task than deciding on which [elements] to keep,” noted Pihlmann.
    Semitransparent curtains divide spaces and control acousticsSpaces are delineated by slaughterhouse-style semitransparent curtains, which cloak various dining areas that are positioned around the restaurant’s central open kitchen where visitors can experience the brewing process up close.
    Furniture was kept simple and “unfussy” in order to emphasise the restaurant’s industrial elements, including angular chairs and bar stools finished in aluminium and wood.
    “The [material and colour] palettes are true to function on the one hand and [true to] history on the other,” said Pihlmann.

    Crimson red flooring runs throughout the brewery, which was in place when the building was purchased. It was maintained to add warmth to the otherwise clinical interiors.
    At night, the restaurant’s electric light absorbs this colour and reflects from the fermentation tanks, creating a more intimate environment.
    A central open kitchen is flanked by bar stoolsMaking the food production processes visible was at the core of the design concept, according to the architecture studio.
    “It’s not only about the preparation of the food, it’s more about the brewing taking place,” continued Pihlmann.
    “The space which produces thousands of litres every day is open for everyone to step into, and actually see how and where the product they consume is produced.”

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    “Today, we are so detached from what we consume, we just go to the supermarket and pick it up from the cold counter having no clue where it’s coming from,” he added.
    “I’m not that naive to think that ÅBEN alone will change anything, but I’m convinced that it’s important to change this detachment.”
    The slaughterhouse’s original white tiles were preservedPihlmann described his favourite aspect of the project as “how the elements we’ve added both submit to and utilise the existing space, not just visually but also through their structural function”.
    “The building is built to carry a huge load,” he reflected. “Back then, it was tonnes of dead meat. Today, it’s enormous serving tanks from the ceiling.”
    Founded in 2021, Pihlmann Architects was included in our list of 15 up-and-coming Copenhagen architecture studios compiled to mark the city being named UNESCO-UIA World Capital of Architecture for 2023.
    Previous slaughterhouse conversions include a training school for chefs in Spain that was once used to butcher meat and a cultural centre in Portugal that is currently being developed by Kengo Kuma and OODA.
    The photography is by Hampus Berndtson.

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    Trewhela Williams adds louvred oak facade to London mews house

    Architecture office Trewhela Williams has completed a minimalist renovation of a mews house in north London, adding a bespoke timber facade to animate its street-facing elevation.

    The home, which is set in the Belsize Park Conservation Area, originally featured a disused garage that took up a sizeable portion of the floor plan on the ground floor and blocked off any connection to the street outside.
    Trewhela Williams has renovated a mews house in north LondonTrewhela Williams was brought on board to optimise the home’s ground floor and convert the garage to provide additional living space.
    The project focused on opening up the dark and insular interior to views of the quiet mews at the front and a small private courtyard in the rear.
    The studio created bespoke timber louvres to animate the home’s exteriorExisting walls enclosing the garage were removed to allow this space to be incorporated into an open-plan living area that now extends across the full depth of the property.

    The former garage door was replaced with a facade crafted from white-oiled oak that retains the proportions of the old door but provides greater visual interest when viewed from the mews.
    The oak louvres were angled to provide privacy while also letting light into the house”The existing garage doors along the street create quite a closed and guarded frontage,” Trewhela Williams told Dezeen. “We wanted to create something that’s visually animated and provides a more open and engaging elevation.”
    Angled oak fins positioned in front of the large window function as a brise soleil, allowing daylight to enter and providing limited views of the street from inside while maintaining privacy.
    A small courtyard is located at the rear of the propertyFrom the entrance to the mews, the fins appear to form a solid wooden volume covering the window. But their geometry seems to shift and becomes more permeable as people approach the house.
    The bespoke joinery forms a pared-back structure comprising simple planes, volumes and edges that was influenced by the minimalist wooden sculptures of American artist Donald Judd.
    The interior has a minimal material paletteTrewhela Williams specified a frameless glazing unit with concealed fixings to enhance the sculptural simplicity of the carpentry.
    The windows include an espagnolette mechanism that allows them to tilt to facilitate cross-ventilation through the house or pivot open so the family’s pets can go outside.

    Echlin uses broken-plan layout to create spacious interiors within London mews house

    The studio applied a pared-back material palette with a focus on tone and texture to create a minimalist interior scheme.
    Walls and ceilings are rendered with a subtly textured Danish plaster that is complemented by the warm Douglas fir flooring and terrazzo tiles speckled with marble aggregate.
    Textured plaster walls and Douglas fir flooring finish the interior spacesA worktop made from cloudy white Mugla marble extends along the full depth of the property – from the entrance hall and storage area at the front to the galley kitchen, dining space and snug towards the rear.
    “Whilst the interior is pared back and displays the traits of minimalism in its simplicity, there is real harmony and beauty in the details,” Trewhela Williams explained.
    “There are very few materials and details within the home, so each one has been meticulously chosen to harmonise and create a space that feels warm and calm rather than being cold or sterile.”
    The kitchen worktop is made from cloudy white Mugla marbleAn existing courtyard at the back of the house is now visible and accessible through an enlarged opening, which fills the full height and width of the rear elevation.
    A minimal pivot door can be opened to create a seamless connection between the interior and the courtyard that also functions as a lightwell drawing daylight into the adjacent living spaces.
    The courtyard is paved with large-format concrete tiles and is enclosed by walls covered with natural clay plaster, harmonising with the textural palette of the interior.
    A pivot door opens onto the external courtyardThe courtyard houses a simple linear bench and a cylindrical plant pot, with their geometric forms providing visual structure while a lone acer tree adds a burst of colour.
    Despite being situated in a conservation area, the bold design for the new facade was complimented by the local planning authority, which said it provided a positive precedent for neighbours considering similar conversion projects.
    A bench and circular plant pot add geometric forms to the courtyard”It was a big relief,” said Trewhela Williams. “A lot of conversion and extension projects focus on the rear of the property but here we were working on the front so we had to tread very carefully.”
    “Thankfully the planners were very supportive,” the studio added. “We’ve also been contacted by some of the neighbours about doing something similar with their properties, so there is an appreciation for what we’ve achieved here.”
    Previously, the studio has created an extension to an Edwardian house in north London featuring a brick wall that extends out from the kitchen into the garden.
    The photography is by Lorenzo Zandri.

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    Space Copenhagen pays homage to historic features in Mammertsberg renovation

    A sculptural spiral staircase, floor-to-ceiling windows and panelled walls have been paired with contemporary furnishings in Space Copenhagen’s renovation of a restaurant and hotel in Switzerland.

    Called Mammertsberg, the combined hotel and restaurant is housed within a 1911 villa that overlooks the Alps mountain range in Freidorf, Switzerland.
    Top: a spiral staircase takes centre stage in Mammertsberg. Above: Space Copenhagen has renovated the Swiss hotel and restaurantDanish design studio Space Copenhagen focused on the restaurant and lounge, which were totally refurbished to transform the interior from its previous status as a Swiss-food restaurant.
    Meanwhile, the adjacent six hotel guest rooms were given a light refresh.
    Contemporary furniture was added to the lounge”We embraced the idea of keeping key historic, listed, and structural features, defining for the building and its architectural heritage,” Space Copenhagen told Dezeen.

    “For the transformation towards something new, it felt important to add a diverse mix of furniture, lighting, materials, art and books, all of which could have been collected slowly over time,” the studio added.
    Linen curtains frame the large windowsDue to the building’s historic status, Space Copenhagen faced certain refurbishment restrictions, which resulted in the studio adapting its design around existing features within the property.
    These included a large central staircase by architect Tilla Theus that connects the restaurant on the ground floor to the bar and lounge on the first floor.
    Natural materials were used throughout the interiorIn the 42-seat fine-dining restaurant, which serves up locally sourced dishes, the studio embraced the high ceilings and large windows by adding floor-to-ceiling curtains in tactile, heavy linen.
    “The building overlooks the impressive landscape and alpine scenery that characterises Switzerland and this inspired our design choices and approach,” said Space Copenhagen.
    “It felt natural to treat the house as a large country home from which to enjoy the surrounding nature; offering guests the opportunity to contemplate and recharge.”
    The restaurant has a walnut and linen colour paletteThe surrounding nature was referenced in the material and colour choices, with solid oak tables in varying shapes and sizes dotted throughout the restaurant and lounge.
    Elsewhere in the Mammertsberg restaurant, Scandinavian chairs were upholstered in subdued colour tones such as walnut and light linen, while petrol blue leather was added for contrast.

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    “We wanted to create a warm and inviting scene to balance the vibrant dishes while simultaneously seeking a high level of detailing, quality, and refinement in the curation of materials and furniture pieces,” explained Space Copenhagen.
    “We worked with a new approach to solve the layout for the restaurant. Being a small restaurant allowed us to create a sense of familiarity with a variety of different tables – round, square and longer styles – all with different configurations and possibilities.”
    Six guest rooms were given a light refreshThe project also involved updating Mammertsberg’s guest rooms. Each of the six rooms was individually decorated to feel like someone’s private residence, with sculptural lighting and soft furniture to encourage rest and relaxation.
    According to the designers, the limited time frame meant that finer details such as adding new finishes were prioritised over a larger overhaul.
    Each hotel suite is individually furnished”We couldn’t change the polished stone floors in certain public areas such as the restrooms, bathrooms and guestrooms,” Space Copenhagen said.
    “We solved this by applying a different finish which honed them as much as possible towards a more matt and subdued hue, settling into the overall colour and material palette.”
    Space Copenhagen was established in Denmark in 2005 and is best known for its restaurant interior design projects.
    Among them is the Blueness restaurant in Antwerp, which is decorated with bespoke furnishings and Le Pristine, a restaurant that the company renovated with a moody aesthetic.
    The photography is by Joachim Wichmann.

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    Studio Vural reinterprets Japanese interiors for Warren Street Townhouse

    New York City architecture firm Studio Vural used Kyoto merchant houses as a reference point when renovating the interiors of this Brooklyn townhouse for a couple.

    A trip to the Japanese city in 2009 left such an impact on the clients that Studio Vural decided to adapt and update elements of the traditional minimalist architecture for the interiors of the Warren Street Townhouse.
    The townhouse renovation involved adding plenty of storage using European oak”Our design is the embodiment of an early memory our clients experienced as a young couple in Kyoto, an experience so powerful and authentic, that it found its way to a new reality in Brooklyn through our imagination,” said studio founder Selim Vural.
    The four-storey building was overhauled to create a rental apartment at the garden level, leaving the upper three floors for the clients to live in.
    A dining nook was created at the back of the parlour level, behind the staircaseWith a total of 3,200 square feet (300 square metres), the project involved reorganising rooms while bringing in contemporary renditions of traditional Japanese home features, such as a sunken hearth, folding and sliding screens, and undulating soffits.

    “[We] studied Kyoto houses’ serene interior emptiness, flow of asymmetrical spaces, rhythm of tatami mats and the placement of courtyards to make that interpretation possible,” Vural said.
    The nook is based on a recessed space in Japanese reception rooms known as a tokonomaAt parlour level, where the main entrance is located, the plan was opened up so the living and kitchen spaces flow together.
    Exposed brick walls were painted white, creating a blank canvas onto which a variety of light-toned European oak elements were placed.
    Traditional Japanese home features like a sunken hearth, folding and sliding screens, and undulating soffits were interpreted with a contemporary twistThe custom wooden furniture includes a window seat and a sofa. Both feature built-in storage, as well as a range of cabinets and shelves that run along one wall and incorporate a bar.
    Oak boards wer also laid across the floor to create homogeneity throughout the open-plan space.
    The staircase is enclosed by wooden slats and incorporates limestone platforms for displaying objectsAt the back of this level, the kitchen area is framed by a concrete-topped breakfast bar and includes a dining nook – based on a recessed space in Japanese reception rooms known as a tokonoma – tucked in behind the staircase.
    The stairs are enclosed by slatted oak screens, and the first seven treads are widened thanks to beige limestone slabs that act as platforms for displaying objects.
    The simple white and oak palette is continued in the bedroomsThree bedrooms and two bathrooms can be found on the storey above, while a further two bedrooms and a bathroom are located on the top floor.
    All of these rooms continue the same simple white and oak palette, and character is added by exposing the original wood ceiling beams.

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    The upper level also includes a lounge area, where the historic vertical columns are also made a feature.
    Skylights were added to bring more natural light into the centre of the long, narrow space, which reaches the windowless hallway below through a glass panel in the floor.
    A glass partition between the primary bedroom and bathroom helps the spaces to feel larger”Our work at the Warren House Townhouse powerfully demonstrates architecture’s capacity to cast distant memories into contemporary forms, revitalise historic typologies,” said Vural. “It is a prime example of a historic building’s rebirth for a new family in the history of Brooklyn.”
    Much of Brooklyn’s townhouse stock has been bought up and renovated over the past few years, after homeowners jumped at the opportunity for extra space compared to nearby Manhattan.
    Sklylights bring natural light into a lounge on the upper level and down through a glass panel in the floor to a windowless hallwayRecently completed examples include a passive house that features a dramatic cedar screen and a project that took its architect owners 17 years to complete.
    Studio Vural, which is based in the borough, has previously released images of a speculative off-grid house in the dunes of Cape Cod and a vision for a mixed-use Manhattan skyscraper covered with Asian lilies.
    The photography is by Kate Glicksberg.
    Project credits:
    Principal architect: Selim VuralProject architect: Rima AskinDesign team member: Angela TsaveskaEngineering: Ilya VeldshteynConstruction: David Nahm

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    Studio8 transforms 1930s Hangzhou villa into hotpot restaurant

    Promotion: Chinese architecture practice Studio8 has renovated the interior of a 1930s villa in Hangzhou, China, transforming it into a hotpot restaurant and cocktail bar that celebrates the building’s history.

    The Gud restaurant and bar includes a roof terrace, dining space on the upper floors and bar on the ground floor.
    The 496-square-metre space occupies a three-storey building that was built in 1939, as well as a later-built extension and the ground floor of an adjacent property.
    Antique hotpots are displayed throughout the interiorAlthough the villa had previously undergone a number of renovations, when designing the restaurant Studio8 aimed to maintain the building’s original features, including the street-facing facade.
    Service areas, including the kitchen, restroom and staircase, are located in the extension and adjacent building, leaving the full space of the historic villa for restaurant dining and the cocktail bar.

    The cocktail bar features red velvet seatingThe Gud restaurant specialises in hotpots, which lead Studio8 to study the culture of the cuisine and introduce aspects of it into the interior design, creating a “museum-like experience”.
    The project’s design was informed by three stages of making and experiencing hotpots – the heat from the fire that cooks it, water as the main medium of the food, and the elevation of the flavour coming from the steam.
    Studio8 used the themes of “heat, medium and elevation of flavour” to influence the function, materials, textures and light used in each space.
    The restaurant interior was informed by hotpot cuisineThe cocktail bar on the ground floor of the historic villa was designed to be a lively space. It features a red floor, a fireplace, structural columns that display antique hotpots and red velvet sofas.
    Part of the original brick wall was left exposed and a recessed mirrored ceiling at the perimeter of the room makes the space feel larger and more luxurious.
    The interior nods to the building’s history”As the first element, heat is a fundamental design factor on the first floor, where human interactions were planned out accordingly,” said Studio8.
    “The aim was to create a warmer and more welcoming space at the beginning of the hotpot experience, where people and friends meet first, have a cocktail and wait for everyone to arrive.”
    The restaurant features glass-brick nichesOn the upper floor is the restaurant’s main dining area, which features glass-brick niches in the walls where windows used to be.
    At the sides of the dining area, Studio8 opened up the ceiling to expose the wooden roof structure.
    The third floor includes a private dining room”After passing through the heated cocktail bar, comes the second element, water – the medium that reunites all elements,” said Studio8.
    “Family and friends are seated together in groups around the round tables on the second floor for the food experience, a process that the architects relate to water reconstructing the atoms of the ingredients.”
    A roof terrace overlooks the cityThe building’s original timber staircase was removed and a new enclosed staircase that connects the three floor levels was added in the patio area.
    The staircase has double glazed U-shaped glass partitions along its floors with a “lighting system to represent the continuous energy flow transition”.
    A terrace and private dining room are located on the third floor of the villa.
    A new enclosed staircase that connects the three floor levels was added in the patio area.”Here, the customers are reconnected with the city and able to look at it from different heights and angles, corresponding to the last element, steam, the elevation of taste,” said Studio8.
    “The simply designed interior shows off the geometric shape of the attic, while benches on the roof allow customers to have a more exclusive interaction with the city.”
    The staircase has double glazed U-shaped glass partitions along its floorsStudio8 is currently working on a number of renovation projects that aim to respect the history of the building, including the transformation of hotels and restaurants.
    The photography is by Sven Zhang.
    Partnership content
    This article was written by Dezeen for Studio8 as part of a partnership. Find out more about Dezeen partnership content here.

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