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      Lorenzo Botero and Martín Mendoza convert Bogotá residence into brick-lined restaurant

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      Local architecture studio Lorenzo Botero Arquitectos and interior designer Martín Mendoza used a palette of natural materials to transform a three-storey house into a restaurant in Bogotá.

      Located in the city’s Zona del Nogal, a popular shopping destination, Ideal Restaurant takes cues from the materiality of the deserts of the southern United States and the north of Mexico.
      Architect and interior designer Lorenzo Botero and Martín Mendoza turned a three-storey residence in Bogotá into a restaurantThe building was a three-storey residence that had undergone a series of previous renovations, which made it difficult to integrate a full kitchen and dining spaces.
      “It was a challenge,” said Botero, “But in architecture, it is about making trade-offs that are solved with the design once the program is clear.”
      The space was informed by the deserts of the southern United States and the north of MexicoThe studios used wood, copper, terracotta, linen and stone to create a warm atmosphere throughout the restaurant, which includes a covered outdoor seating area.

      The second-floor dining area is the “tour de force” of the project and includes an eclectic mixture of curved wooden and terracotta tables from Colombian furniture companies Carmworks and 902 Showroom and wooden chairs and benches from Vrokka.
      Vertical brick made of river sand was used to clad much of the interior”The project was very architectural and I did not want to superimpose things that were unnecessary,” said Mendoza.
      “I knew that the interior design had to work in favour of the architecture and the concept; hence the colour palette and natural materials⎯wood, vegetable fibres, terracotta, leather, jute and linens⎯and to contrast are the details in bronze and copper”.
      The second-floor space was divided by a sloping wine rack extending from the ceiling, as well as a wide stone bench tucked into a corner. The bench extends the length of the back wall to become the hearth of a metallic fireplace.
      The second-floor dining room is furnished with wooden tables and chairsA curved wall above the fireplace conceals the flue and further added dimension to the dining room, which looks out over the street through a wall of wood-framed windows.
      Lorenzo Botero Arquitectos wrapped much of the space in a thin brick made of sandstone, placed vertically to “lengthen” the walls of the space.

      Jagged windows pierce Studio Cadena’s Masa bakery in Bogotá

      Walls, floors, and windowsills were wrapped in the material, as well as the base of a large shared sink in the bathroom.
      Horizontal bands made of metal were embedded throughout the rows of bricks to reflect the earthy-red tone.
      A series of windows are framed in woodMetallic lighting fixtures and lamps from Mendoza’s brand mm&co and others made in collaboration with La Bestial also reflect the restaurant’s natural palette.
      They include circular metallic wall sconces and cylindrical pendants affixed to the restaurant’s ceiling, as well as the wall sconces topped with wicker lampshades.
      Metallic light fixtures and hardware reflect the earthen tones of the interiorThe outdoor seating area has the same linen-covered chairs and wooden tables as the second-floor dining room.
      Large clay pots line the walls and hold herbaceous plants such as lavender and rosemary.
      The restaurant is currently open and serves modern American fare.
      Other Colombian eateries featured on Dezeen include a bakery and cafe by Studio Cadena with jagged, triangular windows and a hotel with a lobby and cafe covered in plants in Medellín.
      The photography is by Mónica Barreneche Olivares.

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      Tate Modern’s Corner cafe revamped to be less “Herzog & de Meuron-y”

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      Architecture studio Holland Harvey has overhauled the ground-floor cafe at the Tate Modern in London so it doubles as the gallery’s first late-night bar.

      Tucked away in the museum’s northwest corner, the interior of the Corner cafe was originally designed in 2000 when Herzog & de Meuron created a home for the UK’s national collection of modern art inside the disused power station on the Southbank.
      Corner is a new cafe and bar at the Tate ModenSince then, the Tate had made no changes to the space until Holland Harvey was brought on board to refresh the interior at the start of 2022.
      “It was quite a cold space,” the studio’s co-founder Richard Holland told Dezeen. “All very Herzog & de Meuron-y.”
      “They’re amazing at what they do in so many ways,” he continued. “But this was not their best food and beverage space.”

      A grey stone bar forms the centrepiece of the roomHolland Harvey stripped back many of the cafe’s hard, reflective finishes, sanding away the black gloss paint on the floors to reveal the parquet underneath and removing the mirrored glass that Herzog & de Meuron had used to enclose the building’s original riveted columns.
      Fluorescent lights were replaced with more muted spots by London studio There’s Light, while the dropped ceiling above the bar was rounded off and covered in foam insulation to soften the interior – both visually and acoustically.
      Otherwise, many of the cafe’s core elements including the servicing as well as the kitchen and toilets remained largely untouched to prevent excessive waste and maintain the integrity of the building.
      “You don’t really want to mess around with the servicing because 12 feet above your head is a Picasso,” Holland said. “So it was pretty light touch.”
      The cafe backs onto the Tate’s Turbine Hall. Photo by Edward BishopThe biggest intervention came in the form of a newly added riverside entrance, allowing passersby to stroll straight into Corner rather than having to take the long way through the gallery.
      At the other end of the open-plan room, a door leads directly into Tate’s famous Turbine Hall, effectively linking it with the public spaces of the Southbank.
      Stone seating banquettes double as impromptu climbing frames”The Turbine Hall is one of the most successful public spaces in London,” Holland said. “It’s one of the few indoor places you can go, where people happily sit down on the floor in the middle of the day.”
      “And obviously, the Southbank is an amazing public offering as well,” he continued. “So this felt like an opportunity to connect the two, which led a lot of the thinking around the design.”
      With the idea of extending the public realm, many of the newly added pieces are robust and fixed in place, much like street furniture. Among them are the double-sided Vicenza Stone banquettes, which can also serve as impromptu climbing frames for young children.

      UXUS designs “permanently temporary” gift shop for Herzog & de Meuron’s extended Tate Modern

      Holland Harvey created a number of other seating areas throughout Corner to suit different accessibility needs, with a focus on supporting local manufacturers and small businesses while reducing waste wherever possible.
      Corner’s long sharing tables and benches were made by marginalised young people from west London as part of a carpentry apprenticeship programme run by social enterprise Goldfinger, using trees that were felled by local authorities to stop the spread of ash dieback.
      “Every table has the coordinates of where the tree has felled on it, so there’s a provenance to the furniture,” Holland said.
      The chairs were taken from Tate’s own storage and refinishedThe chairs, meanwhile, were salvaged from the gallery’s own storage before being refinished and reupholstered, while the smaller tables were made by Brighton company Spared using waste coffee grounds from Tate’s other cafes.
      These were baked at a low temperature to remove any moisture before being mixed with oyster shells and a water-based gypsum binder.
      Although the resulting pieces aren’t fully circular since they can’t be recycled, Holland hopes they tell a story about the value that can be found in waste.
      Waste coffee grounds from the gallery’s other cafes were turned into table tops”We’re by no means saying that it’s an exemplar project in that sense,” he explained. “We were just trying to find opportunities to tell stories through all the different elements rather than just going to the large corporate suppliers.”
      “And that’s really our wider impact: people realising that there’s a different way to procure a table. Imagine if all of Tate’s furniture moving forward is made by Goldfinger,” he continued.
      The cafe also has high counter seating for remote workingIn the evenings, the space can be transitioned into a bar and events space by switching to warmer, higher-contrast lighting, while a section of the central banquette can be turned into a raised DJ booth by pressing a button that is hidden under the cushions.
      “This place can get quite wild in the evening,” Holland said.
      Timber shelves are used to display productsThe last significant amendment to the Tate Modern building was Herzog & de Meuron’s Switch House extension, which opened to the public in 2016.
      The building contains a gift shop designed by Amsterdam studio UXUS, alongside various galleries and a viewing level on the top floor, which is currently closed to the public after Tate lost a high-profile privacy lawsuit brought by the inhabitants of a neighbouring residential tower.
      The photography is by Jack Hobhouse unless otherwise stated.

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      Bursts of colour punctuate minimal interiors at Lackawanna Café in Jersey City

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      Local studios Inaba Williams Architecture and Kyle May have created a cafe in New Jersey oriented around massive structural columns and bright, colourful elements.

      Called Lackawanna Café, the project occupies the ground floor and mezzanine of a mid-rise apartment building in Jersey City designed by Fogarty Finger Architecture.
      Inaba Williams Architecture and Kyle May have designed a cafe in Jersey CityInaba Williams led the interior design of the project, creating the floor plan and cladding the large structural columns in glass-fibre reinforced concrete (GFRC), while Kyle May fabricated the colourful millwork elements spread throughout the space.
      Many details of the envelope were left in their “raw” conditions in order to create a strong contrast with new elements including glossy cladding on the 22-foot-tall structural columns and the colourful millwork.
      Colourful millwork punctuate the spaceInaba and May took advantage of the expansive windows, using light as a guide for the placement, colouration and material of the colourful millwork installed by May.

      “The salient feature of the envelope is the double-height storefront window wall, which lets in generous amounts of indirect daylight,” said Inaba Williams principal Jeffrey Inaba.
      “This accentuates the finishes of the details – the GFRC columns’ semigloss undulating surface, the countertop and table’s matte seamless surfaces, the pastry case’s translucent gradient exterior, and the shelves’ translucent texture.”
      GRFC clads the structural columnsFor the display case, the team chose an expressive red Valchromat that contrasts the white, grey and wood tones of the space and complements the blue of the built-in display case, which is illuminated from above.
      The lighting in the case and the “prismatic” undersides of the shelving was designed to “reveal the silhouettes of the objects on display”.
      A bright red pastry case contrasts the blue shelving and service counterNext to the shelving is a white refrigerated display, a nine-foot-tall curved structure made from bent wood that houses additional products for sale at the cafe.
      Surfaces feature more toned-down colours. Tucked under the mezzanine, the service counter is 24 feet long and was painted with a light matte blue. A large “butter-colored” table occupies the middle of the space, sitting on top of the polished concrete flooring.
      A large communal table sits in the middle of the dining roomInaba said that the primary goal for the cafe was to create a community hub and that the mezzanine space will be used as a gallery.
      Because of the expansive light from the storefront windows, the team only needed to include three additional fixtures, which Inaba said reduced the lighting energy load for the cafe.

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      Inaba and May have worked on other projects in the area, including an office in Brooklyn.
      “Kyle and I share similar interests in art and industrial design,” said Inaba. “We both admire the know-how of making, and the technical nitty-gritty of fabricating.”
      “Working together, we’re able to dream up objects, figure out smart ways to produce them, and have people experience them arranged together in a space,” he continued.
      Much of the envelope was left exposedOther projects recently completed in New Jersey include Rubenstein Commons at Princeton by Steven Holl Architects.
      The photography is by Naho Kubota.
      Project credits:
      Creative direction, interior architecture: Inaba Williams – Jeffrey Inaba, Darien Williams, Nabila Morales PerezFabrication and millwork: Kyle May, architect – Kyle May, John Diven, Cameron KurselMEP engineer: Roger Tan Engineering – Roger Tan

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      Marcante-Testa blends “unique characteristics of Venetian identity” for Ca’ Select bar and distillery

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      Italian studio Marcante-Testa has turned an industrial building in Venice into the canal-side Ca’ Select bar, visitor centre and production facility.

      Set alongside a small canal in the Cannareggio district of Venice, the bar and distillery belong to the company behind Select Aperitivo – the main ingredient of a Venetian Spritz.
      Ca’ Select bar is located on a canal in Venice”The history of Select is closely tied to that of Venice, where the brand was founded in 1920,” said Marcante-Testa.
      “Starting from this awareness, the mother company Gruppo Montenegro commissioned the architects Andrea Marcante and Adelaide Testa to formulate a reinterpretation of the unique characteristics of Venetian identity, reviving one aspect of the city’s past.”
      The space includes a Select Aperitivo barMarcante-Testa led the conversion of the former metal workshop into a bar and events space, spanning 690 square metres. Throughout the bar and production spaces, glass and ceramic details were chosen to highlight traditional Venetian crafts.

      The elongated space was split linearly into three zones, with the bar placed at the front of the building so it can be accessed from the canal by a corridor clad in white and red Zellige tiles made by Mosaic Factory.
      The bar is wrapped in blue wavy glassAt the centre of the space is a freestanding bar wrapped in blue wavy glass “in the Murano tradition”, created by the Wonderglass company to recall the waves of the nearby lagoon.
      The space features three handmade mosaics made from tiles fired in the historic Fornace Orsoni and informed by the sketches of Spanish designer Mariano Fortuny, who was a long-term resident of Venice.

      Cocktail bar “suspended between sea and sky” draws upon nearby Mediterranean

      Venetian seminato terrazzo flooring with red glass and blue sodalite marble inlays was used to unify the spaces, running from the entrance through the bar to the production area.
      Separated from the bar by a large curtain is a seating area furnished with steel-framed sofas alongside armchairs upholstered in reds and pinks as a nod to the aperitivo’s colour. This area will also be used as an events space.
      An events space is located next to the barThe event space has views through a red-tinted glass wall to the production facility at the rear of the building.
      Here, the maceration of the herbs and spices used to make the distinctive aperitivo takes place.
      The distillery is separated from the public areas by a glass wallThe final space in Select Aperitivo’s building is nestled above the entrance corridor. Accessed by steps to the side of the entrance is a small visitor centre with exhibits curated by Turin-based Studio Fludd.
      It contains seating and exhibits that aim to tell the story of the aperitivo brand, which was established in 1920.
      An exhibition space is located above the entranceSelect Aperitivo hopes that the bar and visitor centre will continue to reinforce the brand’s historic links to the city.
      “Ca’ Select represents a fundamental step in our multi-year plan to consolidate the brand and aims to strengthen the link with the city of origin,” said Marco Ferrari, CEO of Gruppo Montenegro, which owns the brand.
      “It is no coincidence that we have decided to bring the heart of Select’s production here, to enhance the local culture starting with the valuable architectural elements that enrich the space.”
      The building also houses a Select Aperitivo production facilityOther recently completed bars that have been featured on Dezeen include a brewery in a former Copenhagen slaughterhouse and a bar in Calgary topped with plywood barrel vaults.
      Project credits:
      Architectural project: Marcante-TestaInterior design project: Marcante-TestaProject and content management: Mindthegap StudioPlants and facilities design: Pgs Ingegneria – Studio AssociatoContent of the exhibition design: Studio FluddProduction coordination and executive production: Epica filmVisual identity project: Studio FluddBuilding works director: Valter Camagna, Andrea marcanteLocal architect: Stefano RomagnaProject manager: Roberta MiniciSafety manager and coordinator: Sebastiano CibienBuilding construction: Steelwood EngineeringPlant engineering work: Gruppo Frassati, Vem SistemiSet-up arrangements: Steelwood Rngineering, Gruppo Frassati, Amap, WonderglassLight design: Marcante-Testa with FlosDecorative lighting supplier: FortunyTechnical lighting supplier: FlosSystem integrator: Acuson, Red Group

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      Smith Hanes Studio brings “a sense of calm” to Carmel restaurant in Atlanta

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      Atlanta-based Smith Hanes Studio has used a palette of natural colours and materials to help diners at this restaurant imagine they’re beside a beach.

      A laid-back, coastal vibe was the goal for the Carmel restaurant, located on a cobblestone street in Atlanta’s Buckhead Village.
      The U-shaped bar at the entrance to Carmel is wrapped in rattanFounder Tal Baum of Oliva Restaurant Group wanted to create a space that would transport guests to the casual seaside ambience, so she tasked Smith Hanes Studio with designing an environment that draws upon a variety of beachside communities.
      “[Baum] wanted us to bring a sense of calm and expansiveness to Carmel, like you’d experience on the Mediterranean coast,” said studio founder Smith Hanes. “Our interior designer Janine MacKenzie accomplished that with a beautiful warm palette of naturals that coax us to remember the balmy indoor-outdoor breezes of Tulum or Puerto Escondido beach.”
      Lime plaster covers the walls to evoke a coastal aestheticA variety of local artists and craftspeople were brought on to achieve the desired effect. Lime plaster was hand-applied to surfaces by Super Delicious Walls and custom fibre installations by Sonya Yong James were added as accents.

      Meanwhile, upholstery and millwork were crafted by fabricators Hancock Surface Studio, Onemost Studio and Bjork Studio.
      In the dining room, woven pendant lights emit a warm sunset-like glowUpon entering the establishment, a U-shaped bar is wrapped in rattan, matching a light fixture suspended above that follows the same shape.
      Folding back a large wooden window opens the bar area to the street, where additional seating is built into the facade to serve cafe tables.
      Contributions from local artisans include custom fibre installations by Sonya Yong JamesThe back bar is set against a wall of textured, square white tiles, and framed by an arch with curved pillars covered in similar but smaller reddish tiles.
      “The rattan-wrapped bar, amber-tiled barback, glowing drink rail and sculptural lighting evokes a world of cabanas and parts of the Mediterranean where handwoven basketry is commonplace,” said the restaurant team.

      Floral installations decorate Atrium bar in Atlanta by Smith Hanes Studio

      Past the bar area, a deep arched opening leads into the 1,600-square-foot (149-square-metre) dining room.
      Mossy green banquettes, wooden four-top tables and chairs, and sheer curtains are all washed in a warm glow, “as if the sun is setting low on the ocean’s horizon” according to the team.
      Booth seating is set into niches carved from the wallsThe pendant lamps above the tables are woven from elephant grass and feature matte porcelain bulbs.
      More tilework, this time in sage green, clads the area around the kitchen passover window, which is flanked by niches for booth seating on either side.
      A large window opens to additional seating along the restaurant’s exteriorHanes founded his eponymous studio in 2004, and also opened an office in New York in 2020.
      Focusing on hospitality interiors, the team has previously completed a bar and restaurant in Atlanta that’s decorated with floral installations, and the ground-floor eateries within a renovated hotel in Portland, Oregon.
      The photography is by Tim Lenz.

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      Akio Isshiki Architects marries old and new with Japanese home and restaurant

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      Japanese studio Akio Isshiki Architects has transformed an old wooden building into a warm-toned home and public restaurant named House in Hayashisaki Matsue Beach.

      Located on a coastal street in Akashi in southern Japan, the mixed-use space was built within a 50-year-old building for a local designer and features a curry restaurant as well as residential and working spaces.
      Designed to reflect traditional Japanese dwellings, the home and restaurant are contained within a wooden building that was previously dark and separated.
      House in Hayashisaki Matsue Beach was designed by Akio Isshiki ArchitectsDuring the renovation, Akio Isshiki Architects aimed to pair existing elements with modern features to reflect the mixed-use nature of the project.
      “The house was divided into small rooms, narrow and dark,” studio founder Akio Isshiki told Dezeen.

      “It was very old and damaged, but fortunately the carpenter had done a good job, there were no leaks, and the structure was solid.”
      It is located in AkashiAccessed from the roadside, a series of circular stones form a path that leads through the planted front garden and curves to extend along the front of the building, providing access to the ground-floor restaurant.
      Here, a stepped sheltered porch features external seating and is separated from the interior space by a wide sliding glass door set in a timber frame, which offers views into the garden and can be fully opened to connect the dining space to the outside.
      The structure contains a restaurant and a homeInside, the floor has been coated with dark tiles informed by the history of the area, which was formerly a large tile producer.
      “These tiles were handcrafted one by one by tile craftsmen in Awaji, with the image of lava stone pavements seen in cities in Central and South America superimposed on the texture and edge shape,” said the studio.
      It draws on traditional Japanese homesWooden furnishings, including bespoke D-shaped chairs designed by the studio and created by a local woodworker, are arranged throughout the dining space at the front of the building.
      “To ensure stability even on uneven floors, three legs are used as a base for the chairs, and the legs are made of a thick material so that they do not fit in the joints of the Kawara tiles,” said Isshiki.
      “I aimed for a primitive design with an unknown nationality, with as simple and crude a composition as possible.”

      Apollo Architects & Associates create home from stacked volumes in Tokyo

      Separated from the main space by an earth-toned counter, the kitchen is tucked into one side of the dining room and features walls clad in wooden panels and white tiles, along with a lighting fixture formed from two circles that hangs in the street-facing window.
      A Japanese shoji screen at the end of the dining room is the first of a series of flexible partitions throughout the home that can be pulled out to provide separation between the spaces.
      The upper floor contains private residential space”Conscious of the tropics and nostalgia, we put nets that look like mosquito nets and sudare blinds on the shoji screens,” said the studio. “The graceful plans created by imperfect partitions such as shoji and fusuma are typical of ancient Japanese architecture.”
      “In this house, where cultures, nationalities, times, and various other things are combined, I thought it would be appropriate to have the spaces partially mixed so that they could feel the presence of each other, rather than being permanently partitioned in terms of usage,” it continued.
      Wood was used throughout the interiorBuilt on a raised timber platform, the rest of the ground floor holds private rooms for the client, which are divided by shoji screens, including a traditional Japanese room that opens onto a garden.
      A home office borders the dining space, where a central black ladder leads to the floor above, while a bedroom, bathroom and utility room branch from the other side of the corridor.
      The residential space has views of the seaUpstairs, the studio added an open arrangement of dining and living spaces with warm-toned surfaces including a red wall and dark wooden beams that interact with the home’s original rustic roof structure.
      “The wall on the second floor is a scraped wall mixed with red iron oxide and finished by a plasterer from Awaji,” said Isshiki. “This is an attempt to incorporate the colourful walls of each country into architecture in a Japanese context.”
      The home has an open-plan living arrangementOther Japanese homes recently featured on Dezeen include a Tokyo home spread across two stacked volumes and a concrete home supported by a single column on Japan’s Okinawa Island.
      The photography is by Yosuke Ohtake.

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      Michael Groth uses natural and recycled materials inside New York’s Donna restaurant

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      New York designer Michael Groth collaborated with a Moroccan artisan cooperative to create the wall hangings for this worker-owned bar and restaurant in the West Village.

      The opening of Donna’s new location on Cornelia Street follows the closure of its Williamsburg spot in December 2020 as a result of the coronavirus pandemic.
      Michael Groth has designed the new Donna outpost in New YorkServing a pan-Latin menu with Mediterranean influences and Filipino-inspired cocktails, the restaurant and bar is now a worker-owned cooperative, with original owner Leif Young Huckman acting as an advisor.
      To reflect this shift, Brooklyn-based Groth aimed to imbue the design of the new outpost with references to the previous location while nodding to Donna’s revised business model.
      Earth-toned limewash plaster was applied to the walls in geometric patternsHe drew influences from the constructivist art movements of Latin America in the 20th century and particularly the work of artists Sandu Darie, Pedro Alvarez and Lygia Clark.

      Donna is decorated with earth-toned limewash plaster, applied to the walls in geometric patterns that echo the brand’s visual identity.
      Groth created wall hangings in collaboration with artisan cooperative The AnouExposed brickwork is painted white, forming a plain backdrop for the circular wool wall hangings that Groth created in collaboration with Moroccan artisan cooperative The Anou.
      Together with wool floor rugs, these help to dampen the acoustics while lime plaster assists in regulating humidity, according to Groth.

      GRT Architects uses “riot” of materials for Bad Roman restaurant in New York

      The tables are crafted from reclaimed Douglas fir flooring and stained plywood was used to build the banquette seating that wraps the perimeter.
      Bar-back shelving and floors were repurposed from the unit’s previous tenant, while the bar tops were fabricated by Brooklyn Stone and Tile – another worker-owned cooperative.
      Tables are crafted from reclaimed Douglas fir”The use of any new materials was limited to those that are natural and biodegradable, keeping in mind the holistic effects of resource extraction, human health and equity, and circular material cycles,” the Donna team said.
      Pendants lights above the bar have shades made from mushroom mycelium, which according to the team presents “an environmentally holistic approach to material creation that poetically reflects Donna’s equitable business model”.
      The pendant lights above the bar feature mycelium shadesNew York City’s dining scene was upheaved during the pandemic, with many eating and drinking establishments forced to either adapt or shutter.
      As a result, sidewalk dining shelters sprung up across the city, as documented in these photographs by John Tymkiw.
      The photography is by Nicholas Ruiz.

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      Home Studios revamps Nantucket bar and restaurant using maritime references

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      Brooklyn-based Home Studios has refreshed a trio of hospitality spaces on Nantucket that includes a bright restaurant and a subterranean lounge that immerses guests in an “cinematic” underwater scape.

      The Pearl restaurant, The Boarding House bar and Below the Rose lounge are all located under one roof at 12 Federal Street, Nantucket – an island off the coast of Massachusetts that is popular with summer vacationers.
      The Pearl is one of three hospitality spaces renovated by Home Studios at 12 Federal Street, NantucketAfter 30 years, the establishment changed hands and was in need of updates, so Home Studios was enlisted to rethink the interiors while retaining some familiarity for regulars.
      “The Pearl and its offshoot spaces are beloved Nantucket institutions, so Home Studios identified the goal as continuing the existing story and tradition: to reinterpret it, not rewrite it; polishing and refining its origin story,” said the studio, which took two years to complete the project.
      The restaurant features white oak tables and chairs, shaped to contrast the colonial-era architectural detailsThe aim of the interior design was to create an individual look and feel for each of the three spaces, yet keep a level of visual cohesion across the connected rooms.

      “There’s an immersive, cinematic experience across the board,” studio founder Oliver Haslegrave told Dezeen. “However, each space is distinct in its material and colour scheme choice.”
      Floral patterns by two different artists decorate the perimeter of the back barRenovating The Pearl involved “polishing” the main restaurant, private dining rooms and patio area.
      In the light-filled restaurant, warm white and beige tones are complemented by cooler blues, and glossy tiles that clad the chimney stacks introduce texture and sheen.
      The Pearl’s private dining rooms were also updated, including this earth-toned lounge areaThe white oak tables and chairs have soft, contemporary shapes that contrast the rigid, colonial-era architectural details.
      Behind the stone-topped bar, floral patterns including a mural by Lukas Geronimas Giniotis and mirror art by Paul Clifford add flourishes.
      The private dining rooms include a selection of vintage furnitureDarker earth tones decorate one of the private dining spaces, which includes a lounge area with leather and bouclé seating, and a selection of vintage furniture pieces.
      For The Boarding House revamp, Home Studios looked to the island’s maritime history for influences.

      Home Studios refreshes Daunt’s Albatross motel in Montauk

      Many of its original elements were kept, including the bar, back bar, and stone floors, while the interiors were updated to present a contemporary take on the building’s federal-style architecture.
      “With The Boarding House, we sought to create a space built to withstand the trials of life at sea, and the place to host the exuberant celebration of one’s return,” Haslegrave said.
      Home Studios also created a dark and moody subterranean lounge, Below the Rose, as part of the projectHis studio also designed a new dark and moody lounge in the basement, named Below the Rose, where a different take on the oceanic theme was applied.
      Envisioned as an underwater scape, the deep blue hues across the walls and ceilings feature a mural of aquatic creatures – also by Geronimas Giniotis – to make guests feel like they’re submerged below the waves.
      The dark blue space starkly contrasts the restaurant upstairs”We approached the spatial design as if it were an ocean filled with unfamiliar creatures, textures, and forms,” said Halsegrave. “It’s dark and moody, and full of character and unique detailing.”
      Richly grained wood wraps the cased openings and the base of columns, and forms arches across the back bar that frame more mirror artwork by Clifford.
      A mural of aquatic creatures allows guests to feel as if they’re underwaterRust-coloured bar stools, dark brass sconces and champagne-toned glass flush mounts all stand out against the darker hues.
      The lounge is starkly different in atmosphere to the dining spaces above, but together they bring a storied local institution back to life.
      Details like rust-coloured stool and dark brass lighting stand out against the blue surfacesHome Studios has multiple hospitality projects under its belt, ranging from the refresh of the Daunt’s Albatross motel in Montauk to the design of the Laurel Brasserie and Bar in Salt Lake City.
      Founded by Halsegrave in 2009, the studio has also created a Mediterranean-influenced hotel in Los Angeles and converted a Wisconsin train station into a restaurant.
      The photography is by Matt Kisiday.

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