Words by Harriet Thorpe
London- and Sussex-based Adam Richards Architects, known for historically informed, modern yet romantic structures, has designed a new restaurant barge in Paddington, London, on the Grand Union Canal. The barge has an eye-catching patinated metal roof, inspired by various sources from colourful tarpaulins to James Stirling’s vaporetto-shaped Electa bookshop (1991) in Venice. The design playfully connects the industrial history of the canal with its present role as a place for leisure in the city.
British Land, which owns a majority share of surrounding development Paddington Central, purchased two existing canal boats which were tendered out to restauranteurs; it then decided to purchase an empty mooring and launch a design competition for a new boat, that could fuse local heritage with versatile function for future opportunities. Richards won the competition, and in his characteristic style, the design joyfully combines references from across history, inc
All aboard floating restaurant The Cheese Barge in London
All aboard floating restaurant The Cheese Barge in London
Floating restaurant The Cheese Barge in London’s Paddington champions Mathew Carver’s cheese experimentations in a nautical design by Adam Richards Architects
A floating restaurant has moored up in a London canal, just in time for the restrictions lift on indoor dining. The Cheese Barge is a brand new hospitality offering in a custom, nautical design on a barge by Wallpaper award-winning architecture studio Adam Richards Architects. Situated in a Paddington canal just south of Little Venice, this floating restaurant, was commissioned by British Land and occupied by World Cheese Awards judge Mathew Carver as a venue to champion cheese in all its forms.
Perth suburb Stirling pressured to change name because it honours someone no different to Hitler dailymail.co.uk - get the latest breaking news, showbiz & celebrity photos, sport news & rumours, viral videos and top stories from dailymail.co.uk Daily Mail and Mail on Sunday newspapers.
Florian Heilmeyer in his piece for Metropolis discusses the ambitious exhibition that was able to look simultaneously at both sides of the city at that time.