The G1 Group Completes the Corinthian Club in Glasgow

Tellers Bar & Brasserie, The CorinthianFollowing an eight-year refurbishment, the G1 Group has announced completion of The Corinithian Club, the Glasgow Ship Bank building's latest reincarnation since its inception in 1884. Work on the four-story special-event venue, once the city's high court, incorporated its history with its modern function, housing bars, restaurants and a casino.

Designed by Graven Images, the space, measuring 43,056 square feet, saw extensive revision, including reconstruction of the Roman Doric pilastrade and the restoration of the elaborate cornicing, superb sculptural plasterwork, free-standing classical figures and extensive gold-leaf work.

The Bootleg bar, once the banking hall, now features a bar composed of old safes over a mosaic floor by Scottish artist Nichol Wheatley, created from more than half a million tiles with a design based on Scottish banknotes. Chairs and tables by Graham and Green, Pols Potten and One World dot the space.

Underneath a 25-feet high glass dome, the Tellers Bar & Brasserie features original French porter chairs, padded banquettes upholstered in purple, and zinc tables. Two bars include one finished in cut-glass mirror tiles and topped with crackle-glazed lava stone, while the other's upholstered-looking front belies its concrete-cased padded leather.

Throughout the space, customized curvy booths in white Corian by surface specialist Rearo accompany Graven Images' bespoke tables, featuring zinc bases and white Corian tabletops, and oversized standard lamps, and classic wooden Cherner Chairs, originally designed by Norman Cherner in the 50s, since reissued.

Other salutes to the building's history include reproductions of the chandeliers used originally in the bank, made by the same Bristol company; contemporary touches include the addition of a cut-glass mirror-tile ceiling, to the Boutique bar, lit by art deco chandeliers by Du Bote Du Mode. Now visible from the street by placing by the windows cut-glass mirrors, with a pattern loosely based on some of the building’s original decorative features, after being hidden from public view behind false walls and ceilings, beginning in 1929.

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