The architect said about the design: “We put most of our effort to make our work invisible at first sight. Our interior should be a background allowing enjoy good wine and meal here and now.”

The first step in the renovation was removing any superfluous building elements so that only the original 19th century structure remained. Bottle-shaped shutters were added that pivot open to reveal the stripped back interior that has been modestly furnished with design classics and simple, elegant fittings. Wine bottles are stacked high in a steel rod framework that creates simple geometric patterns on the walls. Dimly lit, bare light bulbs create an intimate atmosphere where the original intention of the space is allowed to quietly reveal itself.

Photography by AI Photography.

The interior takes its cue from the restaurant’s temporary nature and uses simple building materials like wood in its crude form for both walls and floors, while playing with the positioning of windows and capitalising on the view it gets over the area. The restaurant will stay open for a total of two years before the entire structure is dismantled and removed, leaving the site practically untouched.

(Images via Wallpaper)

The large space has excellent natural lighting, thanks to the large windows and the shell is largely left bare, exposing a patchy ceiling and the conduits that run along it. The RHC has three main sections – the white-tiled bar; the casual dining area with large tables for drop in diners; and a private, bookable dining area comfortably furnished with leather chairs and banquettes.

The dining area has been furnished with a massive communal dining table of scaffoling and timber, surrounded by old theatre seats have been shipped from California. Smaller tables with sturdy, ex-snooker table legs line the large windowed facade. The main dining area is divided into sections with a steel shelving unit that puts a collection of eccentric bits and pieces on display.

Reclaimed front doors, complete with mail slots that have been polished and glazed, and now function as cabinets seperating the private dining room from the rest of the restaurant. The private dining area is actually an old English stable that has been taken apart and reassembled in the restaurant; hinting at the equestrian theme of the name that was taken from its location on Riding House Street. The space uses the same tables as in the rest of the restaurant, but here they are surrounded by plush, upholstered chairs and banquets for indulgent private dining.

(Images via Flodeau)

The light, vaulted ceiling creates a feeling of space in the cosy bar that has been well worn in. The interior is furnished with comfortable banquettes mixed with vintage industrial pieces and unusual fittings.

Framed architectural blue prints and lamps that look like they belong on drawing boards line the walls. This theme is carried through into the branding: the bar’s logo features a classing drawing of a draughtsman’s compass.

(Images via The Scout)

The factory shell has been left untouched save for minor cosmetic alterations such as fresh paint in subdued grays and dull, industrial greens and reds and fresh coat of screed on the floor. The custom built bar takes centre stage and continues the nostalgic feel with white tiles and copper top.  The vast majority of furnishings are salvaged with origins both industrial and otherwise. The vintage posters add a nice finishing touch to this bricolage vintage pieces.

Salvaged sleepers form steps into the old factory.

The large bar top is constructed of sleepers similar to those used for the steps, but covered with copper.

The machinery overhead are remnants of the original factory.

Salvaged desk lamps line the walls and illuminate the vintage posters.

The interior evokes a strong sense of both the building and city’s past.

(images via yatzer)

The sculptural ply lattice theme is carried through to the furniture: coffee tables are made of plywood grids with glass tops.

Bare light bulbs dangle nonchalantly above the space, completing the effortlessly cool interior.

(Images via Dezeen)

RGB is by Frencesco Rugi and Silvia Quintanilla, an artist/designer pair from Milan operating under the moniker Carnovsky. For the London installation they explored the concept of “Jungle”, creating intricate, overlapping graphics depicting a dense forest. Each primary colour layer represents a layer of the jungle: green light reveals the foliage of the jungle, red light unveils the animal kingdom, bar the monkeys, which are playfully revealed under blue light.

Since the space is actually composed of two smaller spaces, previously the shops ‘Dream Bags’ and ‘Jaguar Shoes’, the designers decided to treat one space as day (images above)  and the other as night (images below).

(Images via Dezeen)

The illustrated aesthetic was complimented by a simple trestle table that served as the bar and a minimalist chandelier made of wood.

Its cardboard shell hovered dado height above the floor, partially revealing activity within.

(Images via Dezeen)