Kricket TVC, UK
Kricket TVC at White City is the third venue to join the London-based restaurant family. While using existing Soho and Brixton venues as inspiration, design studio Run For The Hills creates a more sophisticated yet industrial dinner setting with this latest project.
London-based design consultancy Run For The Hills has revealed the interior of the new Kricket TVC restaurant, which launched 24 September at the recently renovated Television Centre in White City. Headed up by founders chef Will Bowlby and Rik Campbell, the 100-cover restaurant is the third Kricket restaurant designed by Run For The Hills.
Kricket was founded in 2015 when the duo first began serving out of a 20-seater shipping container in Brixton. Known for its modern, seasonal twists on Indian dishes, Kricket’s latest project showcases Bowlby’s flair with Indian spices, learned from his years in Mumbai kitchens and his passion for quality, locally sourced ingredients. Run For The Hills has a long history with the brand having worked on Kricket’s creative identity, website, and designing the interior of its first two London restaurants in Soho and Brixton. The design studio’s graphics team also designed the Kricket cookbook earlier this year, which coincided with the launch of the Brixton venue.
Anna Burles, Creative Director of Run For The Hills, comments: “The brief was to take the spirit of Kricket Soho but make it a little more understated and to notch up the sophistication, while retaining some of the industrial vibe of Kricket Brixton. Ultimately, we had to make the big Television Centre open-plan modern space still feel like a quintessential Kricket, warm and welcoming with soul and character.
“For the look and feel of the new space, we’ve styled Kricket TVC with an atmospheric and highly textured palette, ranging from urban nudes and cracked terracottas through smoke-gold-veined marbles, burnt chocolate joinery and black marbled cork walls, with a mint-crisp crackle-glazed bar top, weathered polished plaster, aged walls and lightly distressed micro-cement floor. The antique brass metallics of Soho have been replaced with rich and dark oil rubbed bronze, raw iron and refined gunmetal steel metalwork. The new design also features a range of bespoke specialist finishes and layering of decorative grilles, custom metalwork and bespoke lighting. The overall scheme is fresh and earthy by day, designed to turn barfly-moody later on, for late night drinks and food.”
One of the main challenges for Run For The Hills on this project, was designing something original and characterful within a large, square and very modern landlord designed glazed box. “It makes you work really hard to come up with ways of zoning the space cleverly so that it doesn’t feel too open or empty at quieter times,” says Burles.
“Using decorative materials and lighting to create distinct sub-areas within the restaurant with their own personality. We also had to conform to landlord perameters with what we could do to the windows, signange and exterior landscaping, but I think we still managed to create a really Kricket-feeling terrace and shop front, that stands out from the neighbours.”
The project itself took a full year from start to finish and as you would expect, when a project manifests over such an amount of time, it naturally morphs and changes slightly, not least for budget reasons more often than not. However, for Burles, the spirit and essence of the design concept were retained – even when they had to rethink things to make them simpler or more cost-effective.
“The finished piece looks remarkably like the 3D visualisations we designed months ago, which shows how closely we stayed to our original concept, look and feel,” she tells darc. In terms of mood, the venue feels fresh and earthy during the day and warmed by candle-glow lighting at night. Given its much larger size, the light and airy open plan layout, the new venue doesn’t have the compact and cosy moodiness of Soho. However, the lighting design has been carefully detailed with targeted lighting adding softness and warmth, while zoning different areas within the space.
Much of the decorative light fittings have been designed by Run For The Hills, working with talented workshops around the UK. A cluster of various-sized bespoke, hand-turned, spalted beech wood cupola pendants by Tamasine Osher sit above the communal table, while there is a suite of different-sized, super-long javelin wall lights in black iron that have been woven into a curated mix of sourced lights, including vintage-style surgical holophane pendants, DDR strip lights originally used in Soho, and waterfall crystal chandeliers, which inject a shot of glamour.
Hanging above the reception desk are two stunning Aston lantern pendants with Skinny Rib glazing from Fritz Fryer, a wall-mounted version takes centre stage on the main wait station. Vintage Indian clock boxes, as seen at the other restaurant locations, have been customised and turned into light boxes, nestled amongst glassware and bottles on the gantry and back bar.
“We concepted and sourced all of the decorative lights within the space,” continues Burles. The brief was to create a mid-level, warm light ambience with pools of light and pockets of detailed lighting picking out beautiful design details, vintage pieces and key pieces of furniture. A key part of the brief was to make the tables feel intimate for diners through lighting and of course, to make the food look amazing! Decorative lights also had to add to the overall style of the space, with hints of industrial fixtures marrying with decorative glass, colonial-style fixtures and more organic pieces for a really layered look. All of the decorative lamps were allowed to ‘breathe’ away from architectural spot lighting so that the two weren’t trying to compete.
“As it’s a new-build space, lighting tracks and decorative pendant placement and wall lights had to work around all of the other ‘busy’ activity on the ceiling from H-VAC extraction, H&S cabling, loudspeaker systems, and sprinkler systems to name just a few. But you always manage to work it out somehow… some of our wall lights had to be moved to make way for slightly over-zealous regulatory control panel systems in very visible locations, but so be it… you just have to take a deep breath and know that the overall impact will be good.”
The overall decorative palette of the restaurant creates the perfect backdrop for pops of Kricket’s brand orange-red, which zings out from sections of upholstery. A fiery glimpse of the brand colour can also be caught when the reception wardrobe doors open. Due to the size of the space, some of the walls have been treated in acoustic materials, including a black-ink marbled cork. Alongside this, Run For The Hill’s team of sign-writers have hand-painted custom graphics and lettering throughout the venue to guide customers around the space.
Concluding on the use of lighting throughout, Burles tells darc: “Lighting is everything, not just something nice to have. It can be the make or break that transforms an excellent design into an utterly jaw-dropping design. Great lighting makes everything feel and work so much better. Spaces are zoned as much by the shadows and darkness as they are the lights picking beautiful design details out.
“Diners and drinkers enjoy their evening so much more when the lighting adds to the experience. Good lighting is flattering for guests and staff, it can make the food look amazing on the table and counter. It can highlight a design detail, which costs a decent amount of budget, and the lighting attention can make that part of the design work even harder. Bad lighting can ruin a design and dilute its impact, so we are great believers in the power of lighting.
“We are delighted with the results at Kricket TVC and feel the finished interior design is incredibly close to our original concept. The whole team worked really hard to make sure the design was brought to life really carefully and with loving attention to detail.”
“This is our third project working with Run For The Hills and they have given it the same level of passion as their first,” adds Rik Campbell, Kricket Co-Founder. “It’s also our biggest site yet, so has been more complex and challenging but we have pulled it off together and still managed to really enjoy the process. They just get us and our ambitions and when you add that to the creativity of their design ideas, and their eagle-eye for a good finish, it makes them a really great design partner.”
Hyatt Place, Germany
Making its debut in Frankfurt, Germany, Hyatt Place provide stylish comfort and convenience for business travellers, thanks to warm and welcoming interior design from JOI-Design.
JOI-Design has created the interiors for the newly opened Hyatt Place Frankfurt, the lifestyle brand’s first property in Germany. Balancing the calm of nature with high-tech efficiency, the studio as designed an ‘urban jungle’ concept that uses natural materials and palettes to create a connection between the city and nature. The result is a relaxing yet energising sanctuary from the adjacent Frankfurt airport.
The 312-room new build was conceived to provide stylish comfort and convenience for business travellers constantly on the move through the largest hub in Europe. Part of Gateway Gardens, a recently constructed commercial development located at the former Rhein-Main Airbase, the site is a hive of activity in the daytime, while during the early mornings and evenings, it grows quiet. Creating a warm, welcoming ambience was essential to ensure the silence felt relaxing rather than lonely and, with most guest staying only one night, offer a taste of Frankfurt’s culture. JOI-Design first became involved in this project, early 2015, when Feuring Visionary Hotel Development, a long-standing hotel developer embarked on the construction of the building.
The design firm’s brief was to create a contemporary and European take on the Hyatt Place brand and simply build the best hotel in the select service field in Gateway Gardens. Project leader and JOI-Design Partner, Heinrich Boehm, tells darc: “This project offered the best conditions to allow for a smooth workflow. All stakeholders operated on a highly professional basis, having excellent experience in the hotel business. As such, the implementation of our client’s wishes and needs happened quite quickly… The more challenging part of the brief was to identify and strengthen the core of the Hyatt Place brand, as it has been developed in the US… while at the same time, keeping the brand modern and exciting for the target group of business travellers in Europe. This was a joint effort by all players including the Hyatt design team in Dubai.
“As the work progressed, it turned out that the building part of the budget had been very well managhed and we were therefore able to slightly increase the FF&E budget and spend more on the public areas. This was really helpful, allowing us to increase the quality of the products and improve guest experience.”
JOI-Design found inspiration in the neighbouring parklands that emerged since the US Air Force planted trees at the base decades ago. Reflecting guests’ desire for wellness and natural connections, the greenery of the outdoors has become an appealing interior focus. Round, framed patches of moss hung on the lobby walls bring a sense of freshness and suggest the nearby woodland topography as seen from the air.
Open-structured room dividers in the public areas introduce degrees of intimacy while still allowing guests to feel connected with their surroundings. The first can be seen in the lobby, with ropes strung between full-height circular frames and a suspended track that projects light onto the ceiling. The lattice design has also been used as art behind the reception desk, both to reference the airport’s vast network of flights and to inject a creative energy that uplifts the relaxed, inviting vibe. The criss-cross pattern is additionally echoed in the illuminated circular ceiling structure above a double sided ‘island’, which fucntions on one half as a reception and on the other as a bar for the lounge. On the reception side, assorted green, grey and white pendant lights from the Brokis Shadow range hang from the frame and over the bar, cowbell-shaped clear glass lights from the Brokis Mona range are suspended from sturdy leather straps.
“As the main public guest functions take place in the open lobby space, which covers around 1,000sqm, lighting plays a significant role in highlighting the distinctive layout and in continuously highlighting the relevant areas throughout the day,” says Boehm.
“The lighting design follows the overall design concept, which is influenced by three major factors: the strong connection to the adjacent park with mature tree stock in the heart of Gateway Gardens; the geometric symbolism of Hyatt Place as part of the brand’s identity; and the local reference to Frankfurt and the Rhein Main area, combined with the global network passing through Frankfurt International Airport.
“The main goal of decorative lighting in the hotel welcome area with the reception and bar is to introduce and support the individual design concept for arriving guests. In terms of architectural lighting, in this case, it works to provide discreet and understated illumination, while the decorative lighting features are the focal points throughout the hotel.
“One of the major lighting features is a group of large suspended steel rings equipped with uplights, of which the largest is 8.5m in diameter. These huge parts required extra care in terms of planning and installation.
“Proceeding further throughout public spaces, lighting features were chosen to meet the needs of a flexible and multi-functional space and allow guests to dine, work and relax. In the rooms and bathrooms, lighting creates a comfortable living atmosphere and sense of well-being.”
As this property is the country’s first Hyatt Place, JOI-Design was given the task of originating a bedroom concept relevant for the German marketplace and typical guest profile. In a scenario where travellers usually stay for only one night, suitcases are rarely unpacked. The studio realised the conventional closet could be eliminated to free up floor space. Instead, a minimalist set-up with a luggage rack and golden pipes for hanging clothes creates an open, airy and urban feel. The typical massive writing desk has been replaced by a round, multifunctional table suitable for working or eating and the buly sofar has been swapped for a streamlined chaise longue where travellers can recline. JOI-Design’s philosophy when developing hospitality concepts is to embed subtle cultural references through interior details that together, add up to an impression of the locale.
“What you cannot achieve with furniture or any other design features can be delivered through lighting,” concludes Boehm. “It creates a dynamic change of atmosphere throughout the day.
Miss Wong, Canada
Ménard Dworkind Architecture and Design creates a striking interior for the Miss Wong Chinatown themed restuarant and bar in Laval, Canada.
In Eastern Canada, close to Montréal, the city of Laval is host to the extravagant Miss Wong restaurant and bar. Named after the infamous Chinese-American actress from the 1920s-30s, Miss Anna May Wong, the charming restaurant appears to be more reminiscent of a 1980s San Franciscan Chinatown.
Serving a Chinese, Thai, Vietnamese, Japanese and Cambodian inspired menu, the modern-fusion kitchen is run by Vietnamese-Montréal chef Phong Thach. Co-owner Dan Pham runs the restaurant/bar in partnership with Foodtastic restaurant group, which is mostly known for its Canadian chains.
The dazzling interior design of bright neons, exotic Asian fan and paper lantern lights, red and jade décor and chic dining accessories was completed by Ménard Dworkind Architecture and Design (MRDK), a Montréal-based firm that specialises in commercial interiors, residential architecture and interior design. For the Miss Wong project, the team at MRDK brought in lighting design firm D’Armes and manufacturer Le Lampiste de Beloeil to create bespoke lighting fixtures to complete the cinematic effect. Dave Dworkind, of MRDK, explains the firm’s approach to the aesthetics of the space and the brief they had to work with: “The initial idea was to make a restaurant/bar with an American Chinatown feel.
The project took three months for design and drawings and six months for construction. Firstly, it’s a 10,000sqft space with a 500-person capacity, so we needed to create different zone levels to make it more comfortable. The client wanted to be able to accommodate groups in more private spots, groups around the action of the bar, and plenty of two-seaters to be able to modulate the space.
“The lighting always plays an important role in all of our projects,” says Dworkind. “We always custom design all of our lamps to give more personality to projects. In the case of Miss Wong, we opted for a low lighting approach where most of the lamps start from the ground or from the tables. That way, we were able to practically make the 22ft-high ceiling disappear.”
Le Lampiste de Beloeil created MRDK’s custom-designed tabletop lamps with laser-cut calligraphy details of Chinese lettering across the shades. Robert-Etienne Cases, from Lampiste, described some of the challenges they faced when creating these custom lamps: “The long 84-inch table fixtures had Chinese lettering cut into them with a laser, but the smallest calligraphy lettering was impossible to do with a standard laser machine. To resolve this, we had to find a new supplier with specialist fine tips that were able to achieve the desired effect.”
To complete the overall look of the lamps, Le Lampiste used Philips LEDs and drivers. In addition to the tabletop lamps from Le Lampiste, MRDK also brought in three RA suspension lamps from D’Armes, a selection of red Chinese lanterns and neon signs. All fixtures are set to 2700K to bring warmth to the space and the named ‘red zone’ is filled with the 88 Chinese red lanterns, creating a dramatic and Hollywood-feel effect in the room.
The glass-top tables glow with the reflections of customised neon pendants designed by D’Armes, a Canadian lighting design studio. The young design firm takes inspiration from the New-Wave movement and the visual universe of science-fiction films from the 1980s, which are both an evident influence in the Miss Wong project.
Ronan Le Bourg, of D’Armes, described the firm’s involvement with the project: “MRDK’s projects are audacious and creative and I think that’s what clicked between us. A big part of the Miss Wong lighting universe revolves around neon signs and Chinese lanterns. Placing three of our RA pendant fixtures as central elements of the restaurant was both an extension and counterpart of this story – a way to use neon as a warm gathering light above the table. We appropriated a material that used to be associated with writing and signs.”
D’Armes takes a green approach to lighting design, so the idea to use neon was not only an aesthetic choice but also a conscious environmental option for the design team. “We wanted the three RA pendants to be key lighting fixtures. They are cold cathode neon fixtures made out of hand-bent glass tubes, brass and painted steel (instead of aluminium to add extra weight on the silicone cables). The mix of gas and minerals inside the neon tube is uncommon and gave a warm light of 2800K-1800 lumens, with variable intensity,” explained Le Bourg.
“The volume of the place was spectacular. We had to technically adapt our fixtures without altering their appearance. The decorative lights on this project are the storyteller of the Miss Wong. Our fixtures are extensions of this story. They are the bridge allowing people to enter the Miss Wong universe by creating proximity with their warmth and positioning,” he added.
The key aim for the MRDK team was to treat the project in a “theatrical way and make it really conceptual,” explained Dworkind. “We wanted to create a whole experience for the user, as if they were stepping inside a real Chinatown.”
Grand Millennium Hotel, Dubai
Nexo Luce creates a stunning bespoke lighting scheme for Dubai’s Grand Millenium Hotel.
The Grand Millennium Hotel is a five star, 251 room hotel in Dubai, UAE – a new development by RTS Investments, with HLG involved as the main contractor.
Having recently opened its doors, the hotel is set to become another iconic hospitality project contributing to the vibrant landscape of the Business Bay district of Dubai. High-end Italian lighting brand Nexo Luce was responsible for the large-scale bespoke lighting creations at the hotel.
One of many projects the company has worked on in the region, the client’s expectation for Grand Millennium was to set a new standard for luxury in the continuously growing Business Bay area. The team opted to do so by bringing the sophistication of Italian design and made-to-measure craftsmanship.
Working in close collaboration with local interior designers from DIAR Consult, the Nexo Luce team was strongly inspired by the desert colour palette and curved shapes for the lighting pieces. The atmospheric ambient lighting schemes, in warm amber and copper tones complement the sleek, stylish public and private spaces of the property.
As guests enter, they are greated by the most impressive light feature in the hotel. From the top of the nearly eighteen-metre high ceiling, a fourteen-metre Murano glass chandelier spans three floors of the main lobby.
Composed of seven structured cage clusters, made of steel wires and covered by a total of 140 individually crafted amber glass leaves, the shape of the leaves is realised in four types. Venetian craftsmen had the challenging task to create every glass leaf by hand while following a strict design pattern, ensuring the leaves for each type were the same.
Lobby lounge lighting includes Nexo Luce designed slimline pendants that make use of polished chrome and glass cylinders in rich gold, which are suspended around a central sphere. Bespoke lighting continues throughout the public areas, including the bar area, which is adorned with rectangular ceiling mounted lights in stainless steel, and covered in fine Italian fabrics in ivory shades; while the lift corridors are enhanced by wave-shaped complex chandeliers composed of amber frosted and clear glass, with the use of infused golden glitter.
For the hotel’s ballroom Nexo Luce created a lighting sculpture, another jewel in the collection for guests to enjoy when visiting the venue. Hues of white and warm colours of the space are juxtaposed by the cool tones of 27 hand-curved chandeliers filling the coffered ceiling of the three interconnected ballroom halls, which gives it a neutral backdrop for various event types.
The modernised design of the chandeliers combines the elements of both classic and contemporary styles. Each of the chandeliers is constructed of clear glass tubes assembled in one by a round-shaped mirrored frame, which creates a light refraction effect. Nexo Luce envisioned a modern-day lighting centrepiece that would create the same sense of luxury and grandeur that the ballroom deserves.
Once guests make their way up to their room or suite, they find a spacious and relaxing space that makes use of custom made decorative illuminations, bedside lamps and spotlights, all designed to create a stunning ambiance.
“Nexo Luce turned out to be one of the best decisions made by the Bay Views Hotel project team with regards to lighting,” says Ahmad Sabra, RTS Projects Director and Owner Representative and Chief Architect of the project.
“The quality of the products, the design and the techniques of engineering made a great impact on the overall project design and its final look. Another added value was the ability of the Nexo Luce team to respond to our needs quickly and efficiently at all times due to their presence and diverse experience in Dubai and the Middle East.”
Artemide - Come Together
Come Together from Artemide is shaped like an instrument capable of accompanying someone through space. The body is a transparent optical device with gradients to carry and distribute light: it works as an 'empty' light pipe for lightness and optical intelligence. Come Together provides eight hours of operation without mains power.
Lina Stores, UK
The iconic Italian deli, Lina Stores, in London has a newly opened restaurant and bar with interior design completed by Red Deer.
The original Lina Stores delicatessen opened in London in 1944, and delivered a strong mid-century Art Deco aesthetic that Red Deer architectural practice wanted to use as inspiration for the opening of neighbouring store – 51 Greek Street, Soho. London-based architectural firm Red Deer was brought on board by The White Rabbit Fund to be responsible for designing the interior scheme for the bar and restaurant. Working collaboratively alongside the owners of the Lina Stores, the team conceived a contemporary dining experience, which connects a ground floor open kitchen bar with a downstairs restaurant.
Taking inspiration from the original Lina Stores, Art Deco cafes and bistros of Europe, Red Deer has sensitively reimagined many recognisable stylistic elements and materials of the pistachio-green and white Brewer Street namesake, to create an evocative and authentic design for the new restaurant and bar.
Architect Lionel Real de Azúa recounted the initial approach: “We didn’t want to duplicate the design of the original Lina Stores, opened in 1944, in the restaurant. We looked for visual cues at the original deli that we could bring over to 51 Greek Street. The strong branding and design of the original and iconic deli, as well as its friendly, welcoming environment also needed to be present in the restaurant. We wanted our design to be true to the values and aesthetic of the deli, but at the same time innovative and contemporary and I think we achieved that by adding a fresh modern twist.”
Inside, the restaurant has varying levels and heights throughout the dining and bar areas, including high counter seating. When first entering, the dining space has a risen twelve-seat diner characterised by a sleek Formica bar with fluted aluminium detailing, concrete bar top and pale green leather bar stools. The internal walls and ceiling have remained untouched to add a contrast to the modern additions.
Red Deer enhanced the rawness of the original building by exposing brickwork, piping and ventilation systems. The studio also used a highly texturised plaster mix containing leftover coffee beans from the original Lina Stores Deli.
“As a practice, re-use is of great importance to us. For the design of Lina Stores, 51 Greek Street, we reclaimed where we could and played with the innovative repurposing of materials,” explained Real de Azúa.
The different materials and textures used play an important role in this interior design and are utilised to differentiate between different zones. The flooring is a mix of traditional green and white terrazzo and the dining furniture is a combination of bespoke Carrara marble and aluminium tables, paired with reclaimed Formica dining chairs and fixed tiled green banquettes with leather seat pads.
Architect Gianna Pagliarulo described the furnishings: “We designed the tables with the help of graphic designers EverythingInBetween. We originally wanted a graphic inlay on the tables and they came up with the idea to use the Lina logo on the four corners.
“The client, White Rabbit Fund, was really involved in the project from start to finish, even requesting a romantic seat in the corner,” she added. “We wanted to bring continental touches to the façade and it was non-negotiable that there would be a mosaic floor to greet the guests. Not many Soho façades are tiled, so this was key to this continental design. We even had in an input on the music selection!”
Lighting was a major detail in the design plans for the interior scheme and had to carry through the Art Deco and reclamation theme throughout the premises. Decorative lighting played a key part in adding softness and warmth to balance out the concrete bar top, marble, tile, aluminium materials and cool pastel green colour palettes.
Real de Azúa explained the choices of lighting fixtures used in the design to darc: “We chose outdoor wall mounted globe lights for the exterior of the restaurant from Peter Reid Lighting, and similar reclaimed globe pendants to hang across the open plan kitchen counter inside. These created spotlights of soft warm diffused lights and are very reminiscent of those used in the mid-century Art Deco cafes and bistros of Italy. We also used reclaimed reeded pillar wall lights in the rear part of the kitchen to highlight and accent the area. Again, a very Art Deco mid-century style, the fluted glass complimented the fluted glass we used in the exterior windows and interior staircase.
“Downstairs in the main restaurant we used a mixture of further reclaimed decorative lighting; mini globe wall lights and almost space-age looking flush ceiling aluminium and glass lights. In the bar area we again used reclaimed reeded pillar wall lights to really differentiate this area. The cavernous structure of the basement restaurant has an intimate feel and we wanted to the use the lighting to emphasise that and not be too bright or clinical. We fitted dimmers to all of the lighting across the restaurant so they can be adjusted for more moodier lighting in the evening.”
Similar to the external globe lights, more globes were hung over the counter across the open plan kitchen, which echo the original designs of the older Lina Stores. To celebrate the heart of the restaurant, accent reeded Art Deco glass pillar lights were added to the rear of the kitchen. The high polished aluminium and glass created a sparkling contrast to the raw textures of the walls and industrial kitchen aesthetic. A unique feature of the basement dining area is a low, curved ceiling. This proved difficult to hang pendants from, so the the team at Red Deer focused on ambient lighting surrounding the diners.
“We didn’t want to hang pendants that would distract, disrupt and clutter the natural intimate feel of the space,” said Real de Azúa. “We wanted to make the tiled banquette seating a focal point and pendant lights would have distracted from this. Instead we used Mullan Lighting’s Yaounde double globe wall lights, placed vertically rather than horizontally for a more contemporary look. We used polished aluminium and opaque glass flush ceiling lights across the arched ceiling along with some spotlights.
“Downstairs, we incorporated a traditional rich timber aperitif and cocktail bar that feels both classically Italian and Soho-esque. Here we used the same reeded glass pillar lights as we used in the ground floor open kitchen bar.”
Continuing with the theme, the designers also added a reclaimed character to the bathrooms. Old Art Deco ship wall lights with ribbed glass were placed either side of a brass Art Deco mirror, and hidden strip lighting was used to illuminate the basins.
“The main challenge was creating a restaurant very much inspired by the Lina Stores deli, but that didn’t eclipse it – we needed to compliment the original deli and create a concept that worked alongside it, especially as both sites are in walking distance of each other in Soho,” reflected Real de Azúa.
Hox Haus, UK
Architecture and interior design firm, 74, renovates former Victorian gymnasium into the new Hox Park student campus.
Manchester-based architecture and interior design practice 74 has completed a major project to extend and remodel a Grade II-listed, two-storey, Victorian brick building in a semi-rural location in Englefield Green, just outside Egham. Dating back to the 1890s and originally home to a gymnasium for the Indian Engineering College, which occupied the site between 1890 and 1905, the building has, over the years, adopted and lost various extensions and before the recent refurbishment, had laid dormant for fifteen years.
The repurposed 453sqm building – Hox Haus – will serve as the central focus, clubhouse and social amenity for Hox Park student campus, newly-created by developers Moorfield Group for students attending Royal Holloway, University of London. Located within a larger, 67-acre mixed-use site, owned by Royalton Group, the Hox Park campus is one aspect of an overall masterplan for the site that also includes affordable and luxury housing, as well as an Audley Senior Living village.
The vision for Hox Haus was to encompass a number of important practical, social and unifying functions for its student users, serving as a welcome point and gatehouse; parcel pick-up area; workspace for single study or group study and a downtime amenity with TV and games lounges, offering video-gaming booths, pool and table football. The building will also serve as the campus hospitality hang-out and has been flexibly designed for easy reconfiguration as a special event space, with moveable furniture and built-in bar points able to house pop-up catering.
Architecturally, Hox Haus is a stylish, eye-catching and dynamic two-storey building that seeks to blend its original Victorian brickwork with two new glazed light box interventions, creating a light-filled and largely transparent overall space that brings the outside in, references the building’s semi-rural location and offers a warm, comfortable and relaxing home-from-home for students. The two new interventions constitute a double-height, 44sqm gatehouse to the building’s east elevation and a 35sqm, covered terrace section on the first-storey, offering views over the whole campus. The terrace extension sits behind the parapet of an existing ground-floor extension, making it subservient to the host building.
Royalton Group initially invited 74 to produce a site analysis exploring the building’s further development potential, before private equity real estate fund manager Moorfield Group went on to commission the design studio to develop an integrated vision.
“The brief for Hox Haus evolved gradually from the outset,” David Holt, Founder and Director of 74 explained. “Whilst we were initially brought in to look at the interiors of the student accommodation – a speciality of the practice – we were then engaged to explore the potential of this unloved building and, by determining the need for an appropriate amenities provision for the student body, were able to rescue it from decay and provide a much needed focal point for this large-scale, semi-rural student accommodation development.”
The heritage of the building was a key driver for the interior approach and, unlike many architectural projects, the interior was in fact the key driver overall, so that the architecture is subservient to both the existing host building and the functions within. The overriding concept was to create a space that felt like a country retreat or clubhouse-with-a-twist. The new gatehouse provides a sense of arrival, whilst offering a separation between the functions of ‘reception’ and the need for a comfortable student social space monitored, but not overlooked, by staff. While certain areas have key functions, such as the two group study areas or the TV and gaming lounges, others are multi-functional, for students to make use of as they wish.
The central zones are more obviously social, whilst quieter areas can be found along the edges of the two-storey space and within the first floor extension directly above the welcome area. Another major design driver was the building’s rural aspect and the design therefore strives to make the most of views over the historic surrounding countryside, as well as bringing the outside in via natural references and creating a rich, textured and high-quality feel with a materials palette that includes marble-effect Hanex solid surfacing and brass detailing. Upholstery fabrics include textiles that nod to British rural tradition, such as checks and tweeds, whilst colours span a whole nature-inspired autumn-to-winter palette and feature greys, browns, rusts and moss greens, with bursts of berry brights and large-scale, nature-inspired print wallpaper on opposing feature walls at the ends of the ground floor.
Lighting throughout, is supplied by Enigma Lighting and is used to create pockets of atmosphere. While decorative lighting is the main focus, subtle architectural up and downlighters are set within the ceiling and show off the structure of the brickwork.
Rachel Whitey, Associate Director at 74 outlines the role decorative lighting played in the scheme: “Decorative lighting was absolutely essential to its success, both in terms of how it is viewed externally and how it felt internally. Part of the client’s brief was the clear desire for a hospitality-style environment and for it to not feel like a typical commercial office or education facility.
“Key lighting considerations were to ensure the desired lighting levels were achieved for studying within the space, without creating a blanket light over the entire area. The balance was about creating pockets of useable, focused light for study, while also creating a hospitality feel that is both intimate and homely. We managed to coordinate with the M&E consultant to ensure they got the base levels correct and understood the brief. The lighting positions were fully co-ordinared with them to ensure when fitted, they worked in sync with the interior layout and facilities.”
Students enter Hox Haus through the fully-glazed, gatehouse and are greeted by staff at the bespoke reception desk, which features three Globe Pearl Drop ceiling lights by Rockett St George hanging above it. Here, the designers chose to keep the lighting minimal so as to not obstruct the clear views and beautiful brick arch elevation that formed the old entrance to the building. Pendants were introduced where it felt necessary to highlight and complement key areas. With that in mind, two pendants also feature in the seating area, chosen specifically because of their black open wire design, which creates a subtle design feature without taking away from the light and airy feel of the space.
Immediately to the left of the entrance arch stands a new machined-metal staircase, which has a dark perforated-metal balustrade and brass handrail. This dark palette is reinforced across the whole interior architectural treatment. Light fittings in the main spaces are arranged on metal-mesh grids suspended around the edge of the ceiling and feature slender brass rods reaching from one end to the other, which house globe pendants on bent arms round its edges and a minimal, geometric chandelier, at its centre. Bar-top lamps and floor lamps complete the varied treatment and help create zonal differentiation. Opposite the staircase is a U-shaped, curved, open-plan bar, which features pendant lights from Belgian lighting brand DARK hanging above it, chosen for their elegant simplicity, shape and marble material, which suits the café counter top.
“Each light fitting was carefully decided on by taking into account the particular location the fitting sits within, its interaction with its surroundings, and how it might complement the other interior design elements within its vicinity,” continues Whitey. “Alongside this, it was important to envision the fittings as a collection that come together to work as a considered whole. An example of this is the ground floor group study rooms, which are visible from reception onwards and divided only by a glazed wall with a crittal-style, glazed square framework. Each study room includes spun-leaf-adorned Orland pendant shades from Di Classe.
The exact location and proportion of the lights within these rooms became crucial as the square grid of the glazing framed certain elements.” Moving up to the first floor, the roof trusses have been left exposed, housing six eye-catching chandeliers at equal spacing. On the brick walls, the DARK light fittings from the ground floor bar are re-introduced as wall fittings to emphasise the joined-up design feel. “By utilising them in a different way, they also highlight a different zone,” says Whitey.
“Mirrors were deliberately placed on opposite walls to reflect the feature lighting and create an extra aspect of depth and lighting within the volume of space. Because this space was designed as an active games and event area, the light fittings chosen were fixed to either the wall or ceiling points to make it simpler to move things around.
“The lighting in this area was designed as a ‘village hall’ and to be non-specific to the floor layout. It doesn’t overly highlight specific zones like other areas, such as the ground floor, thus giving the operators the ultimate flexibility while maintaining the same ambient feature lighting.”
Aside from the main area, the first floor houses a series of specific-use areas, such as a TV lounge and games room, featuring button-back sofas, antiqued mirroring on the walls and a series of inset panels directly above and punctured by flower-shaped wall lights, bespoke-designed by 74 and made to order by Mullan Lighting. The first floor gatehouse extension features a central work island, with three pendant lights by Decode hanging directly above to create an intimate and focused meeting setting, supplemented by background and surface tubular spots as a backdrop. Alongside this, brass task lights were used for the booth tables and chosen to provide focus lighting for study, while also creating a modern ‘nod’ to the classic banker’s table lamp.
As with any project, Hox Haus came with its challenges, mainly relating to constraints of the existing building as Whitey explains: “The introduction of lighting fixtures to exposed brickwork walls and exposed structural trusses with no existing power infrastructure was definitely an issue. Without being detrimental to these existing elements, we had to consider carefully how we positioned the feature lighting elements. “For example, on the first floor, the beautiful timber trusses have been left exposed and the six chandeliers highlight the volume of the ceiling, creating drama. By working with the M&E team, we proposed to fix a minimal square trunking to the underside of the beams, into which all the wiring could be housed. We then painted this the same colour as the open roof and beams so that it blended into the existing structure. This meant that the power infrastructure was available to the drop pendants where desired but with no exposed wiring runs, so the trusses could be kept as clear as possible.
Any wall lighting additions to the brick walls were added via black conduit, which provides contrast but also suited the overall look and feel of the scheme.” For Whitey, looking back at the original concept visuals and then seeing the finished project, her initial impression is that the 74 team delivered exactly what they had promised and realised the concept and aspirations of the client in doing so.
“It was such a unique building with a rich history,” she says. “Using this as the basis to build our design from was quite different to other projects we’ve worked on. After various additions over the years, we wanted to strip the building back to where it started in its original form, then build it up again sensitively into a modern, functioning space. We had to really consider any interventions and look at how we could retain the beauty of the existing structure while also enhancing it.”
Sadie Malim, Head of Special Projects and Legal at Moorfield Group, commented on the project: “74 excelled themselves on the design work for Hox Haus. The combination of their devoted attention to detail and design flair resulted in a scheme that sets the new standard for student accommodation in the UK. They understood easily what we were trying to achieve and were able to deliver a knock-out scheme, which encompasses necessary practical considerations, but also delivers the wow factor.”
Fabbian - Olympic F45
Olympic F45 is a self-contained light ring with an aerial shape, inspired by the Olympic rings.
It is a collection of round, white, coated aluminium pendants and wall and ceiling lights. The LED light source is located on the outer ring, which is available in different diameters for all versions, creating direct and indirect light diffusion. The pendants can also be intertwined, creating original shapes and compositions, thanks in part to the easy cable length adjustment system.
Brew92, Saudi Arabia
Interior design firm Liqui Design, creates a modern, fresh approach to the Saudi coffee shop experience at Brew92’s flagship store.
British interior design studio, Liqui Design, has recently completed the interior design of flagship coffee shop and roaster Brew92, a Saudi Arabian speciality cafe and roasters. Located in Al Khayyat, Jeddah, Brew92’s impressive flagship space is a testament to Liqui Design’s fresh, imaginative and artisanal approach to design.
Liqui Design has created a number of original coffee shop interiors across the Middle East from Dubai to Abu Dhabi and Jeddah, with the flagship Al Khayyat cafe and roastery its second project for Brew92. Throughout Saudi Arabia, the speciality coffee scene is burgeoning and offers a popular alternative to traditional Arabic coffee (a drink that is prepared and served in accordance with a strict etiquette). While Western coffee chains are popular, there is a growing third wave coffee movement that considers coffee as an artisanal foodstuff – a trend that is especially attributable to millennials. Moreover, speciality coffee shops provide forums for social events, from poetry readings to art exhibits.
With a keen appreciation of Saudi Arabia’s speciality coffee scene, Liqui Design worked with Brew92 to create an environment that appeals to coffee connoisseurs and art and fashion enthusiasts alike. By combining reclaimed wood, green foliage, blue tones and industrial components, Liqui Design achieved a space that embodies the Brew92 brand and ethos.
The Al Khayyat cafe and roastery began as a large, open and bare two-storey building, devoid of character and charm. Liqui Design reimagined the space with the bold, bright and airy look and feel of a modern warehouse. Despite its scale, the cafe and roastery is imbued with warmth and personality.
Commenting on his first meeting with Brew92, Liqui Design Creative Director, Cameron Fry, told darc: “The client is the son of one of the biggest food groups in Saudi Arabia. Educated in New York and the UK and having experienced Western culture, his concept was to bring western speciality coffee to Saudi Arabia.
“We met through the London Coffee Festival, which we designed the brand experience for. He was looking for coffee shop designers and, from seeing our work at the festival, asked us to set up his speciality coffee concept in Saudi.”
Brew92 wanted Liqui Design to create a cosy, yet industrial feel for the flagship store, which was difficult to pull off, given Fry and his team had to fill a 600sqm space – 400 more than the concept store they had worked on previously. But, upon visiting the store post-build, Fry was amazed at how intimate it actually feels despite its size.
On the industrial feel, Fry explained: “They don’t really have old buildings in Saudi like we do in the UK, so we tried to, without it being faux, make the space feel like a coffee shop you would find in London.
“Brew92 required the space to work from day to night and be a place that would attract everyone, whether you’re seventeen-years-old or 60-years-old – a feat already accomplished by Bar92’s branding.”
Doubling up as a roastery, with a magnificent glazed partition separating the artisanal space from the rest of the shop, the design allows people to see exactly how the coffee is roasted and prepared. There is also a large, bespoke island coffee counter and striking spiral staircase that take centre-stage in the space.
In order to adhere with Saudi law, the coffee shop needed to be split into areas for singles and families. This separation is a staple in Saudi culture and the owners wanted to both respect their heritage, yet move forward with modern cultural trends that are beginning to take place in the country. To achieve this, Liqui Design divided the space into a number of smaller seating areas, delineated by natural wood flooring. In addition, private lounge ‘rooms’ for families offer a sense of privacy yet are not completely closed off from the rest of the space; instead they are enclosed within a light industrial mesh.
Liqui Design’s own furniture and lighting designs were used for the project, some of which were specifically created to fit the concept of the store. Manufactured in the UK by Liqui Contracts, the furniture and lighting pieces are made with sustainable materials and combine traditional craftsmanship with modern innovation.
Commenting on the use of light within the space, Fry tells darc: “We tried to use as much decorative lighting as we could in order to accomplish the job of architectural lighting. A lot of the time we had directional spots hidden in the background to make sure that we were lighting all the spaces correctly. We tried to put enough different decorative features in so at night it becomes a lot more atmospheric, which worked really nicely.
“The introduction of our Symbol standard light fixtures in one of the seating areas, worked really well because of the way the light is cast against the wall. They glow in the space rather than providing directional task lighting, which would be a killer.
“By using these fixtures, it gave us more light around the tables without using pendants, which is something you get stuck with sometimes. Same with the bespoke elements, we used our Trafford lights running up the bookcase in conduit and positioned over – looking almost like street lights. This was done to try and give the same downlight effect on the bookcase but with a different medium. We tried to use all the different variants we could whilst still casting enough light.”
In order to reinforce the feeling of being cosy, the design team experimented with the ceiling height, attaching their Work light fixtures to a disc and dropping them to bring the ceiling height down slightly. The same was done with the bar, a metal structure was dropped around the bar to bring the visual height down and Liqui’s Trafford pendants were suspended from that section rather than just dropping them straight from the ceiling.
Lighting was also used to create a discreet, shaded barrier between the different seating areas. The shadow lines between areas have customers almost walking in the shadows towards the lighted seating areas.
“We didn’t want to put tall walls up as we thought it would ruin the flow of the unit and didn’t fit the new cultural direction of the country,” says Fry. “So instead we put up mid-walls with plants in the top so you still have the feeling of scale.
“The clients were fantastic to work with as they had complete trust in us from the beginning, allowing us to make adjustments and play around with the design. State-of-the-art VR technology was given to the contractors working on the site as well, which made the process a lot easier and allowed them to physically see how we wanted the shop to look.
“Having visited the coffee shop since it opened, it is an impressive space – we want people to have a bit of a breathtaking moment when they walk up to the front door,” continues Fry. “It glows from the outside and is definitely attracting attention in the region, with queues around the block on opening night.
“It’s the biggest interior we’ve done to date and we’re so proud of it, it’s definitely been a learning curve for us.”
Fry’s pride is much deserved considering Liqui Design’s efforts in achieving a cosy look and feel in such a large space, while managing to create a social space that balances old and new culture, pushing the boundaries for Saudi’s budding younger generation.
B.lux - System W
The new version of the B.lux System wall lamp has a small base plate and is suitable for lighting headboards. The lamp comes in black, white, red, copper or brass. The lamps are also hinged, with a friction swivel that allows for smoother, balanced motion. The switch is integrated into the shade of the lamp.
2018 SBID winners revealed
(UK) - Winners of the SBID International Design Awards 2018 revealed at dazzling ceremony in The Dorchester hotel in London’s Mayfair.
With more entries than ever before and 225,000 unique public votes; this year’s awards have been one of the most globally represented editions to date, with industry talent from over 42 countries across the globe.
With all fourteen categories assessed by a technical panel, a public vote and a panel of leading industry experts, who look for outstanding examples of technical content and aesthetic creativity, winning projects this year came from the UK, South Africa, China, New Zealand, Canada, China, Dubai and more.
The Overall Winner Award, a category which holds the title as the ‘SBID choice’, was
awarded to Dubai-based practice 4SPACE Design for VR Park Dubai Mall. This title is given to the project that receives the highest score after both the judges’ choices and the public votes have been considered. The VR Park was designed to allow visitors to experience an extreme level of virtual reality.
The client, Emaar Entertainment, wanted to build a new attraction that had never been implemented in Dubai before. The core concept was to experience the futuristic ambience and elements along with a wonderful journey through the virtual reality world. All winners for each category received a bespoke crystal trophy designed by Sans Souci
glass deco.
SBID Founder and CEO, Dr Vanessa Brady OBE said: “Each year the support and volume
of entries surprise and delight us. Now a firmly established event on the international
design calendar, the SBID Awards is one of the most exciting celebrations of design
excellence for the global industry.”
The winners of this year’s SBID International Design Awards are:
CGI & Visualisation
Alena Zhernovaya Interior Design for RiverStone
Club and Bar Design
IHG for Juniper & Kin at QO
Healthcare & Wellness Design
Francis Cauffman for Brooklyn Health Center
Hotel Bedrooms & Suites Design
Artichoke for Mombo
Hotel Public Space Design
Wanda Hotel Design Institute for Wanda Vista Hefei
KBB Design
Celia Visser Design for Contemporary Kitchen |& Bar
Office Design
Paragon Interface for Discovery Place
Public Space Design
Studio MB for Triumph Factory Visitor Experience
Residential Apartment under £1M
Elliot James for Cuscaden One
Residential Design over £1M
Regina Sturrock Design Inc. for Contemporary Manor
Residential House Design under £1M
NEVERMORE for The Irrawady House
Restaurant Design
Goddard Littlefair for The Garden
Retail Design
XYI Design Co. for Latitude Sports Park
Show Flats and Development
HWCD for The Trevista Sales Gallery
Original BTC - Oxford Range
The brand pays homage to its Oxfordshire roots, adding a table, pendant, floor and desk light to the Oxford collection’s two existing wall lights – Oxford 1 & 2. Exploring new directions for its classic bone china lights, Original BTC has doubled the appeal with a duo of touchable quilted shades, hand-cast at the company’s Stoke-on-Trent factory. Perched on a delicate brushed brass stem and base, the upper conical shade features a larger quilting and the conical inner shade, a smaller diamond effect. Emitting a warm, atmospheric glow, the shade comes to life when switched on, as the light interacts with the crisp lines running across the textured surface.
