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      Cox Architecture celebrates heritage features of its own Sydney studio

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      A brick, steel and timber structure is left exposed in this office interior in Sydney, which local firm Cox Architecture has revamped to house its own studio.

      Cox Architecture removed previous alterations to the structure, which occupies five floors of the heritage-listed Metcalfe Bond Stores warehouse in Tallawoladah, to highlight its original features and complement them with pared-back, flexible workspaces.
      Cox Architecture has designed its own studio in a Sydney warehouse”Our objective was to do more with less, balancing the poetic with the pragmatic,” explained the studio.
      “Restrained interventions allow the heritage to be the hero and minimise the project’s embodied energy,” it continued. “Our starting point was a process of reduction, removing non-heritage elements to create clarity.”
      The studio exposed its existing structureThe interior is defined by the original steel and timber structure’s columns and beams that have been painted white, and the brickwork of the outer walls that are left exposed.

      New elements such as glass doors and walls, room dividers, curtains and furniture were chosen to touch the existing structure “as lightly as possible”, and feature alongside dark-wood carpentry and gallery-style lighting tracks.
      Dark-wood carpentry features throughoutThe workspaces themselves are designed to be flexible and “hackable”, allowing areas to be reconfigured and subdivided easily by staff.
      This includes a forum space on the fifth level of the building, which has a wall lined with magnetic whiteboards and can be used as anything from a collaborative workshop space to a presentation area for 200 people.

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      Alongside it is a kitchen with a backdrop of exposed brickwork and two long counters topped with unsealed brass that will patinate over time.
      A black-steel stair leads up to a mezzanine level above containing further desk spaces. This sits at the top of the building, lit by skylights in the apex of the pitched roof.
      The workspaces are designed to be flexible”Anchored by a generous kitchen, a flexible forum space is a magnet for serendipitous exchange between Cox’s own people and the wider design community,” said the studio.
      “The majority of elements within the space are movable, creating an experimental, nimble workspace allowing teams the autonomy to control their space and future-proofing the studio as the workplace evolves,” it continued.
      The presentation space is lined with magnetic whiteboardsFacing the street, Cox Architecture created a “shopfront window”, giving staff the opportunity to populate vitrines with the studio’s work.
      Cox Sydney Studio has recently been shortlisted in the large workplace interior category of Dezeen Awards 2023. Another office interior completed by the studio is the Midtown Workplace in Brisbane, which features a large, plant-filled atrium with by a weathered-steel staircase.
      The photography is by Nicole England and Cameron Hallam.

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      Olson Kundig and Erica Colpitts renovate mid-century house in North Vancouver

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      US architecture firm Olson Kundig and Canadian designer Erica Colpitts have renovated a mid-century house near Vancouver, warming the modernist structure with natural materials and neutral colours.

      The residence is surrounded by tall cedar trees on a quiet plot in Edgemont, a village-like neighbourhood of North Vancouver, across the water from the Canadian metropolis.
      Wood lines the ceiling and floors of the renovated home, contrasting the blackened steel structural elementsIts new owners are a family of four who relocated to the West Coast from New York City, looking for a community to put down roots.
      Olson Kundig, which has an office in nearby Seattle, was asked to update and slightly expand the building to meet the owners’ needs while respecting the original design.
      The living spaces are all connected along the back of the house, in its single-storey portionLocally based Erica Colpitts was brought on to complete the interiors with a softer, warmer feeling than typical mid-century designs.

      “The pure challenge of this home completely appealed to me,” said Colpitts. “My task was to meld Olson Kundig’s overall design for the home with an ever so slightly soft and romantic interior.”
      Dark tones in the kitchen, including the steel hood and shelving, match the building’s beams and columnsLike many homes from the period, the building has a low-slung form, a shallow roof pitch and large expanses of glass across its facades.
      Blackened steel structural elements were highlighted throughout the interior, and their dark colour is repeated across several other elements.
      The kitchen connects to the patio via a bar counter and sliding windowThese range from the guardrails and supports for the staircase unit, which connects the home’s multiple split levels, to a custom hood and shelving in the kitchen.
      The staircase is separated from the lounge by a huge bookcase that is original to the house, along with a red-brick fireplace on the other side.
      An original bookcase separates the lounge from the entry hallway and staircaseAll of the primary living spaces run along the back of the home, in the single-storey portion, facing the landscaped garden and a plunge pool through huge windows.
      Wide-plank flooring and a wood-covered ceiling connect the open-plan areas, which culminate at the dark-stained kitchen.
      Bedrooms in the two-storey side of the house follow the same design aestheticThe hues and materials chosen for the these spaces are warm and inviting, such as cream surfaces and heathered oatmeal textiles paired with cognac-coloured leather, dark flax, and deep grey.
      “This home has a decidedly neutral colour palette to go with the natural materials selected; however, it is warmly neutral and texturally layered,” said Colpitts.

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      “Where colour was used, we wanted those colours and their textures to be reminiscent of a gentleman’s library,” she added.
      The bedrooms, bathrooms, and additional living areas are organised within the two-storey side of the house, where the same design aesthetic continues.
      The home’s large expanses of glass connect it to the surrounding landscape, designed by Amelia SullivanOn the exterior, weathered ebony siding and a Corten steel front door were added in keeping with the building’s modern-industrial appearance.
      “This home is a juxtaposition of all good things,” Colpitts said. “Dramatic and serene. Rustic and refined. Industrial and romantic. Exquisite and comfortable.”
      Olson Kundig aimed to respected the building’s original design while slightly expanding its footprintThe mid-century architecture style remains incredibly popular with homebuyers across the US and Canada, which has led to many renovations that align these residences with contemporary living.
      Recent examples include a Hamptons home that owner Timothy Godbold transformed to resemble a lair from a James Bond movie, and the former seaside home of modernist architect Henry Hill respectfully overhauled by Studio Schicketanz.
      The photography is by Ema Peter.
      Project credits:
      Architect: Olson KundigInterior design: Erica Colpitts Interior DesignContractor: Brent Braybrook / Braybrook ProjectsMillwork: Robin Woronko / Intempo InteriorsLandscape architect: Amelia SullivanMetalwork: Drabek Technologies

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      Familien Kvistad brings colour to 1950s house in Oslo

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      Vibrantly coloured tiles and textiles feature in this house renovation in Oslo, Norway, designed by locally based duo Familien Kvistad.

      The Yellow House in the Apple Garden is a 1950s house in Oslo’s Voldsløkka area, home to a family of four and their cat, “the rambunctious Caspian”.
      Familien Kvistad has renovated a Oslo homeFamilien Kvistad founders, married couple Astrid and Ziemowit Kvistad, have completely remodelled the interior using a palette that also includes solid ash joinery and lightly speckled terrazzo surfaces.
      “When they bought the house, the family envisioned painting some walls, moving the kitchen and building two new bathrooms,” the pair told Dezeen. “Over time, things naturally escalated, resulting in a complete change of layout, roof windows, new insulation, siding… absolutely everything was replaced.”
      The kitchen features solid ash cabinetsThe three-storey house has an enviable setting in a large garden filled with fruit trees. It was this that primarily attracted the owners, rather than the building itself.

      “The house was relatively old, not architecturally distinctive and outdated inside on all levels,” said the designers.
      The house was originally built in the 1950sHowever, shortly after they bought the property, the council enforced new conservation zone restrictions that made it impossible to alter the building’s exterior in any way.
      The task for Astrid and Ziemowit was to modernise the house without changing or extending its structure.

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      “This is obviously a costly project; it would have been cheaper to build a new house,” they explained.
      “However, the outer structure had to remain.”
      A terrazzo floor and ochre sofa are installed in the conservatoryThe renovation removed many of the old internal partitions, creating a more open layout. This gives the ground floor a broken-plan feel, made up of various separate but connected living and dining spaces.
      The old loft was also removed and replaced with small mezzanines, revealing the sloping roof beams and increasing the ceiling height in the first-floor bedrooms and bathroom to up to four metres.
      Wooden ceiling joists are exposed throughoutThe colour scheme was based on “earthy shades” of the owners’ favourite colours.
      On the ground floor, this resulted in a feature fireplace clad in mustard-yellow Kaufmann tiles, a lounge sofa upholstered in a plum-coloured Kvadrat textile and a storage bench topped by forest-green cushions.
      A storage bench topped with green cushions lines the main living spaceAn abundance of wood brings balance to this bold palette, with Douglas fir flooring from Dinesen and solid ash kitchen cabinets matching the exposed ceiling joists.
      This level also includes a sunken conservatory featuring large plants, a terrazzo floor, an ochre-toned sofa and electric-blue cushions. On the wall, an expressive painting displays similar colours.
      Custom-designed wall carpets adorn the primary bedroom”During the renovation, the family sold most of what they already owned,” said Astrid and Ziemowit. “This meant that all the furniture was purchased new.”
      “However, they did have some art from before,” they added. “Much to our delight, they fit perfectly into both the colour palette and the style.”
      In one of the children’s rooms, a staircase doubles as a shelving unitUpstairs, the primary bedroom features a pair of tufted wall carpets designed and made by Familien Kvistad, depicting abstract landscapes.
      One of the two children’s bedrooms features a playful storage unit that doubles as a staircase, while the other has a ladder to provide access to the mezzanine loft above.
      The family bathroom combines green tones with terrazzoThe bathroom has a more mellow character, combining terrazzo sanitaryware with calming green tones. The basement floor mainly serves as a utility area, although it does include an extra bathroom and a living room that doubles as a guest bedroom.
      Other recently completed homes in Norway include a “house of offcuts” by Kolman Boye Architects and a villa on piloti by Saunders Architecture.
      The photography is by Magnus Berger Nordstrand.

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      Barde vanVoltt orients renovated Mexico City house around mezcal bar

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      A private mezcal bar forms the heart of this house that Amsterdam interior architecture firm Barde vanVoltt has overhauled in Mexico City’s La Condesa neighbourhood.

      Working for longstanding Dutch clients who live in Mexico, Barde vanVoltt transformed a historic, dilapidated building into a contemporary residence that respects the heritage of the existing structure.
      The building’s former life as a mezcal tasting venue influenced Barte vanVoltt to create a bar in its central courtyard”We walked together into this old, beautiful building, and instantly fell in love,” said studio founders Bart van Seggelen and Valérie Boerma. “Even though the house was falling apart, we felt its soul was fully alive.”
      The three-storey house had previously been used as a mezcal tasting venue, and the duo used this as a starting point for the design.
      Arched openings create routes through the home, passing through the open kitchen, living and dining spaceA primary aim of the renovation was to create a “vibrant oasis in the city” with a better connection to the outdoors.

      This was achieved by connecting a series of courtyards, terraces and semi-enclosed corridors to form a route and airflow through the building.
      An earthy colour palette was chosen for the minimalist interiors to create a relaxing aura”We worked together with Thalia from Aldaba Jardines, a talented landscape designer, to create a seamless flow from the indoors to the outdoors and back again,” said the studio..
      In the central courtyard, Barde vanVoltt removed the roof from the double-height space and replaced it with operable glass panels to let in more light.
      Multiple openings onto courtyard spaces encourage indoor-outdoor livingThe designers turned this space into a mezcal bar as a nod to the building’s former life that the owners could use for entertaining friends and family.
      Backed by a semicircular brass panel, upon which shelves for liquor bottles are mounted, the rounded bar counter is wrapped in narrow terracotta tiles.
      The back courtyard is used as an outdoor lounge and features planting up the grey plaster wallsA five-metre-tall guayabo tree was also planted in the courtyard, casting shadows across the surrounding walls.
      Open archways lead from this central space into various rooms including the kitchen and living area, which features dark cabinetry, open shelving, and a large bespoke wooden dining table.
      Floors for the stairs, bathroom and outdoor areas are tiled with handmade bricks by Tata MosaicosBeyond a row of French doors is the back courtyard that forms an outdoor lounge, and an annex that accommodates a home office on the upper level.
      To retain some of the original character, the architects recreated the cast iron, Art Deco windows and Spanish-style railings. and extended them to the back of the house.
      The neutral-toned decor continues in the three bedrooms on the first floorThe overall layout of spaces was kept largely the same, aside from a few walls that were removed to combine or create bigger rooms.
      For example, the primary bedroom and bathroom now flow together as one space, divided only by a partition of angled bricks that forms a backdrop to the freestanding bathtub.
      The primary bedroom and bathroom were combined into one space, with only a partition of angled bricks dividing them”We included the bathroom into the space to create a home sanctuary to rest and refresh,” said Barde vanVoltt.
      Two further bedrooms are located on the first floor, the other side of the central courtyard void at the front of the house.
      A series of semi-enclosed loggias connect the first-floor roomsThe roof terrace features a plunge pool, an outdoor shower, a row of loungers and built-in seats, all accessed via a spiral staircase from the loggia outside the main bedroom.
      The building’s exterior is covered in greige-coloured plaster, as a nod to Mexico’s prevalent concrete architecture, while warmer earth tones decorate the minimalist interiors.

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      Moss green sofa covers and bed linens visually tie to the plants outside, and wood, terracotta and off-white hues complement one another.
      “We love the natural feel these colours have together,” said the designers. “According to colour psychology, nature-inspired hues are the best for interiors as they soothe and invigorate.”
      The building’s original cast iron handrails were recreated and extended to the back of the propertyFloors for the stairs, bathroom and outdoor areas are tiled with handmade bricks by Tata Mosaicos, made from compacted earth sourced from different regions throughout Mexico.
      “This unique structure means they need 50 per cent less cement, using the sun and shade to dry naturally and secure the structure,” Barde vanVoltt said. “An environmentally friendly solution, sourced locally.”
      Custom lighting and Mexican objects, textiles, sculptures and other wall art are also found throughout the residence.
      The terrace also has multiple seating areas so that the family and their friends can gather outsideBarde vanVoltt has renovated many older buildings, having converted a former garage into a light-filled home and a century-old farmhouse into a retail store – both in the Netherlands.
      The photography is by Alejandro Ramírez Orozco.
      Project credits:
      Lead interior architect: Barde vanVolttContractor: CF Taller de ArquitecturaArchitect: ZVA Interiores & ArquitecturaBathroom: Agape BathroomsKitchen appliances: GaggenauLighting: Studio Davidpompa, ILWT, Nuumbra, Federico Stefanovich, DCW editionsMaterial: Tata MosaicosRugs: Txt.ureFurniture: Casa Quieta, Chuch Estudio, Acoocooro, Carl Hanssen & Sons, ArflexArt: Kreyé, Chic by Accident, Carlos Vielma, Prince Láuder, Axelle Russo, Rrres, Saudara, Luuna WabiLandscaping: Aldaba Jardines

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      PLY+ and MPR Arquitectos convert historic Detroit building into colourful school

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      PLY+ and MPR Arquitectos have transformed a building at a former Catholic college into the School at Marygrove Elementary, filling it with colours and shapes that help spark “experimentation and exploration” among children.

      Located in northwest Detroit, the building is part of the School at Marygrove, a new educational institution that will eventually serve students in kindergarten through 12th grade (K-12). The curriculum has a special focus on engineering and social justice.
      PLY+ and MPR Arquitectos converted a Catholic college in Detroit into an elementary schoolThe school occupies the site of a former religious college, Marygrove College, that closed in 2019. The campus – which is listed on the US National Register of Historic Places – is now owned and managed by a nonprofit organization, the Marygrove Conservancy.
      Several buildings on the 53-acre (21-hectare) campus are being converted into facilities for the School at Marygrove.
      The school is on a historic campusThis project involved transforming a brick-faced, concrete building that first opened in 1941 into a public elementary school for children in kindergarten through fifth grade.

      The design was led by PLY+, a studio based in Ann Arbor, Michigan, and MPR Arquitectos, which is based in Ann Arbor and Murcia, Spain.
      It was led by firms run by Michigan architecture professorsBoth firms are led by professors at the Taubman College of Architecture and Urban Planning at the University of Michigan.
      The architects aimed to preserve original features in the 65,000-square-foot (6,039-square-metre) building while integrating a host of new elements.
      Features of the original architecture were maintainedThe goal was to “establish a foundational, collaborative educational environment” while preserving the historic components.
      The building’s exterior was kept intact, the only change being the addition of an accessible entrance.
      Plywood millwork was addedWithin the building, the team modified rooms and added new finishes and plywood millwork. The decor was carefully selected, and special details – such as visually dynamic ceiling baffles – were incorporated.
      The building’s original layout was mostly retained, as the double-loaded corridor layout was deemed historically significant and kept in place.
      The brick of the original building was kept exposed for some of the interiorsThe corridor received new storage nooks with spots for bags, coats and shoes. In the classrooms, the team inserted counters, sinks, benches, chalkboards and storage space.
      “Custom millwork elements provide design flexibility without impinging on historic elements,” the team said.
      Colourful patterns adorn the walls and floorsThe project also called for the creation of maker spaces, reading rooms, a media centre and a restorative justice centre. An existing gymnasium was renovated.
      Throughout the facility, the team used a mix of soft and bold colours, ranging from bright peach to pale yellow-green.

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      The palette was informed by historic hues and the desire to introduce colours that signal “the new use of the building and the new model of pedagogy being fostered”, the team said.
      “Colour and form play an important role in establishing unique identities for individual classrooms and signal the vibrancy and joy of collaborative learning,” the team added.
      The design is meant to encourage exploration for the childrenOverall, the design is meant to speak to its young users.
      “The design engages children’s sense of curiosity and encourages experimentation and exploration,” the team said.
      The project was a collaboration between Detroit Public Schools Community District, which operates the school, and the University of Michigan’s School of Education.
      Other school projects include an athletic centre at an Oregon school that features trellises laced with climbing vines and a boarding school in southern California that has buildings with jagged rooflines.
      The photography is by Jason Keen.
      Project credits:
      Architect: PLY+ and MPR ArquitectosPly+ team: Craig Borum, Jen Maigret, Andrew Wolking, Yusi Zha, Olaia Chivite Amigo, Yibo Jiao, Masataka YoshikawaMPR Arquitectos team: Ana Morcillo-Pallares, Jon RuleArchitect of record: Integrated Design SolutionsClient: Marygrove ConservancyCollaborators: Detroit Public Schools, University of Michigan School of Education

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      HawkinsBrown renovates Reading offices to create a “connection to nature”

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      A stack of meeting rooms and a moss-covered wall overlook the atriums of Here + Now, a pair of office buildings in England refurbished by architecture studio HawkinsBrown.

      Informed by changing attitudes to workplace design following the Covid-19 pandemic, the two buildings have been renovated with a focus on wellbeing and a connection to nature.
      They are located within a wider business park in Reading, formerly used by Microsoft.
      HawkinsBrown has renovated a pair of offices in Reading called Here + NowConnected by a bridge at their centre, the two buildings contain different facilities. One of them, named Here, offers space for more established companies, while the other, named Now, contains offices for smaller companies and start-ups.
      “Here + Now is located on a business park, not in a city centre, which provides users with a much closer connection to nature and therefore better opportunity for activity and wellbeing,” HawkinsBrown partner Massimo Tepedino told Dezeen.

      “The idea is that companies can scale up or down and thereby stay on the campus for longer – this ultimately helps to create a sense of community,” he added.
      A moss-covered wall overlooks an atrium in the Now buildingWhile the two buildings share a similar material and colour palette, the finishes of each were slightly different based on its tenants.
      The approach to the Now building focuses on more cost-effective, flexible spaces, while the Here building is finished to a higher specification.
      Wood has been used to form seating areas and quiet nooksEach of the two buildings features a large arrival atrium designed to evoke a sense of “wonder”.
      In the Here building, this space has a stack of meeting pods described by HawkinsBrown as a “treehouse”, while dehydrated moss-covered balconies animate the atrium in Now.

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      Shared by both buildings are a range of on-site amenities, including a gym and treatment rooms, as well as a “lifestyle manager” who organises events and workshops.
      “The benefit of having two buildings share amenities is that office spaces can accommodate a wide range of budgets, while everyone benefits from best-in-class amenities and the opportunity to socialise with established professionals and young entrepreneurs,” explained Tepedino.
      The two buildings are connected by a bridgeThe glass and metal structures of the existing buildings have been treated internally with wooden panelling, which complements new wooden seating areas and nooks.
      Particular attention was paid to the colour scheme, with a muted palette intended to evoke the nearby natural landscape and create a relaxing atmosphere.
      The project is located on a business park”We know that colours can facilitate, regulate, and even influence people’s behaviour – our colour palette takes its cues from the natural landscape and compliments the neutral tones of the existing buildings,” explained HawkinsBrown.
      “The bathrooms take inspiration from spas and hotels, with green shades and bold graphics create a strong visual connection to nature and a calming environment.”
      Here + Now has been shortlisted in the large workplace interior category of Dezeen Awards 2023.
      Other projects recently completed by HawkinsBrown include a student hub at Queen’s University Belfast with RPP Architects and the transformation of the historic Central Foundation Boys’ School in London.
      The photography is by Jack Hobhouse.

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      Patricia Urquiola converts historic palazzo into Six Senses Rome hotel

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      Milan-based designer Patricia Urquiola has converted a palazzo in Rome into a hotel and spa, filled with circular elements and traditional Italian materials.

      The Six Senses Rome is located within the Palazzo Salviati Cesi Mellini, close to historic sites like the Pantheon and the Trevi Fountain in the city centre.
      The lobby of the Six Senses Rome is an open social space with multiple seating areasAdjacent to the Church of San Marcello al Corso, the building was first constructed in the 15th century before being updated in the 18th-century baroque style by architect Tomaso De Marchis.
      An impressive central staircase and the building’s main UNESCO-listed facade, which overlooks the bustling Via del Corso, are among the period details that were restored during the renovation works led by Studio Urquiola.
      The Bivium restaurant connected to the lobby offers all-day diningThe entrance to the Six Senses Rome from Piazza di San Marcello leads into an open lobby and social area, furnished with a variety of sofas and lounge chairs from Urquiola’s oeuvre alongside classic Italian designs.

      These are positioned in groupings with tables and decorative objects on circular rugs, between potted plants spread across the travertine floors.
      Circular elements appear throughout the hotel, including rugs and tables in the lobby”At every turn, the craftsmanship, the finishes, the materials and the graphics create a union with nature while staying true to both Roman classicism and Palazzo Salviati Cesi Mellini’s rich history,” said Urquiola.
      A curved green marble bar is positioned near the windows, forming an incomplete circle with the matching counters in the courtyard, which are visible through the glazing and follow the shape of earth-toned steelwork overhead.
      In the courtyard, a green marble bar counter continues from insideThe courtyard also features benches built into planters along the back wall and additional seating, where diners can enjoy food and drinks from the trattoria-style Bivium restaurant.
      Circular forms and motifs continue throughout the hotel, including in the Six Senses Spa and Roman baths on the first floor.
      The spa waiting area features seating within sheer curtain enclosuresHere, sheer curtains encircle small seating areas for those waiting for treatments or preparing to enter the travertine-lined bathhouse, which offers multiple pools for soaking and relaxing.
      Bedrooms across the central levels have “quirky” layouts and a soft neutral decor, including tambour panelling, patterned rugs and a variety of spherical light fixtures.
      Travertine lines the walls and ceiling inside the spa and Roman bathsSeveral of Six Senses Rome’s 96 guest rooms and suites have balconies, and all enjoy either a courtyard or city view.
      Plasterwork in the rooms is made from an ancient Roman material known as cocciopesto, which comprises fragments of earthenware or brick mixed with lime and sand.

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      “The legacy of antiquity is also honoured with the choice of cocciopesto, which decorates the plaster of the rooms and gives a nod to Roman architect Vitruvius,” said the studio.
      The hotel also features a roof terrace and bar called Notos that offers views across the city and serves botanical cocktails and light bites.
      The bedrooms at the Six Senses Rome have a soft neutral decorArtworks such as watercolours, sculptures, textile works and canvases throughout the interior are curated by art advisor Federica Sala and are all unique to the hotel.
      Six Senses Rome is shortlisted in the hotel and short stay interior category of Dezeen Awards 2023, while Studio Urquiola is shortlisted for interior designer of the year.
      Plasterwork in the bedrooms and suites is made from cocciopestoOriginally from Spain, Urquiola is one of Europe’s most sought-after designers and has released furniture and product collections with brands like Moroso, Cassina, Kettal and Boffi among many more.
      Other hotels designed by her studio include the Haworth Hotel in Michigan, the Hotel Il Sereno on the shores of Lake Como and the Room Mate Giulia in Milan.
      The photography is by Luca Rotondo.
      Project credits:
      General contractor: CDS HoldingArchitecture: Starching and professor Paolo MicalizziInterior design: Patricia Urquiola

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      Restored historic paintings cover walls of converted Frescohallen restaurant

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      Swedish studio Claesson Koivisto Rune has converted a listed room in Norway into a restaurant, adding an angular mirrored bar and restoring the building’s historical frescoes.

      Designed to highlight the history of the building, Frescohallen restaurant was added to the former Norwegian Stock Exchange in Bergen, replacing a rundown food hall that previously occupied the space.
      Claesson Koivisto Rune has created the Frescohallen restaurantBuilt in 1862, the space features walls coated in large historic paintings that had become dirty and damaged.
      “The space hosted a dreadful and rundown kind of food court,” Claesson Koivisto Rune co-founder Eero Koivisto told Dezeen. “The frescoes were quite dirty and not looked after since decades.”
      It occupies a listed room in NorwayThe studio aimed to complete a sensitive renovation of the space, keeping the existing artworks at the centre of the room and restoring them to their original quality.

      “The ten giant frescoes describe the daily life and businesses of Norway at the time, and were completed in 1923 by the Norwegian artist Axel Revold,” said Koivisto. “The artworks are now restored and lit with state-of-the-art lighting.”
      The studio added a mirrored barAs well as showcasing the original artworks, the studio preserved the existing features of the room, including a rhythmic arrangement of olive green columns that extend through the space and branch into a groin-vaulted ceiling, which is decorated with red, green, and gold paintwork.
      The renovation involved a range of minimal changes, including the removal of modern elements that had been added to the facades and the addition of new signs and flooring.
      The building’s historical frescoes were restored”New interventions were required to touch lightly and be reversible,” the studio explained. “Apart from removing some later additions to the facades, the most significant addition was new lighting and signage.”
      Inside, the addition of a bar area marks the largest change to the space. Located at the centre of the room, the bar is finished with a mirrored coating designed to provide guests with wide views of the restaurant.
      A mezzanine-level dining area sits on top of the mirrored bar”Using mirrors allowed for the possibility to let all guests view the famous frescoes and the magnificent space,” said Koivisto.
      A mezzanine-level dining area features on top of the mirrored bar, acting as an elevated viewing area that offers a closer view of the surrounding artworks.
      Arched windows illuminate the dining areasAround the central bar, the studio divided the restaurant into a series of dining spaces separated by granite steps and changes in flooring.
      The spaces include dining areas dramatically lit by large, arched windows, as well as more private areas that have been recessed into nooks bordered on multiple sides by large paintings.
      A spotty carpet lines one dining areaStretching through one dining area is a large carpet, which is decorated with a pattern of large dots and was designed by Claesson Koivisto Rune to reflect the colours in the surrounding paintings.
      “The large dot pattern on the carpeting is inspired by coins – a nod to the building’s previous life,” the studio explained. “All the dots, in various blue hues, reference the frescoes. In fact, all colours introduced, including the furnishings, are referenced from the frescoes.”

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      The studio also designed a series of furniture for the space, including blue wooden chairs and ring-shaped, fabric-coated benches that wrap around the columns.
      To improve the acoustics in the restaurant, the studio added a strip of sound-absorbing panels at eye level. Nestled just below the paintings, the material is hidden by a continuous, dark-coloured curtain.
      Original olive green columns have been retained”In order to alter the original ‘cathedral-like’ character of the space and create an ambience suitable for a restaurant and bar, modern sound-absorbing material hidden behind a new, continuous curtain running along all the walls have been installed, with upholstered sofas directly beneath,” the studio explained.
      “Custom-designed, wall-to-wall carpeting also adds to the gentle ambience and improves the acoustics.”
      The mirrored bar was designed to provide guests with wide views of the restaurantFounded in 1995 by Koivisto with Mårten Claesson and Ola Rune, Claesson Koivisto Rune is an architecture and design studio based in Stockholm.
      Recent architectural projects completed by the studio include a Swedish home clad in red-painted planks of local pine and a boutique hotel that was converted from a 1920s bank building in Tokyo.
      The photography is by Sigurd Fandango.

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