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      CO Adaptive overhauls Queens home to meet Passive House standards

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      Brooklyn studio CO Adaptive has retrofitted a terraced house in Queens, New York to meet Passive House energy efficiency standards.

      The 1,152-square-foot (107-square-metre) brick townhouse was originally built in 1945 and has undergone a considered “deconstruction” process during its recent renovation.
      Throughout the home, CO Adaptive removed perimeter flooring to install a membrane, then replaced it with reclaimed boards at an angleRather than throwing out the contents of the existing structure, all of the removed materials were separated by type and sent to new homes.
      The renovation work revolved around the goal of the unit becoming a Passive House – or Passivhaus – a certification that recognises outstanding energy efficiency in buildings.
      The kitchen was fully replaced using maple-faced plywood for millworkThis is the first project undertaken by CO Adaptive Architecture’s construction management arm, CO Adaptive Building.

      “We believe building to Passive House standards is the future of ensuring resilience for our cities, particularly in the restoration and upgrade of the older building stock,” said CO Adaptive co-principal Ruth Mandl.
      “We want to work on simplifying and scaling this endeavor; ideally ensuring that we can bring the cost down on Passive House for our clients, and make it a solution that is more affordable and available.”
      Counters and backsplash are made from blue porcelain with coloured specklesChanges to the layout of the compact two-storey, three-bedroom home were kept to a minimum since the room program was already efficient.
      The perimeter of the existing wood floors and subfloors was removed, enabling the team to install an airtight membrane that seals the wood joists – which were in good condition – to prevent heat loss.
      Bright blue was chosen for new window and door framesWhere the flooring was removed, reclaimed red oak planks that matched the originals were laid at an angle to highlight the minor intervention.
      Larger windows were added to bring more light into the dining room, which overlooks a new rear deck.
      Upstairs, features include a built-in ladder that provides roof access via a skylightThe home was refitted to be fully electrified, powered by a solar canopy from Brooklyn Solarworks on the roof, and is now net positive, according to the studio.
      “The solar array provides more than enough energy to cover the significantly reduced heating and cooling loads of the building, in addition to heating water, cooking with an induction stovetop and charging an electric vehicle,” said CO Adaptive.
      Through-wall AC units were replaced with an energy-recovery ventilator systemAny holes in the exterior previously used for through-wall air conditioning units are now occupied by an energy recovery ventilator system, which helps to control the interior humidity.
      All changes to the facade are denoted by a checkerboard brick infill pattern, similar to the approach taken inside.
      Black-and-white details, such as the bathroom tiles and fixtures enliven the minimal interiorsSouth-facing openings are shaded by Hella operable Venetian blinds, coloured bright blue to match the new window frames.
      Natural materials were prioritised inside, such as a lime and sand-based plaster layer that allows the masonry walls to breathe.

      CO Adaptive Architecture converts Gowanus foundry into flexible theatre spaces

      The kitchen millwork is maple-faced plywood, while the countertops and the backsplash are blue porcelain with coloured speckles.
      The red kitchen floor is made of solidified linseed oil, pine resin and sawdust, which forms a natural linoleum that’s soft underfoot.
      On the south-facing front of the house, openings are shaded by Hella operable Venetian blindsOther details include a ladder built into the wall on the upper-floor landing that provides access to the roof via a skylight.
      “This project prioritises careful deconstruction rather than demolition, to ensure that whatever is removed is either reused or sorted for down or up cycling,” said CO Adaptive co-principal Bobby Johnston.
      A solar array added to the roof provides more energy than the house needs to runAmong the firm’s previous renovations is an industrial building in Gowanus converted into bright and spacious theatre rehearsal spaces, which was shortlisted in the rebirth project category of Dezeen Awards 2022.
      Passivhaus is a popular standard for achieving energy efficiency in residential and other buildings, with other recent examples to have achieved this certification including a stucco-clad, cube-shaped holiday home in Mexico, and a house in the UK with an undulating green roof and timber cladding.
      The photography is by Naho Kubota.
      Project credits:
      Architect: CO Adaptive ArchitectureConstruction management: CO Adaptive BuildingMEPS engineers: ABS EngineeringStructural engineers: ADoF Structural EngineersConstruction manager: CO Adaptive BuildingSolar panel installation: Brooklyn SolarWorksKitchen millwork: ArmadaWood flooring, stair and other millwork: Trilox

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      Eames Institute renovates 1990s industrial building to house headquarters

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      The design team at the Eames Institute of Infinite Curiosity has renovated an industrial building in California to host the organisation’s headquarters and a 40,000-object archive.

      Launched in 2023, the Eames Institute of Infinite Curiosity is a non-profit dedicated to preserving the Eames legacy through digital and physical public programming, including hosting tours of the designers’ extensive archive.
      The Eames Institute has renovated an industrial building to house offices and an archive dedicated to its designersThe institution recently completed a gut renovation of a building previously dedicated to the manufacturing of medical devices, opening up the floor plans on two storeys to accommodate staff.
      Originally built in 1997 and designed by California architect Jim Jennings, it features a saw-tooth-shaped body with a glass-enclosed lobby at its front that follows the form of its site, a wedge-shaped parcel tucked in between the off-ramps of a highway.
      The building was originally built in the 1990s by local architect Jim Jennings”The space began as dated, awkwardly-scaled private offices,” said the team.

      “Recognizing the innate value of Jennings’s design and the building’s history, The Eames Institute’s internal design team set about transforming the interiors to better fit its architectural bones.”
      “The renovated office channels the design genius of Ray and Charles Eames and notably showcases vintage furnishings from the Institute’s namesakes.”
      The new offices encompass a 2,755-square-foot (255 square metre) first-floor workspace and a 4,793-square-foot (445 metre) second-floor space, while the archive, a gift shop and a small gallery take up the rest of the building.

      The offices feature an exposed wooden structure, white walls, and Eames furniture and other pieces in the designers’ characteristic primary colour palette spread throughout.
      They are designed for “multi-disciplinary” work, with an assortment of different seating arrangements such as enclosed and semi-enclosed spaces offered for employees, including a long, wooden bar and multiple lounge areas.
      A mixture of enclosed and semi-enclosed spaces offers a variety of workspaces”Key initiatives included designing offices that offer a wide breadth of work points for both individuals and groups, as well as offering both opportunities for heads-down focused tasks and more social and collaborative activities,” said the team.
      Besides the “countless” Eames furniture pieces, lighting by Isamu Noguchi, textiles designed by Alexander Girard for Maharam, and furniture by MillerKnoll and vintage Herman Miller fill the space.

      Manual creates branding for Eames Institute of Infinite Curiosity with “dynamic configurations”

      “The interior design drew from the wellspring of creativity and design excellence intrinsic to the organization’s identity and – as everything the Institute oversees – honors the rich legacy of Ray and Charles Eames.”
      The completion of the offices coincides with the opening of the Eames Archive, which encompasses a collection of “tens of thousands of artefacts” including furniture and objects organized among rows of shelving.
      The Eames’ characteristic primary colour palette marks the interior designThe institute offers guided tours of the archive led by chief curator and Eames granddaughter Llisa Demetrios.
      It also oversees the Eames Ranch, a Sonoma Country property dedicated to “land stewardship, habitat restoration, farming, and ranching” which is currently under renovation.
      Recently, it announced new branding by design agency Manual while Reebook released a series of sneakers that incorporate Eames design signatures.
      The photography is courtesy of the Eames Institute

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      David/Nicolas balances classic and contemporary in renovated Gio Ponti apartment

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      French-Lebanese design studio David/Nicolas has refurbished a Milan apartment from the 1920s, bringing in contemporary details while retaining features added by Italian architect Gio Ponti.

      The art deco-style apartment, originally designed by Mario Borgaro in 1923, was refurbished by Ponti in 1952. Since then, much of the fit-out was torn away by the apartment’s previous owners, who auctioned off some of the furniture and wall panelling.
      David/Nicolas has redesigned the interiors of a 1920s Milan apartmentThe current owner, investment banker Michele Marocchino, initially brought on David/Nicolas to create wainscoting for two of the rooms, The Studio and The Dressing, which sit between the living room and the bedroom.
      But Marocchino later decided that the studio’s founders, David Raffoul and Nicolas Moussallem, should work on the entire space to reimagine Ponti’s recognisable style for the 21st century.
      The updated interior pays homage to Gio Ponti’s refurbishment from 1952″Our goal was to honour Gio Ponti’s design by incorporating his vision while integrating our own identity, avoiding a mere replica of the original,” the duo told Dezeen.

      “The signature elements of a Gio Ponti space include intricate details, wooden joinery, distinct edges of wooden panels and a floor plan that creates engaging visual directions by redefining the way the space is lived, as well as creating specific perspectives that guide the eye.”
      David/Nicolas’s design balances classic and contemporary elementsThe refurbished apartment, now dubbed Casa di Fantasia, comprises a spacious kitchen, a dressing room, a primary bedroom and another bedroom with a multifunctional room at the back of the apartment.
      Other distinct spaces include a large living room with a bar, plus a study and movie room.
      David/Nicolas’s approach to the redesign was dictated by Ponti’s work on perspectives, recreating rooms lost during previous renovations while respecting their original proportions.

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      Ponti’s use of swirly radica wood in his refurbishment was referenced through decorative tiger-patterned marquetry, which was used to adorn several of the rooms.
      “The tiger wall pattern is a reinterpretation of the Radica wood panelling, which has a similar movement to the tiger pattern,” the duo explained.
      “We thought it was a good idea to use it, as it diverges from the original design while still maintaining a similar movement in the wood.”
      Tiger-patterned walls offer a modern reinterpretation of Ponti’s use of Radica wood Key features of Ponti’s refurbishment that David/Nicolas discovered were still in place include the panelling around the entryway as well as a pink bathtub and shower unit, which the duo refurbished.
      Tiles by Italian sculptor and ceramist Fausto Melotti that originally covered the entire bathroom were also retained.
      “Since many of these tiles were sold at a Philips auction, we utilised the remaining ones on the wall behind the vanities,” said David/Nicolas. “To enhance these tiles and the bathtub, we covered the rest of the walls with micro concrete.”
      Ponti’s pink bathtub and shower units were retainedDavid/Nicolas also designed a plethora of new furniture pieces for Casa di Fantasia, such as the two main couches of the living area, the sofa in the library, a free-standing bar, the lamp above the dining table and some sconces in cast aluminium.
      Both hailing from Beirut, Raffoul and Moussallem met while studying architecture at the Lebanese Academy of Fine Arts in 2006 before going on to found their studio in 2011.
      Tiles by Fausto Melotti now serve as a backsplashPreviously, David/Nicolas created furniture inspired by the night sky and Beirut’s history, which went on display for an exhibition titled Supernova at Carpenters Workshop Gallery in New York City in 2019.
      Other Milan apartment refurbishments that have recently been featured on Dezeen include Teorema Milanese’s marble makeover by Marcante-Testa and Untitled Architecture’s overhaul of a small attic.
      The photography is by Sara Magni.

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      Sam Jacob gives “soft brutalist” University of Kent building a modern makeover

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      Architecture studio Sam Jacob Studio has refurbished a 1960s building at the University of Kent in Canterbury, England, using playful architectural references and bright colours to add layers of “wit and delight” to the existing interiors.

      The project provides teaching spaces for the university’s School of Architecture, Design and Planning, which is part of a campus designed by William Holford that opened in 1965.
      Sam Jacob Studio has refurbished the interiors of a 1960s University of Kent buildingSam Jacob Studio (SJS) looked to retain what it described as the “soft brutalist” character of the brick and concrete Marlowe Building when reorganising the existing interior.
      The Marlowe building originally housed the university’s physics department, which featured a series of cellular offices on the ground floor and a top-lit lab space above.
      The studio wanted to retain the building’s “soft brutalist” feelingFollowing a detailed consultation with faculty and students, Jacob and his team defined a strategy that balances areas dedicated to specific year groups and subjects with the ability to transform and open up the spaces.

      The team at SJS said it was interested in “what happens between the logic of architecture and the happenstance of creative working”.
      They based their design on a variety of famous creative spaces including the Bauhaus school and Paul Rudolph’s brutalist Yale Art and Architecture Building, as well as The Factory created by artist Andy Warhol in New York City.
      Large sliding doors were used to separate spacesThe architects gutted the existing interior to expose the concrete ceiling alongside the building’s structure and services, which were retained as the backdrop for a series of minimal interventions targeted at fulfilling the space’s new role.
      “This is a project that reveals the intrinsic qualities of the 1960s building, while also contrasting a more fluid contemporary character,” the studio said.
      “It is an architecture that invites inhabitation rather than imposing order, that recognises character, wit and delight as part of an essential role of architecture.”
      Polycarbonate portholes allow light to pass through the spacesSJS worked as much as possible with the existing spatial layout, adding just one wall to the ground floor and two on the first floor so that the interiors can evolve to meet different future requirements.
      Rather than functioning merely as static partitions, the walls are activated by incorporating moving components that can be used to adapt the layout of the studios.
      Large sliding doors with polycarbonate portholes allow some of the spaces to be separated, while pivoting wall sections can be opened or closed depending on the desired layout.

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      The partition walls incorporate full-height pinboards for displaying work. These surfaces were given a more dynamic appearance by cutting the boards diagonally from corner to corner.
      The standard-height pinboards are topped with a shelf, onto which adjustable lights are clamped to allow illumination of the students’ work. Mirrored panels above the shelf create the illusion of a continual space.
      Pinboards feature clamped adjustable lights to illuminate student’s workThe studio can be customised further to suit different working modes by rearranging freestanding elements including drawing boards, easels, screens and moveable storage units built using standard warehouse shelves.
      Existing furniture was reused wherever possible, while doors salvaged during the strip-out were converted into desks, with yellow laminate pieces added to fill in holes where the locks and vision panels were once located.
      Pivoting wall sections can be opened or closed depending on the desired layoutThe interior incorporates several explicit architectural references, according to SJS, including a colour palette based on Le Corbusier’s 1959 paint system.
      “A series of columns used to define thresholds act as 1:1 models of, variously, Canterbury Cathedral, Brancusi and James Stirling, like a library of other architectures inhabiting the school,” the team explained.
      To prevent sunlight from overheating the studios, a series of coloured window blinds was added along with moveable perforated pinboard panels that help to control privacy. This creates a changing topography that animates the building’s exterior.
      Moveable perforated pinboard panels provide privacy and shadingSam Jacob established his eponymous studio in 2014, having previously worked as part of the radical architecture collective FAT for over 20 years.
      Previous projects by SJS include a new entrance at London’s V&A museum made from hundreds of glass tubes and a brightly coloured studio and office for designer Yinka Ilori.
      The photography is by Timothy Soar.

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      DAB Studio adds contemporary touches to Dutch home from Amsterdam School period

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      An Ettore Sottsass gridded feature wall and a sculptural green ladder characterise this 1920s Dutch house, which interiors firm DAB Studio designed to reference the Amsterdam School.

      Called Collectors Home, the dwelling is defined by the intricate brickwork and stained glass windows typical of the Amsterdam School – a movement from 1910 to 1920 that paid equal attention to the architecture and interior design of a building.
      DAB Studio has renovated a Dutch home from the Amsterdam School periodLocal firm DAB Studio renovated the Amsterdam house’s interiors to reflect its roots while adding contemporary touches.
      “The building dates from around 1929 and was designed by Eduard Cuypers,” studio co-founder Lotte Bruns told Dezeen.
      Called Collectors Home, the dwelling also includes contemporary touches”His studio was considered the origin of the Amsterdam School because the ringleaders of this style, Michel de Klerk, Joan van der Mey and Piet Kramer, were all formed in his office,” she added.

      The team enlarged and rearranged the living room’s neutral-hued fireplace, which has smooth, subtle corners – “a recognisable reference to the Amsterdam School,” according to Bruns. 
      Dedesigned to be deliberately off-centre, the fireplace mouth was decorated with modernist black marble discs that echo the room’s rounded sconce lights, positioned on a marbled mahogany feature wall.
      A gridded feature wall characterises the living spaceAlthough the wall design was originally created by Memphis Group founder Sottsass for Alpi in the 1980s, the gridded arrangement of the wood recalls the “ladder windows” common to Amsterdam School architecture, explained Bruns.
      A recognisable Wassily Chair by Bauhaus designer Marcel Breuer sits opposite a sculptural, low-slung coffee table and a deep red Gubi chaise lounge, first created in 1951.
      DAB Studio sourced a range of furniture for the project”The clients’ love of both modernism and postmodernism was the starting point for our research,” said Bruns.
      DAB Studio made use of the home’s bay window by inserting a lumpy, vintage fruit-picking ladder into the space – a formerly utilitarian object from 1890, painted green and transformed into art for the project.
      A fruit-picking ladder functions as an art piece”The semi-circular window was a big challenge because it was too small to be functional and too big to leave empty,” considered Bruns.
      “The ladder’s colour complements the stained glass and the green background of the grass and trees in the garden,” she added.

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      Art features throughout the home, including in the timber-clad kitchen, where a red copper table lamp with a shaggy, gold-hued fringe illuminates the sleek worktop.
      Connected to the open-plan living room, the dining space was finished with a long, dark wood table, mustard-coloured silk curtains and bespoke glass ceiling panels.
      The timber-clad kitchen houses a contemporary red copper lamp”The interior has a free, creative spirit in which each element can stand on its own and be seen as art,” concluded Bruns.
      Founded in 2016 by Lotte and her partner Dennis Antonio Bruns, DAB Studio previously transformed the kitchen floors and ceilings of a family home in Zwaag, the Netherlands, with two types of wood.
      Also based in Amsterdam, Studio Modijefsky created a contemporary family home inside a local dijkhuis – a traditional Dutch dwelling set next to a dyke.
      The photography is by Alice Mesguich.

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      Marmol Radziner creates club space in modernist Park Avenue skyscraper

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      The third floor of the iconic Lever House skyscraper in Midtown Manhattan has been renovated by architecture firm Marmol Radziner to complement the building’s original modernist design.

      Marmol Radziner completed the interiors for the Lever Club within the office tower at 390 Park Avenue, which was designed by Skidmore, Owings & Merrill in the International style and completed in 1952.
      The entrance to Lever Club is lined with green marble flooring and soapstone wall panelsSOM finished restoring the building last year, after it was purchased by developers Brookfield Properties and WatermanClark in 2020, and Marmol Radziner worked on updating its communal spaces that had fallen into disrepair.
      “Lever House is a globally renowned architectural marvel, symbolising the era’s shift to modern skyscrapers,” said Marmol Radziner.
      The green hues used through the interior nod to the colour of the building’s curtain wall facade”Recognised with the prestigious Twenty-five Year Award from the American Institute of Architects (AIA), the building remains an icon of architectural excellence,” the studio added.

      Originally a cafeteria and repurposed several times over the years, the third floor now serves as a lounge, bar and dining space that continues onto a terrace projecting from the tower’s elevated base.
      The club’s layout revolves around “a series of paneled volumes”Design cues were taken from SOM partner Gordon Bunshaft’s own residence, and other modernist masters, to create an interior that feels in keeping with the building’s history and architecture.
      “From the beginning, we felt that the design of Lever Club should feel like a sympathetic insertion within the iconic curtain wall of the building,” said Marmol Radziner partner Ron Radziner.
      The bar is bookended by rosewood volumes and backed by a screen from John Lewis GlassThe club is entered via a lobby area where floors and walls are covered in panels of green marble and soapstone, contrasted by a simple cuboid reception desk made from wood.
      Inside, the layout revolves around “a series of paneled volumes set within the glass perimeter, taking advantage of the views and access to the most superbly sited outdoor terrace in the city”, according to Radziner
      The dining area overlooks an expansive terrace on top of the building’s elevated baseThe marble flooring, which echoes the green hues of the building’s pioneering facade, extends into the lounge area where tone-matched carpet demarcates soft seating areas.
      Many of the armchairs and sofas are upholstered in a complementary green hue, while chocolate-coloured leather is used to cover other seating options such as bar stool and banquettes.
      The curved banquettes are wrapped in chocolate-brown leather”The furnishings, largely bespoke, respond to and soften the hard edges of the architecture with plush texture and rich tones most often seen in a residential setting,” Radziner said.
      Rosewood tables match the large vertical elements that bookend the bar, which is backed by a John Lewis Glass patterned screen.

      SOM completes restoration of New York’s historic Lever House

      Aluminium also appears as table bases and chair frames that echo the slender window mullions.
      “It was important to us that the design respond intelligently and reverently to the building while also creating a real sense of comfort, warmth, and luxury,” Radziner said.
      Aluminium chair frames echo the slender window mullionsThis isn’t the first time that Marmol Radziner has created interiors for a SOM-designed skyscraper – the firm was also behind the penthouse at Fifteen Fifty in San Francisco, which was temporarily turned into a collectible design gallery in 2021.
      Earlier this year, Marmol Radziner completed California’s tallest residential skyscraper in Downtown Los Angeles.
      Lever Club can be used by the building’s tenants during the day and at nightLever House is one of several Manhattan office towers from the mid to late 20th century to have been retrofitted in recent years, aiming to attract new tenants.
      Among them are the postmodern AT&T Building by Philip Johnson, which was rebranded as 550 Madison after it was overhauled by Snøhetta and its lobby was transformed by Gensler.
      The photography is by Scott Frances.

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      Sophie Goineau adds “wave-like” timber ceiling to Malibu beach house

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      Interior designer Sophie Goineau has renovated a family beach home in Malibu, California, adding a wave-like ceiling and maximising the panoramic ocean views from the living spaces.

      Goineau initially set about helping a young family that she met in Mexico incorporate stylish spaces for their kids into the house, but the project quickly turned into a full overhaul.
      Sophie Goineau took advantage of the Malibu home’s vaulted ceilings to create a wave-like wooden feature overheadBuilt in 1965 and remodelled at the turn of the millennium, the house’s exterior had to remain untouched in accordance with strict Malibu zoning laws.
      Inside, however, multiple walls were opened up to allow light from the expansive windows and skylights to flood all of the spaces.
      The main living space was opened up and can now fully utilise the sliding doors onto the terrace”Some rooms were divided by walls, there was no light coming through,” said Goineau. “We had to use all existing openings — sliding doors and skylights in vaulted ceilings — but there was no rhythm. What could we do here to create a harmonious vibe?”

      With the main entry points reconfigured and many of the internal partitions removed, the offset T-shaped building now benefits from more light and improved flow.
      The lounge area features black seating by ATRA and a media unit that echoes the slatted ceilingThrough the main volume of the dwelling, Goineau installed a dramatic curved ceiling composed of thermally modified ash wood in four layers.
      The effect is designed to mimic a “breaking wave” and not only directs the eye to the ocean view but also partially obscures the skylights from the bright overhead sun.
      A skylight over the entryway is partially shaded by the ceiling slats”The light here, while beautiful, is very strong, but we didn’t want to ruin the existing skylights with shades,” said the designer.
      This ceiling feature is most prominently expressed in the spacious open-plan kitchen, dining and living space, which has large windows on two sides and glass doors that opens onto a terrace.
      A large, teak front door continues the same visual language as the ceilingNeutrally decorated with white oak floors, clay plaster and micro-cement wall finishes, the social space is dotted with several black accents.
      These include the large Beluga sofa and armchairs from ATRA, the Gio Ponti dining table and chairs, and metal shelving suspended from the ceiling over the kitchen island.

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      “It is all a visual reference of naturalist materials,” Goineau said. “The dark materials chosen highlight the contrast between dark and light in nature, and all the pieces marry so well with everything else in the house.”
      A media unit that disguises the TV echoes the wooden strips of the ceiling and the kitchen cabinetry at the other end of the room.
      The primary bedroom at the end of the main volume opens onto the terraceAt the opposite end of the building’s T is the primary bedroom, which also opens to the terrace furnished with various soft seating options.
      Rather than a full dividing wall, a tall partition acts as a headboard extension and separates the sleeping area from a large dressing room.
      A tall partition separates the primary bedroom from the dressing roomThe entrance hall sits at an angle to the home’s main volume and continues the striped effect again across the teak front door positioned below another slatted skylight.
      Contemporary sculptures by Sébastien Léon and paintings by Damien Chabauty are displayed in this space and along the corridor that connects the remaining rooms.
      The terrace features multiple soft seating areas for the family to enjoyMalibu’s beachfront is lined with impressive properties, including Kelly Wearstler’s home adorned with “rustic and raw” decor and a building by Tadao Ando that musician Ye recently stripped back to its structure.
      Goineau is based in nearby Los Angeles and has previously refurbished a mid-century house in Beverly Hills in collaboration with Enclosures Architects.
      The photography is by Virtually Here Studios.

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      Neuhäusl Hunal coverts interwar cinema into “morning to night” dining venue

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      A neutral colour palette unites the restaurant, bar and shop within a former interwar cinema and 19th century stables in Prague, which has been converted by local studio Neuhäusl Hunal.

      Named Alma, after the cinema that used to occupy the site, the 800-square-metre space was renovated by Neuhäusl Hunal.
      Understated lighting accentuates the original features of the cafe spaceThe ground floor was converted into a restaurant alongside a cafe, wine bar, wine shop and garden area, while the basement level contains a bar – which doubles as a nightclub – a function hall, a fermentation room and a room dedicated to wine tasting.
      A colour palette dominated by sober, earthy tones was used to instil a laid-back yet refined atmosphere, which is the hallmark of all of operator Kro’s locations. As well as uniting various functions and purposes, the design scheme ties various architectural styles together, as the site contains a myriad of structures from a range of time periods.
      A wine shop is found on the ground floor”The Alma project is housed in three buildings – the many-times-rebuilt classicistic house and the former stables in the courtyard date back to the 19th century,” Neuhäusl Hunal told Dezeen.

      “The Alma cinema – which houses the restaurant today – was completed in 1924.”
      “There was no significant interior work to react to – except, of course, for the original historic structures and vaults, which we wanted to let shine,” the studio continued.
      The restaurant has both wooden and metallic furnishingsRepeated elements found throughout the interiors include unobtrusive lighting fixtures, which serve to provide task and ambient lighting as well as to highlight the space’s original features, and tiled walls, which gradually darken from a light beige in the cafe to a dark tone in the subterranean bar.
      In contrast with the overall muted interiors, graphic designer Jan Horčík created a bold wayfinding system characterised by chunky uppercase lettering displayed on illuminated light boxes.

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      “The sober interior is complemented by funky lightboxes, which illuminate it with their novel colours, formulations and graphic design,” said the studio.
      “Alma works from morning to night: the day starts in the cafe, lunch and dinner can be sorted out in the restaurant, and then move on to the wine bar for a drink – this naturally corresponds to their designed character, colour, and atmosphere,” it continued.
      “Logically, we treat brand-new constructions and historic ones differently – an interesting problem arises in the transitions between these spaces.”
      The bar has an intimate atmosphere thanks to its vaulted ceilingNeuhäusl Hunal has completed a number of projects in the Prague, including an apartment for a sculptor that doubles as a workshop.
      Other recent adaptive reuse projects published on Dezeen include a guesthouse in Transylvania that used to be a church and a city hall inside a former maritime structure in the Netherlands.
      The photography is by Radek Úlehla.
      Project credits:
      Client: Alma PragueBuilding contractor: AversProject documentation: LZ atelierGraphic design: Jan HorčíkArt blacksmith: Peter Demek (DEMO Works)Lighting supplier: BulbCeramic tiling supplier: KeraservisGastro: Kitchen PlanPlants: Pokojovky

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