2

SPACE

SPACE

series

designzens

introduction
This issue of Space focuses on all kinds of restaurants from different parts of the world. The restaurants are a visual treat so that we enjoy a riot of colours; an exciting balance of light and dark or pools of glowing soft lights; and sleek or tactile nishes. We can just imagine the excited crowds, or intimate patrons, that these restaurants attract, and the heady aromas that waft! After going through these designs, you will notice a common thread. Designers the world over are showing a greater concern for the environment. The modern ethic is to salvage and re-use. Discarded (and sometimes even lowly) objects such as Y sockets nd a new lease of life as chandeliers. Its not the collection of designer objects that ensures success but rather how the designer carefully brings diverse elements together. Designers are forever asked what inspires them. The answer to that is just about everything - movies, books, painting, periods of time in history, location! What is unusual this year is that in Hong Kong/ China, at least three projects were inspired by the humble egg. Also in this issue, we have low-budget eateries with a very dedicated clientele the school canteen. These are simple but challenging for requiring good space planning and multiple usage. We have a number of award-winning restaurants but occasionally, at the other end of the scale, designers just want to have fun. How else can you explain the statue of a pig that revolves every hour in the middle of a restaurant? Patrons love it! So, go ahead and enjoy! Bon appetit!!

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contents...
introduction
BATES SMART

3 8 20 26 32 40 44 52 62 68 76 84 92 100 106 110 114

maze by gordon ramsay CROWN METROPOL, MELBOURNE, VIcTORIA, AUSTRALIA bob san CHIcAGO, ILLINOIS, U.S.A.

JORDAN MOZER AND ASSOCIATES, LTD. FANTASTIC DESIGN WORKS CO. FANTASTIC DESIGN WORKS CO. FANTASTIC DESIGN WORKS CO. PUCCINI GROUp

alice in mirror land UmEDA, OSAKA, JAPAN alice in picture book SHINjYUKU, TOKYO, JAPAN le porc de versailles KINSHIcYO, TOKYO, JAPAN

livingston ATLANTA, GEORGIA, U.S.A. r2l PHILADELPHIA,

PENNSYLvANIA, U.S.A.

CCS ARCHITECTURE CCS ARCHITECTURE

the plant: caf organic SAN FRANcIScO, CALIfORNIA, U.S.A. trader vics ScOTTSDALE, ARIZONA, U.S.A.

AllEN+PHIlp ARCHITECTS/INTERIORS CCS ARCHITECTURE

mid-atlantic PHILADELPHIA, PENNSYLvANIA, U.S.A. prado PARADISE VALLEY, ARIZONA, U.S.A. canal ScOTTSDALE, ARIZONA, U.S.A.

AllEN+PHIlp ARCHITECTS/INTERIORS AllEN+PHIlp ARCHITECTS/INTERIORS FANTASTIC DESIGN WORKS CO. CRME

so YOKOHAmA, KANAGAWA, JAPAN

macondo NEW YORK, U.S.A. cenario LISBON, PORTUGAL

ACARQUITECTOS JHP DESIGN

paris baguette SEOUL, SOUTH KOREA

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...contents
FANTASTIC DESIGN WORKS CO. JOI-DESIGN

scottish glamour GINZA, TOKYO, JAPAN

118 122 126 130 134 138 142 146 152 156 160 166 170 174 178 184 188 194

MOHEN DESIGN INTERNATIONAl

danbo fun fast food SHANGHAI, CHINA kaffeine FITZROvIA, LONDON, U.K.

202 208 212 224 228 234 240 242 244 246 248 250 252 254 256 258 268 270
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redox UNTERScHLEISSHEIm, BAvARIA, GERmANY prince grill XIAN, CHINA

WILLIAM TOZER ARCHITECTURE & DESIGN MAURICE MENTjENS DESIGN VONSUNG SHH SHH

SUNAQUA CONCEpTS LTD. SHAUN CLARKSON

frans hals museumcaf HAARLEm, THE NETHERLANDS

odettes LONDON, U.K. hannahs family bistro LAS VEGAS, NEvADA, U.S.A. park terrace LONDON, U.K. danbo fun SHANGHAI, CHINA

viet hoa cafe LONDON, U.K.

WESTAR ARCHITECTS

applemore college canteen SOUTHAmPTON, U.K. cherbourg primary school dining room SOUTHAmPTON, U.K. commune cafe VANcOUvER, BRITISH COLUmBIA, CANADA lantana FITZROvIA, LONDON, U.K.

WIlSDON DESIGN ASSOCIATES

MOHEN DESIGN INTERNATIONAl BUCKlEY GRAY YEOMAN CCS ARCHITECTURE 4N ARCHITECTS

EvOKE INTERNATIONAl DESIGN INC.

nandos SPINNINGfIELDS, MANcHESTER, U.K.

WILLIAM TOZER ARCHITECTURE & DESIGN CAMbRIDGE SEvEN ASSOCIATES, INC.

barbacco eno trattoria SAN FRANcIScO, CALIfORNIA, U.S.A.

clink BOSTON, MASSAcHUSETTS, U.S.A. copper bleu MINNEAPOLIS, MINNESOTA, U.S.A.

aok HONG KONG, CHINA susuru BERLIN, GERmANY

JORDAN MOZER AND ASSOCIATES, LTD. SMOlENICKY & PARTNER ARCHITEKTUR FANTASTIC DESIGN WORKS CO. SJB INTERIORS

ESTER BRUZKUS ARCHITECTS MUT-ARCHITECTURE OUTlINE

strozzi piu ZURIcH, SWITZERLAND

restaurant 51 PARIS, FRANcE

maruha shokudo NAGOYA, AIcHI, JAPAN

bangalore express city LONDON, U.K. cargo pizza & bar TASmANIA, AUSTRALIA

sepia SYDNEY, NEW SOUTH WALES, AUSTRALIA parkside SHANGHAI, CHINA empire ONTARIO, CANADA

PAUl KEllY DESIGN SHH

MOHEN DESIGN INTERNATIONAl

teaspoon ST PETERSBURG, RUSSIA liquid NEW JERSEY, U.S.A.

HIRSCHbERG DESIGN GROUp INC. MARCEl WANDERS STUDIO

WESTAR ARCHITECTS PlANET 3 STUDIOS

blits ROTTERDAm, THE NETHERLANDS

mochamojo BANDRA, MUmBAI, INDIA sakea BUSAN, SOUTH KOREA

index by designer index by location

STUDIO GAIA, INC.

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BATES SMART

maze by gordon ramsay

CROWN METROPOL, MELBOURNE, VIcTORIA, AUSTRALIA 1 345m2

maze occupies a sculptural, architectural space outside the main tower where its inside/outside quality is amplied in the interior.

As the name evokes, mazes interior is crafted as a journey of intrigue and discovery. It is an evocative landscape where a variety of dining experiences are revealed and unfolded to the visitor. Bates Smart set about to create an active and captivating sequence of spaces that constantly morph thereby offering patrons diverse experiences within one venue. On entry, there is a choice of spaces.

The coffee/pastry station has a communal high table and an adjacent long bar with crafted charcoal, turquoise and platinum mosaic tiles and marble top. The adjacent Cocktail Bar is an intimate box-like folly overlooking the main lobby. A series of shuttered panels enable guests to view the lobby below or close these down for privacy. The a la carte restaurant is dened by a glassed, soaring volume and banquette that enclose this softer furnished space. Working in collaboration with New York / Miamibased textile designers NIBA, Bates Smart created a boldly patterned, vibrant, contemporary carpet that, like a ower bed, provides a strong accent colour to an otherwise neutral palette of taupes and charcoals. Over-scaled light ttings, custom-made by Foscarini in

Italy, hover above the dining room and act as beacons when viewed from the street below. David Band of Mahon & Band was commissioned to create a wall relief sculpture modeled and created from found birch trees. This contemporary installation evokes the imagery of an ivy-clad wall and travels 60 metres, further reinforcing the ambience of an outside/inside landscape. Two dramatic basket-like pavilions are fashioned from hand-woven wicker to create both a Private Dining Room seating 12 and a unique Sommelier Experience enclosure also seating 12. The plaited material provides discrete transparency as well as textural forms that give sculptural denition to the greater restaurant space. In maze Grill, a vibrant combination of raw steel,

rough cut slate and rustic, thickly glazed tiles in a deep emerald provide a bold and robust backdrop to the dynamic workings of the active kitchen. Finally, the journey ends in an elevated private dining space where the timber oor moulds dramatically to become both wall, and then ceiling.

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CROWN LIMITED & GORDON RAMSAY BATES SMART DESIGN TEAM JEFFERY COPOlOV (INTERIoR DESIGN DIREcToR), GRANT FIlIPOFF (ASSocIATE DIREcToR), KENDRA PINkUS (ASSocIATE MAIN CoNTRAcToR BAUlDERSTONE PTY LTD FIToUT CoNTRAcToR ScHIAVEllO GRAPHIc DESIGNER FAbIO ONgARATO DESIgN PHoToGRAPHY SHANNON McGRATH
CLIENT/OWNER DESIGN FIRM SUPPLIERS:

DIREcToR)

CUSTOM DESIgN bY BATES SMART CERAMIc TILE ARTIST BRIAN KEYTE CAVIT & CO CHAIR BoNAcINA CHYLIUM1 HUb FURNITURE PENDANT LIGHTS FoScARINI ALLEGRo SPAcE FURNITURE WoVEN ScREENS DESIgN SENSE (CUSToM DESIGN bY BATES SMART) HEAT LAMPS DESIgN SENSE (CUSToM DESIGN bY BATES SMART) ARTWoRK DAVID BAND & ANITA BEll
TAbLE ToP TAbLE BASE

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JORDAN MOZER AND ASSOCIATES, LTD.

bob san
CHIcAGO, ILLINOIS, U.S.A.

646M2

Bucktown and Wicker Park are two of the most vibrant and creative neighborhoods in Chicago, lled with artists and young professionals. They meet at West Division Street, a high street populated with a collage of boutiques, galleries and night-life destinations, including Bob San, a JapaneseAmerican restaurant, bar and lounge.
Bob Sans pony-tailed owner, Bob Bee, was born and raised in Korea and cooked in Japan for several years before coming to Chicago where he has founded three freestyle American-Japanese restaurants. Bob San, his third venture, originally opened in 2000. In 2008, he purchased the former Leos Lunch Room and adjoining vacant land to expand and improve his thriving business by adding a lounge, a private dining room, and expanding the bar. The project, completed in early 2010, uses a new circulation system to link the Dining Room, Bar, Leos Lounge and the Private Room, four separate public spaces with individual personalities and moods that may be operated separately or together, as business requires. The original kitchen, ofces and dining room were extensively rebuilt and rened. The bar was expanded, pushing out onto vacant land between Bob San and Leos Lunch Room. The interior construction of the former Lunch Room was entirely gutted to create a dramatic two-storeyed, brick-walled lounge with views through a new glass faade to pedestrian trafc on Division Street. A deep steel beam was placed in the back wall of Leos to create an enormous arch leading to a new building. A private room was constructed on a second patch of vacant land. The designs for Bob San were created by Jordan Mozer and Associates, Limited (JMA), a Chicago-based architecture and design rm led by artist/ designer Jordan Mozer, who has degrees in both architecture and product design, and his business partner, architect Jeff Carloss. They created the architectural solutions as well as many of the original, hand-made components in the space, including sculptures, furniture and lighting, which contribute to the Bob San story. The designs are inspired by Bob Bees very popular American interpretation of Japanese dining culture, as interpreted by Mozer, whose lifelong obsession with Japan began when he was 14. Jordan Mozer said that his father was a doctor who encouraged his fascination with zoology while his mother, who was an artist, praised his creative side. When I wasnt looking for creatures in ravines or along the beach, I drew and modeled them compulsively. My interest in design was triggered when I began to invent new hybrid animals composed from parts of what Id collected. My favorites were cephalopods, a group of invertebrates which includes octopus, squid and the amazing chambered nautilus. On my twelfth birthday I received from my father a book by my hero, Jacques Cousteau, on the subject of cephalopods. On my thirteenth birthday I was ecstatic to be treated to dinner at what was then the only Japanese restaurant in Chicago, where I was served octopus and squid, creatures I had never actually seen in person, much less tasted. At 15, my family traveled to Japan, where everything was different, the rst of 20 trips there. Mozer feels that Japan is one of the most culturally exclusive and rened cultures in the world and in many ways, the antithesis of America. Bob Bee has created a stylized American portrait of Japanese food culture in Chicago. Our designs for him draw inspiration from the conuence of these two very different cultures.

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SUpplIERS

Jordan Mozer and Associates, Limited has distinguished their practice for 25 years by designing and manufacturing proprietary elements used in their projects. Dozens of artists, craftspeople and manufacturers in Chicago assisted Jordan Mozer and Associates, Limited in realizing designs for custommade hardware, seating, lamps, tables, cabinets and table top elements. Some of the components manufactured for Bob San by Jordan Mozer and Associates, Limited include the following: 3-D Flag The partition between the lounge and bar is a sandwich red marbles in a eld of neutral marbles held between two layers of glass: this is a three-dimensional interpretation of the Japanese ag, a red dot in a white eld. Glowing Octopus Some cephalopods are bio-luminescent, glowing at night to attract mates. The chandelier in the bar is inspired by arms of the the octopus used to make Tako sushi. It is composed of steel and hand-carved, red solid-resin castings. Tentacles Squid and cuttlesh have specialized elongated arms called tentacles. The lamps over the high sofa in the Bar were hand carved in wood and then cast in re-cycled aluminum-magnesium alloy, and then hand polished. Lounge Seating Hand-sculpted seating composed of cast resin creates exible seating in the center of the room. Coral forms inspired the twoseat lounge chairs with built-in tables that were created exclusively for Bob Sans Lounge. They are inspired by coral. Lounge Lighting Sculpture The raw brick was sandblasted and then Jordan Mozer created a subtle abstract mural by amplifying the colors in the brick with paint and chalk and oil pastels. A sculpture of cast resin The lighting in the lounge is indirect, hidden in the steel compression ring used to restructure the walls after the second oor was removed; inside this ring are lights directed at the sculptures on the upper walls of the lounge, which act as reectors. The sculptures are composed of lacquered cast resin. Private Dining Room Chandeliers Inspired by the forms of ceremonial Japanese bells and bivalve mollusks (cousins to the cephalopods also featured on Japanese menus) and composed of spun steel and hand-polished recycled aluminum-magnesium castings of wood carvings and nished in cute pastel colors from Japanese manga and designer toys mixed with rich warm colors of ebony oors, chocolate velvet and milky taupe glass tile. Surfboard Table Composed of hand-polished, recycled aluminum-magnesium castings of wood hand-carvings, with a solid Midwestern walnut top in the form of a surfboard. JORDAN MOZER AND ASSOCIATES, LImITED DESIGN TEAm JORDAN MOZER(PRINCIpAl/DESIGNER); JEFF CARlOSS(PRINCIpAl/ARCHITECT); BEVERlEE MOZER(GENERAl MANAGER); SIAmAK MOSTOUFI AND PETER OGbAC(PROjECT ARCHITECTS); COURTNEY SUESS(PROjECT INTERIOR DESIGNER); MATT WINTER & MANUEl HERNANDEZ(PROjECT PRODUCT DESIGNERS); REGGIE TRImblE(PROjECT COORDINATOR) STRUCTURAl ENGINEER LINDAU COmpANIES, INC. MEP ENGINEER KhATIb AND ASSOCIATES, INC GENERAl CONTRACTOR CROwN CONSTRUCTION PHOTOGRApHY DOUG SNOwER PhOTOGRAphY PAINTINGS AND SKETCHES JORDAN MOZER FLOOR PLANS JORDAN MOZER AND ASSOCIATES, LImITED
DESIGN FIRm

Dining Room Sculpture Inspired by images of bioluminescent squid photographed by Jacuqes Cousteau, it is composed of hand carved wood cast in recycled aluminum magnesium alloy. Milk and Honey Chandelier in the Dining Room Composed of steel, computer milled glass and locally hand blown, sand etched glass. Dining Room Candle Sticks, Hand carved, cast in recycled bronze, hand polished and acid washed. Dining Room Bowl Hand carved, cast in recycled bronze, hand polished and acid washed.

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FANTASTIC DESIGN WORKS CO.

alice in mirror land

UMEDA, OSAKA, JAPAN 100m2

This restaurant concept is derived from Lewis Carrolls famous work Alice in Wonderland. Here, the fantasy is played out in a dark atmosphere with waitresses dressed in Alice costumes.
A book represents the entrance door and patrons literally walk into the story. To create a continuous movement from the dining hall, a seethrough fabric was chosen for the private dining room thus maintaining its privacy. The layout was designed as an open space so that all guests can share in the excitement. The layout functions as an Izakaya where drinks and food are served. Many mirrors have been used in the restaurant so that it appears more spacious but when guests sit down, they will not see themselves or others in the mirror, since pictures or prints were strategically placed to prevent reection. The waitresses wear Alice costumes which are like traditional maids outts with a blue ribbon as in Disney movies. The skirts were shortened to create a cute sexy look. Most of the guests here are girls who enjoy Harajyuku style Gothic Lolita fashion. This restaurant has become popular and it now has branches in Shinjuku and Ginza.

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DIAMONd dINING CO. FANTASTIC dESIGN WORKS CO. MAIN CONTRACTOR KATSUNORI SUZUKI PHOTOGRApHY HIROKAZU MATSUOKA
CLIENT/OWNER DESIGN FIRM

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FANTASTIC DESIGN WORKS CO.

alice in picture book

SHINJYUKU, TOKYO, JAPAN 181M2

is dark black with a gigantic chandelier in the middle. New colorful images were added as a new design feature.

The newest restaurant in the Alice in Wonderland Series originates from a pop-up picture book concept. The base color

In the private rooms, chandeliers were made with 10 types of dolls most of which were acquired from Game Center attractions. Given its location in Shinjyuku Kabuki Cho, the restaurant is open till early morning. To enhance this night image, colored, exotic Lewis Carroll pictures in vibrant colors

were placed on the walls and screens in private rooms. The ooring consists of a carpet matching the Alice in Wonderland concept. This is also economical since you can change the carpet one square at a time.

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DIAMONd dINING CO. FANTASTIC dESIGN WORKS CO. MAIN CONTRACTOR KATSUNORI SUZUKI PHOTOGRApHY MASAYA YOSHIMURA
CLIENT/OWNER DESIGN FIRM

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FANTASTIC DESIGN WORKS CO.

le porc de versailles
KINSHICYO, Tokyo, JAPAn 182M2

In Japan, there is a famous comic book called the Rose of Versailles in which MarieAntoinette is introduced. This restaurants name originates from this parody as does its design concept. The interior is not gorgeous as the palace of Versailles. Instead, it is casual like the menu. The menu focuses on pork cuisines from around the world. At the entrance, guests can see a painting of Marie Antoinette hugging a pig to create a laugh, in the main dining room, there is a big round table with a pig sculpture (FRP modeling) that rotates every hour. Along the window, there are strings of ping-pong balls which functions as a

curtain as well as a logo. The inspiration for this came from the back stage of a popular American hard rock band called Kiss.

Kiss music, black tone style, and eyecatching ashy colors created a striking image.
The interior designer credited artists, comics, movies and fashion for inspiring him rather than the work of famous architects or designers. The seating in this restaurant is very tight but highly efcient. The round table with the pig sculpture is most popular but the private rooms are also very popular for holding big group events.

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DIAMONd dINING CO. FANTASTIC dESIGN WORKS CO. MAIN CONTRACTOR KATSUNORI SUZUKI PHOTOGRApHY MASAYA YOSHIMURA
CLIENT/OWNER DESIGN FIRM

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PUCCINI GROUp

livingston
ATLaNTa, GEORgIa, U.S.a. 530M2

Designed by the Puccini Group, the dramatic glass and steel entrance of Livingston welcomes guests into a stunning two-storey dining room. Dark mahogany tables encircled by chocolate leather and platinum seating are beautifully contrasted with iconic white marble columns.

Gold and silver accents are illuminated by a grandiose chandelier encased in an iridescent screen, adding dramatic architectural detail to the space.
The bar includes sleek, low tables made of Carrera marble surrounded by custom seating ranging from muted silver snakeskin club chairs, to deep chocolate crocodile stools and plush burgundy chairs. Oversized Palladian windows allow guests on the terrace to peek into the bustling Livingston bar. The bar itself, with modern polished chrome bar back, is a perfect juxtaposition to the classic Glowing lanterns reect off dining tables onto the mirrored interiors. The grand twenty foot ceiling is punctuated by bar which offers a window stately columns intermixed between the two rooms. with a glowing ghost column lled with mercury-like silver pendants hanging within. Banquettes around the columns and discrete seating arrangements allow for intimate conversations near the dazzling chandelier that drips from the ceiling like a natural work of art. Flanking the dining room are two unique works of art, each featuring dynamic black and white ghosted images of some of the citys original socialites on the red carpet. Recognizing the historical signicance of the space, these photographs were selected from those taken at the premiere party for Gone With the Wind, held in the same grand room in 1939. As a historical landmark, Puccini Group had to maintain the original architecture and shell of the building, while updating it with modernized furniture and lighting. Details such as original handrails were preserved giving the space a stage for the old to meet the new. The glowing ghost column was created to complete the colonnade layout in the bar and create social seating arrangements. The custom-made champagne display is housed in the shell of a previous entrance. The bar and restaurant entrance was moved back to the historical location and the stairs were rebuilt to the original specications of the night of the wrap party for the Gone With the Wind cast. There was limited space in the existing kitchen which let to the kitchen being moved closer to the dining area and being turned into an exhibition kitchen. The historically elegant architectural details of the space are integrated with elements of warmth and texture that evoke modern sophistication and style. The namesake of the restaurant & caf, Livingston Mims, was the former mayor of Atlanta and lived on this very plot of land in his mansion before the Georgian Terrace was built. He was known throughout Atlanta for his love of food and wine. A bust of Livingston rests upon the marble-topped bar overlooking the action and his beloved guests. This was an opportunity to update the lobby in ways to pay homage to the namesake, Livingston, for his love of Atlanta and his lifelong efforts to green the city. The citys extensive parks were an inspiration for the polished, laser-cut metal trees created behind the front desk. The map behind the new concierge stand was a collaboration between the in-house design team and the gentleman who has been directing guests as the Georgian Terrace concierge for years. It highlights the parks and local attractions in a graphically gorgeous way. The ballrooms maintained their original architectural grandeur but were updated with custom carpets and fresh color palettes.

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CLIENT/OWNER DESIgN FIRM PHOTOgRApHY

FREMONT REALTY PUCCINI GROUp MICHAEL KLEINBERg

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CCS ARcHITEcTURE

r2l

PHILADELpHIA, PENNSYLVANIA, U.S.A.

930M2

R2L is an elegant, modern restaurant and lounge that reinterprets the glamour and exoticism of the 1930s.

Perched high above the heart of Philadelphia, the intimate, convivial space recalls the elegance of the extravagant Art Deco era while celebrating the clean simplicity and spatial balance of modern architecture. A mix of texture, color and pattern bring the long space together in a combination of plush lounge furnishing and cozy booth seats contrasting with moments of glimmering light and exposed steel structure. The space is accented with a distinctive palette of materials including handpolished zinc, stacked strips of glass, ebonized mahogany, woven leather and zebra-

print upholstery. A metallic ceiling grill undulates across the bar, dining room and lounge leading towards the spectacular city views. Upon entering the restaurant, a glass slot invites an upclose look at Daniel Sterns custom kitchen. A oating handcrafted sculpture of polished silverware made by a local artist encloses a unique dining area that provides guests with unobstructed views across the city. While in one of the private dining rooms, one can dine aside the statue of William Penn atop Philadelphias City Hall. As a backdrop to the city skyline, a wall of wine marches along reminding us to raise a glass to an unforgettable experience.

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main dining exhibition kitchen back of house bar/lounge circulation

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main dining exhibition kitchen back of house house back of back of house ELEVATOR LOBBY bar/lounge bar/lounge bar/lounge EXHIBITION KITCHEN BAR circulation circulation WINEcirculation WALL
main dining dining main exhibition kitchen kitchen exhibition

MAIN DINING LOUNGE PRIVATE/FLEX DINIG ROOM A PRIVATE/FLEX DINIG ROOM B PRIVATE/FLEX DINIG ROOM C PRIVATE/FLEX DINIG ROOM D RESTROOMS

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ELEVATOR LOBBY LOBBY ELEVATOR EXHIBITION KITCHEN KITCHEN EXHIBITION BAR BAR WINE WINE WALL WALL MAIN DINING DINING MAIN LOUNGE LOUNGE PRIVATE/FLEX DINIG DINIG ROOM ROOM A A PRIVATE/FLEX PRIVATE/FLEX DINIG DINIG ROOM ROOM B B PRIVATE/FLEX PRIVATE/FLEX DINIG DINIG ROOM ROOM C C PRIVATE/FLEX PRIVATE/FLEX DINIG ROOM D PRIVATE/FLEX DINIG ROOM D RESTROOMS RESTROOMS

1 ELEVATOR LOBBY 2 EXHIBITION KITCHEN 3 BAR 4 WINE WALL 5 MAIN DINING 6 LOUNGE 7 PRIVATE/FLEX DINING ROOM A 8 PRIVATE/FLEX DINING ROOM B 9 PRIVATE/FLEX DINING ROOM C 10 PRIVATE/FLEX DINING ROOM D 11 RESTROOMS
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R2L. Philadelphia, Philadelphia, PA PA R2L.

CCS ARCHITECTURE ARCHITECTURE CCS

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R2L. Philadelphia, PA

CCS ARCHITECTURE

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cLIENT/OWNER DEsIGN FIRM DEsIGN TEaM

DANIEL STERN CCS ARCHITECTURE

CASS CALDER SMITH(DEsIGN PRINcIpaL); TAYLOR LAWSON(PROJEcT DIREcTOR); YVONNE CHOY(PROJEcT ARcHITEcT) STRUcTURaL ENGINEER KING OF PRUSSIA MEP ALDERSON ENGINEERING, INC. LIGHTING TLP THE LIGHTING PRACTICE FOOD SERVIcE ADVANCED FOODSERVICE SOLUTIONS ARTWORK ALI AHMAD/3-D METAL ARTS GENERaL CONTRacTOR DOMUS, INC. PHOTOGRapHY KRIS TAMBURELLO

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CCS ARcHITEcTURE

the plant: caf organic

SAN FRANCIsCO, CALIfORNIA, U.S.A. 372M2

The Plant: Cafe Organic occupies two historic, waterfront buildings at Pier 3, straddlingwhat was once a railroad passage, which has been modied to create a full-service, 112-seat restaurant and a separate, counter-service cafe.

The Plant has been named one of the greenest restaurants in San Francisco by San Francisco Waterfront Partners and is one of the few in the country with a rooftop solar PV system for on-site, electrical energy production which will be used to power much of the kitchen.
The clients program called for a sustainable design agenda which would be in sync with, yet showcase, the food they are serving. The Plant serves an almost purely organic and primarily locally sourced menu. The space they inhabit was to follow the same goals. The Architect inserted light, delicate interiors within the existing pier warehouses using reclaimed wood, recycled-content tiles and an eclectic mix of zinc, coldrolled steel, and stainless steel to nish out the spaces. The Plant, like many new projects within converted pier buildings along San Franciscos Embarcadero, is helping revitalize this edge of the city where the land meets the Bay.

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Kelly Barrie

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ENTRY MAIN DINING ROOM COMMUNITY DINING TABLE BAR BAYSIDE DINING CAFE KITCHEN SUPPORT RESTROOMS RESTAURANT CAFE / KITCHEN / SUPPORT PATIO SEATING

SAN FRANCISCO BAY

(M) RESTROOMS (W) RESTROOMS

cLIENT/OWNER DEsIGN FIRM DEsIGN TEaM

1 1 2 1 2 3 2 3 4 3 4 5 4 5 6 5 6 7 6 7 8 7 8 9 8 9 9 ENTRY ENTRY MAIN DINING ROOM ENTRY MAIN DINING DINING ROOM COMMUNITY MAIN DINING ROOM TABLE COMMUNITY DINING TABLE BAR COMMUNITY DINING TABLE BAR BAYSIDE DINING BAR BAYSIDE DINING CAFE BAYSIDE DINING CAFE KITCHEN CAFE KITCHEN SUPPORT KITCHEN SUPPORT RESTROOMS SUPPORT RESTROOMS RESTROOMS RESTAURANT RESTAURANT RESTAURANT CAFE / KITCHEN / SUPPORT CAFE / KITCHEN / SUPPORT CAFE KITCHEN / SUPPORT PATIO /SEATING PATIO SEATING PATIO SEATING

MNMCO LLC CCS ARCHITECTURE

PROMENDAE

HISTORIC WALK SAN FRANCISCO BAY SAN FRANCISCO BAY SAN FRANCISCO BAY 8

2 3 1

restaurant cafe /kitchen / support patio seating

6 4 PROMENDAE PROMENDAE PROMENDAE

(W) (W) RESTROOMS (W) RESTROOMS RESTROOMS

1 ENTRY 2 MAIN DINING ROOM (M) (M) RESTROOMS 3 RESTROOMS COMMUNITY DINING TABLE (M) 4 RESTROOMS BAR 5 BAYSIDE DINING 6 9 CAFE 9 7 9 KITCHEN 8 SUPPORT 9 RESTROOMS

5 5 5
BAR + RESTAURANT BREEZEWAY CAFE, KITCHEN, SUPPORT

HISTORIC WALK HISTORIC WALK HISTORIC WALK

The Plant: Cafe Organic. Pier 3, San Francisco, CA

2 2 2 THE EMBARCADERO ROADWAY 3 3 3

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CCS ARCHITECTURE

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8 8 8

Melissa Werner

CASS CALDER SMITH(DEsIGN PRINcIpaL); BARBARA TURPIN-VICKROY(INTERIOR DEsIGN DIREcTOR); SEAN KENNEDY(PROJEcT ARcHITEcT); HIsTORIc ARcHITEcT PAGE & TURNBULL LIGHTING LUMINESCE DESIGN MEP ENGINEER ACIES ENGINEERING STRUcTURaL ENGINEER JOHN YADEGAR & ASSOCIATES FOOD SERVIcE ROBERT YICK COMPANY, INC. TaBLE TOps PACASSA STUDIOS HIcKORY ARNOLD AND EGAN GRapHIcs EWINGCRAFT MaIN CONTRacTOR FINELINE GROUP PHOTOGRapHY KRIS TAMBURELLO

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trader vics
SCOTTsDALE, ARIZONA, U.S.A. 710M2

The design challenge was to create an iconic freestanding restaurant on the grounds of a recently renovated mid-century modern hotel set in the urban fabric of Scottsdale, Arizona.

The structure was to house a restaurant whose concept has its historical roots in the 1940s-50s, steeped in the Polynesian pop culture of postwar America. The architecture and interior design reinterprets and reinvents the restaurant in modernist terms while paying homage to its history, the Trader Vics image and direct design inspiration from the adjacent hotel. The building occupies a corner of the hotel property and is sited diagonally ensuring a strong presence on two streets. This diagonal orientation also organizes the entry axis from

tikis that punctuate the edge of the axis and further dene dining and circulation space. The tikis are sky-lit in the daytime and top-lit at night to draw the eye up and show The entry axis, in turn, informs the plan bisecting the buildings the relationship between the curving softs and the steel mass and dening its two distinct uses. The rst is a non- roof structure. A glass enclosed wood-red Chinese oven is also fenestrated box, housing the kitchen, service, restrooms and showcased along the axis. back-of-house functions. In contrast, the other is a naturally- Inside, the lava cone hub acts as an enclosure for arriving lit, transparent dining pavilion guests and maitred while and includes a lava cone hub allowing access to the dining featuring reception area, bar and lounge and logo sales area. spaces and bar. The bar is The axis is expressed internally spatially dened by a red steel tube trellis that oats through immense authentic beneath the roof structure and hand-carved monumental continues through the exterior glass where it covers the bars lanai. The trellis and the use of fully operable sliding glass walls work together to blur the line between outside and inside spaces. the street corner into the hotel proper allowing easy access for the hotel guest as well as the off-site patron.

The transparency between inside and out is enhanced by the use of a similar color palette on nishes and furnishings throughout the project. The exposed grey concrete block along with the stained concrete extends from the entry into the dining spaces and contrasts with the bright greens, oranges and soft golds on the seating. The main dining space is creatively sub-divided into smaller, more intimate spaces on the periphery by massive battered masonry walls. Sliding glass doors allow these spaces to open directly onto exterior dining lanais. Masonry walls, corrugated translucent panels and lush landscaping give the lanais privacy and act as a view backdrop for the interior spaces.

An elegant mix of honed masonry, exposed steel, sliding and xed glass and integralcolored concrete make up the majority of the material palette, while natural lava, bamboo, channel glass, tapas cloth and glass tile used in conjunction with mica-chip stucco nishes add richness. Authentic art and artifacts from the South Pacic complete the composition and help take the guest away.

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CLIENT/OWNER

WESTROC HOSPITALITY / MSR PROPERTIES

DESIGN FIRM

ALLEN+PhILP ARChITECTS INTERIORS

DESIGN TEaM

MARK PhILP, ELIZABETh DAmORE, ThOmPSON WARd

OTHER CONSULTaNTS

AME ENGINEERING, HABERmANN ELECTRICAL ENGINEERING, TLCP STRUCTURAL

MaIN CONTRaCTOR

KITChELL
PHOTOGRapHY

BILL TImmERmAN

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CCS ARcHITEcTURE

mid-atlantic
PHILADELpHIA, PENNSYLVANIA, U.S.A. 510M2

support Sterns vibrant and approachable Pennsylvania Dutch food concept. The 2,500 square foot space is creatively crafted from simple and reclaimed materials, taking on a casual, roadhouse feel. An angled wall of reclaimed Western Pennsylvania barnwood runs the length of the restaurant, anchoring the bar, open kitchen and counter seating. Custom lighting xtures made from Behind the galvanized metal recycled uorescent tubes bar, a window invites views hang from a long, wooden to the keg room stocked with drop ceiling. A central local microbrews. Locally farmhouse table offers social fabricated, sliding doors opportunities between clad in tin clad enclose a the bar and dining area. exible private dining area. Outdoors, a linear repit provides warmth and a visual focus for the large dining terrace. MidAtlantics design encourages frequent visits; its easy to drop in for dinner or beers and a ball game.

Urban and Rustic. Past and Present. Tradition and Renewal. This is the essence of MidAtlantic, Chef Daniel Sterns latest culinary surprise. CCS Architecture designed a warm, urban restaurant space to

Brendan McRae Brendan McRae

Brendan McRae

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11

10 6 11 3

4 5

main dining exhibition kitchen back of house

11 11 11

2
10 10 10 6 6 6 3 3 3

bar/lounge patio dining

11 11 1 VESTIBULE 11

9
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2 ENTRY 3 BAR 4 COMMUNITY TABLE 5 MAIN DINING main dining main dining KITCHEN 6 EXHIBITION main dining main dining 7 FLEX DINING exhibition kitchen exhibition kitchen exhibition kitchen exhibition kitchen 8 TERRACE DINING back of house house back of back of house back of house 9 FIRE PIT bar/lounge 10 KEG ROOM bar/lounge bar/lounge bar/lounge 11 RESTROOMS patio dining patio dining
patio dining

patio dining

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VESTIBULE ENTRY BAR COMMUNITY TABLE MAIN DINING EXHIBITION KITCHEN

7 FLEX DINING 8 TERRACE DINING 9 FIRE PIT 10 KEG ROOM 11 RESTROOMS

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9 9 9

1 1 1

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VESTIBULE VESTIBULE VESTIBULE ENTRY ENTRY ENTRY BAR BAR BAR COMMUNITY TABLE TABLE COMMUNITY COMMUNITY TABLE MAIN DINING DINING MAIN MAIN DINING EXHIBITION KITCHEN KITCHEN EXHIBITION EXHIBITION KITCHEN FLEX DINING DINING FLEX FLEX DINING TERRACE DINING TERRACE DINING DINING TERRACE FIRE FIRE PIT PIT FIRE PIT KEG KEG ROOM ROOM KEG ROOM RESTROOMS RESTROOMS RESTROOMS

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cLIENT/OWNER DEsIGN FIRM DEsIGN TEaM

DANIEL STERN CCS ARCHITECTURE

CASS CALDER SMITH(DEsIGN PRINcIpaL); TAYLOR LAWSON(PROJEcT DIREcTOR); ERICK GREGORY(PROJEcT ARcHITEcT) LIGHTING LIGHTING DESIGN COLLABORATIVE FOOD SERVIcE ADVANCED FOODSERVICE SOLUTIONS GENERaL CONTRacTOR GARDNER FOX PHOTOGRapHY KRIS TAMBURELLO, UNLESS STATED

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ALLEN+PHILp ARCHITECTS/INTERIORS

prado

PARADISE VALLEY, ARIZONA, U.S.A.

1 060M2

Prado is situated on a 30 acre parcel in the heart of Paradise Valley at the base of the iconic Camelback Mountain, within the Montelucia Resort. The progression of arrival sets the tone for drinking and dining within this award-winning restaurant and lounge. The transition experience from the modern city of Phoenix to the inner heart of this resort begins by way of the vividly landscaped, stone-lined front drive, through a shaded colonnade and past a bubbling fountain into the Cortijo Plaza or town square. At night, the Cortijo is lled with twinkling lights in the trees, guests milling around the outdoor patio with drinks and music spilling into the courtyard. Accented with stone and tiled fountains, the square feels like the center of a small village providing a social gathering space as it connects Prado, the front lobby, a caf, the wedding chapel and administrative ofces along with select guest rooms.

One can enter Prado between the massive terra cotta overscaled vessels and past the uniquely jeweled entry lights anking the antique wood doors. Indoor and outdoor boundaries disappear as the patio spills onto the Cortijo from the lounge and bar within. This lively social space at the front entry allows lounge guests to sit back, unwind and watch the action arrive through the courtyard and into the dining areas. Arrival isnt complete until guests go through the restaurant and onto the back dining patio where the stunning backdrop opens up to reveal the waters of the Alhambra walk, the relaxing pools of the resort and Camelback Mountain beyond. Within a setting that was designed to reect an Andalusian village built over time, Prados character is unique in that it reects but does not mimic the cluster of buildings surrounding it within

the resort. Materiality and composition tie the buildings together to support the concept while allowing for eclectic features created from historical and regional themes. Eclectic and moody, open yet nurturing, the space reects the food and creates an atmosphere of glamorous leisure. The Spanish and Moroccan overtones of the interior begin at the copper and leather accented bar and lounge and is backed up by the open stone replace of the exhibition kitchen. Heavy use of dark woods contrast with light colored plaster walls and ceilings. Spanish inuenced patterns on the heavy tapestries within the booths subtly play with those on cool concrete tile oors enhanced with the rich dark colors of the plush lounge seating. Dining zones and thoughtful attention to the acoustics within the restaurant allow for an open plan with a balance of quiet elegant dining and vibrant lounge areas. Extensive use of Spanish and Moroccan art and artifacts inside and out blend with plastered walls, textured hand-hewn woods, hand-cut stones and glazed decorative tiles. The liveliness of the action within this space is predicted by the modern imagery painted on the pieces commissioned specically for Prado portraying the unique atmosphere and the mood of a dark, sexy, glamorous speak easy.

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CROWN DEVELOPMENT ALLEN+PHILP ARcHITEcTS INTERIORS DESIGN TEaM MaRK PHILP, ELIZaBETH DaMORE, RacHEL WUELLNER OTHER CONSULTaNTS GLUMac ENgINEERINg, TLCP INc MaIN CONTRaCTOR ROWLaNdS CONSTRUcTION SERVIcES PHOTOGRapHY JaMES CHRISTY STUdIOS, ZaRUBa PHOTOgRaPHY
CLIENT/OWNER DESIGN FIRM

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ALLEN+PHILp ARCHITECTS/INTERIORS

canal

SCOTTsDALE, ARIZONA, U.S.A.

593M2

Located on a once abandoned back alley irrigation canal, The Canal Restaurant is located within a new mixed use urban development on a revitalized site that is a thoroughfare of shopping, dining, interactive pedestrian activity and a popular venue for public and private cultural events. The canal is now the centerpiece for pedestrian trafc and conveniently situated in the heart of Old Town Scottsdale. This neighborhood in transition includes an operating blacksmith shop and is a thriving hotspot for upscale resorts, nightclubs and restaurants.

Canal Restaurant juxtaposes two conceptual ideas: the highly polished urban chic of high fashion and an old industrial warehouse; references to Scottsdales reincarnation as a budding Mecca for fashionistas and its recent more utilitarian past. Both concepts come from the context of the restaurants location and integration within the site.

Surrounded by upscale retail areas, creating a physical connection from the luxury shopping boutiques on one side to the waterway on the other, the restaurant is a physical and conceptual link to the building as a whole. Customers typically enter through a side entrance through the bustling bar, but one can also nd the Canal

through an interconnected spiral stair from the adjacent retail. Models parade through the restaurant periodically demonstrating their wares off the glass runway. Back bar becomes patio bar when weather permits (most of the year) as an industrial garage door allows customers a full view of the canal activity outside and brings in the energy of the patio for a truly indoor/outdoor lounge experience. Playful contrasts energize the interior. The fashion world becomes the focal point day or night with a boldly displayed over-scaled glass projection screen radiating with images of models, fashions, color and

energy adding edginess to the sumptuous patterns and textures on the seating beyond. While the primary design challenge was to attract the sophisticated youthful crowd in old town Scottsdale at night, the restaurant and lounge serve a business-oriented downtown lunch crowd. The mix matched bohemian colors and patterns appear youthful and contemporary in the bright natural daylight of the bar and restaurant when the bold modern shapes are the focus while the screen images become background. Referencing the materiality of the warehouse with rough

steel and old brick, the exposed concrete and mechanical / plumbing systems play off of the highly nished back-lit glass runway and translucent netting of the drapery sheers dividing the restaurant. Continuing the story of contrasts between highly polished and exposed industrial; the concrete and steel bar is set off with adjacent polished woods and frosted glass. At night, the chic images of models reects off the crowd within, while the changing colors of the backlit forms give the space a sexy theatrical energy, alluding to spaces that arent seen and providing an ideal backdrop to the fashionable nighttime crowd.

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SPRING CREEK DEVELOPMENT ALLEN+PHILP ARcHITEcTs INTERIORs DESIGN TEaM JON HEILMaN, ELIZaBETH DaMORE, ZacHaRY SHIRK MPE ENERGY SYsTEMs DEsIGN KITCHEN CONSULTaNT COLLIER CONsULTING GROUP LIGHTING CONSULTaNT LITEFX MaIN CONTRaCTOR HaRdIsON/DOWNEY CONsTRUcTION PHOTOGRapHY FaNNY ALLI
CLIENT/OWNER DESIGN FIRM

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FANTASTIC DESIGN WORKS CO.

so

YOKOHAMA, kaNaGaWa, JAPAN

132m2

A dark colour palette was combined with subdued lighting in this restaurant.
The lighting creates pockets of warmth within the restaurant and draws patrons inside.

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SOUsHIN FANTAsTIC DEsIGN WORKs CO. MAIN CONTRACTOR KATsUNORI sUZUKI PHOTOGRApHY MAsAYA YOsHImURA
CLIENT/OWNER DESIGN FIRM

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CRME

macondo
NEW YORK, U.S.A. 170M2

Named after the ctional Colombian village in Gabriel Garcia Marquezs 1967 novel One Hundred Years of Solitude, Macondo serves up Latin American street food.
The room was divided into three distinct sections. At the front, a storefront window reveals suspended baskets lled with fresh coconuts and pineapples as well as a screen of rope netting. The middle section features retro styled chairs with adjustable armrests and bar stools with gel cushions. In the back, a dining area with modular booth seating is enclosed by an ivy-coloured trellis and a barrisol ceiling with colourchangeable LCD. Unconventional uses of material evoke a bustling Latin streetscape. The ceiling is covered with wood chipboard that is typically seen at a construction site. Tables and banquettes are made out of salvaged wood as well as wood chipboard. Inspired by the natural landscape, salvaged wood is used on the bar front in a random stripe pattern. The oor and bar countertops are custom coloured and textured to match the restaurant look.

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CRME, JUN AIZAKI GINA SEUNG OH, MAY KORRANUN PAKARNSEREE, MAURO SOLMI, PATRICK MCGOVERN PHOtOGrApHY Fanny Alli
DeSIGN FIrm DeSIGN TeAm

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JOO TIAGO AGUIAR ACARQUITECTOS

cenario
LISBON, PORTUGAl 80M2

The programme initially required the creation of a cosmopolitan restaurant inside a 5 star hotel, contemporary and innovative, using the same materials as the rest of the hotel. It had to be located exactly beside the main public entrance and by the sidewalk so that people could immediately see it from the outside and desire to go in.

Subsequently, the project aimed to somehow create a new space within another space, to conjure up a distinctive area from the rest of the hotel using the same materials where people would feel comfortable and cosy even with one of the main hotel entrances and the street nearby.
In that sense, the space was organized in a clear way, and to make people feel they are in a different environment immediately after entering, there is a change in colour from white to black of the stone on the oor marks the restaurant area. The space is entirely coated in black: black granite stone on the oor and columns and black textile ceiling. This gesture is reinforced by the orange glass on the walls that signs the perimeter. The space is mainly divided in two areas: one that includes the waiting area for people to sit and have a drink while waiting for their turn and the show-cooking counter in black granite stone with another one along the faade; and the orange glass faade where you sit and enjoy the food. The ceiling was powdered by various pendant lights (Dear Ingo by Ron Gilad for Moooi), allowing light to come in from various points. White velvet curtains were put all along the faade in order to give it a more comfortable feeling and a not-so-exposed ambience.

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GRUPO-VIP Joo TiAgo AguiAr ACArQuiTECToS DESIGN TEAM Joo TiAgo AguiAr & RENATA ViEirA MAIN CONTRACTOR EDIFER PHOTOGRApHY FErNANdo GuErrA / FG+SG
CLIENT/OWNER DESIGN FIRM SUppLIERS: PAINTED GLASS BLACK STONE FURNITURE

VIRCLAR PLCIDO JOS SIMES, LDA. OFFICE/A LINHA DA VIZINHA

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JHP DESIGN

paris baguette
SEOUL, SOUTH KOREA 255M2

Distilling the very essence of the best Parisienne patisserie, and transporting it east to the hippest district in Seoul, South Korea, a country with no great bread culture created a distinct challenge for JHP.

The client is Paris Baguette, a strong chain of 1,600 bakeries in South Korea that tasked JHP with creating everything. Every possible aspect of a new concepts creation fell in JHPs remit. Create the brand identity, store architecture, interior environment, communication strategy, packaging, photographic suite, uniforms, and developing in-store movies and music play-lists. After trips to the best bakeries in France, as well as benchmarking local competition in Seoul which proffers some of the nest food offers in the world, JHP set about conceiving a space that was incredibly modern, with subtle references to our Gallic neighbours royal legacy - the Louis XIV font, patisserie ponderings and palatial chandeliers.

It was deemed the Provencal Eclectic Kitchen. This thematic platform would give the client an immediate point of difference in the marketplace and attract a younger audience. Underpinning the concept would be the duality of being born of the Product (Provenal Kitchen) and being born of Paris (eclectic) and celebrating the theatre of food with an open kitchen. The tone of voice would be lighthearted and witty whilst the essence of the brand would exploit the philosophy behind the purity of ingredients, expertise and authority. Even the staffs uniforms impart condence and authenticity.

The products on offer range from baguettes, croissants, pastries, sandwiches, coffee, wine, chocolate to a boulangerie and gift area. The fascia displays a blue awning with the prominent Paris Baguette blue and white logo. Warm and natural tones dominate the interior with limed oak display tables, glass cake showcases and screens striped with transparent blue, a stainless steel bulkhead and subtle blue lights. The new concept is currently being rolled out across the Paris Baguette chain. JHP also worked with famed lm and commercial production company Ridley Scott Associates on the production of a set of TV advertisements for Paris Baguette to be aired on Korean TV.

This represented an extension to the brand strategy and communication work that JHP established at the outset of the project. JHP art directed the original in-store movies and photography for the chain. Every customer touch-point with the brand has been carefully considered by JHP. The nal piece of the mix was the creation of a new packaging suite for the stores products. Paris Baguette bakery products are housed in beautifully constructed packaging that make the transportation of the goods home or to work as special as the experience found in-store. Ultimately JHP achieved the goal of creating a little taste of Paris in one of the worlds most modern and advanced cities.

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SPC KOREA JHP DEsIGN LIGhTING CoNSULTANT YOUNGJUN LIGhTING ART CoNSULTANT JHP DEsIGN MAIN CoNTRAcToR CM CONsTRUcTION PhoToGRAphY JHP DEsIGN
CLIENT/OWNER dESIGN FIRM SUppLIERS: Wood FLooRING FLooR TILES GRAphIc

SUNG ChANG WOOd EUROCERAmIc FOR FlOOR TIlEs pRodUcTIoN SUNGShIN

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FANTASTIC DESIGN WORKS CO.

scottish glamour
GINZA, TOKYO, JAPAN 165M2

The design theme is based on a whisky brewery.

A dynamic space was made with a mirror. Big barrels were made from FRP so that one can enjoy oneself over Scottish food and whisky.

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DIAMOND DINING FanTaSTiC dESign WoRKS Co. MAIN CONTRACTOR KaTSUnoRi SUZUKi PHOTOGRApHY MASAYA YOSHIMURA
CLIENT/OWNER DESIGN FIRM

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JOI-DESiGN

redox

UNTERSCHLEISSHEIM, BAVARIA, GERMANY

86M2

For the restaurant redox in the Dolce Munich Unterschleissheim, JOI-Design was briefed to conceive a ne dining establishment that would tell a story through its individuality and reect the ags updated brand standards. The designers solution was to construct a tale of Bavarian culture that balances modern and traditional elements while celebrating the regions culinary inheritance.

Redoxs understated entry suggests a place of respite from the hubbub of the neighbouring conference areas. The name redox refers to the chemical process Evidence of this intimate, 40seat dining areas Bavarian that naturally occurs in antioxidantfoods and, as such, inspiration can be found through the roughly textured antler chandeliers that provide a distinct counterpoint to the smoothness of the crisp white tablecloths and rich dark stained oak; together

directly corresponds to a tenet of Dolces redened corporate philosophy of nourishment, or nurturing the spirit, mind and body of its guests. JOIDesign interpreted this concept through the gourmet restaurants contemporary focal point, a backlit wine wall which showcases the bountiful and antioxidantrich - varietals vinied in the region. Gracing either side of the access gallery between the wine displays, sculptures of traditional male and female trachts, the embroidered national costume of Germany, are a light-hearted homage to the locales provenance.

they evoke the spirit of a ne, time-honoured German dining hall. Tailored leather handles on the bespoke chairs upholstered in wool tweed add a both handsome and functional touch, while the horizontal orientation of the unstained oak panelling behind the banquettes relaxes the rooms tone so diners can unwind from the frenetic pace outside the restaurant. Dramatic contrasts and adjustable mood levels have been achieved through the strategic placement of ecofriendly LEDs and energysaving lamps.

JOI-Designs attractive yet practical scheme reects the locations unique cultural heritage as well as Dolces new brand identity.

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HOTEL AM BALLhAUSFORUM GMbH,AUgSbURg JOI-DESigN GMbH ARCHiTECT WSSA ARChiTEKTEN GMbH PHoToGRapHY JOI-DESigN GMbH
CLiENT/oWNER dESiGN FiRM

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SUNAQUA CONcEPTs LTD.

prince grill
XIAN, CHINA 500M2

The brief was to design a western style grill in a restaurant complex located in a business tower. It was important in this design to project the quality of food into the space and atmosphere.

The designer wanted to create a fairytale dining experience with a Black Forest theme. The space is dark with an experimental mix of black nishings and simple, straightforward space planning.

The entrance has a large dramatic window display of wine. At the reception and bar, a huge stone display table occasionally serves as a buffet counter. The grill room is comprised of group seating divided with horse lamps. The texture of the wall and ceiling timber are rough and unnished adding a vintage feel to the space.

There are two private rooms. The rst is clad in a white wood patterned wallpaper with a more open atmosphere, while the other is in black wood patterned wallpaper making it more cosy with a view into the kitchen. The materials and decoration help create the virtual feeling of entering a storybook world of food and wine.

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MGF CATERING GROUP SunaQua Concepts LimiteD MAIN CONTRAcTOR PHOTOGRAPHY Ken CHoi
ClIENT/OWNER DEsIGN FIRM sUPPlIERs:

SUNNY TRADING CO. cole & son ARTWORK SUNAQUA+ UPHOlsTERY SUNNY TRADING CO. CURTAINs/BlINDs SUNNY TRADING CO. SPECIAL GLASS
FURNITURE WAll COVERING

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SHAUN CLARKsON

odettes
LONDON, U.K.

wallpaper printed especially for this project gives the space a fresh and extravagant feel. The romantic and intimate space also includes a romantic, light and airy conservatory with white wire furniture, in which diners feel almost as though they are eating al-fresco.

This re-interpretation of the famous restaurant in Londons Primrose Hill is a riot of refreshing colour, but still retains the romance it has become famous for. The rambling white rose oral silhouette

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cLIENT/OWNER DEsIGN FIRM DEsIGN TEAM PHOTOGRApHY

PAK LOH CHIU CHOW RESTAURANT SHAUN CLARKSON Mr. Sinner Sin & Mr. DannY NG Mr. Pine Yip & Ms. HYedY Tsui

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WESTAR ArCHIteCts

hannahs family bistro

LAS VEGAS, NEvADA, U.S.A. 669M2

The restaurants interior and exterior design was inspired by the An familys tropical, Asian summer home in Vietnam. Diners enjoy a fusion menu of Vietnamese dishes with French and Pacic Rim inuences. The project required the remodel of both the interior and exterior of a non-descript existing building and the addition of two patios, to create a 245-seat restaurant. The exterior faade was redesigned, an exterior BBQ bar was added, lush landscaping installed, and a welcoming entrance was incorporated.

In the interior, water is an essential element of the An family brand, lending to a tranquil dining experience with afaint, background of tropical streams owing through the space; water also speaks to the freshness of the food. In order to create this experience, the space was designed to include three water features. The rst, upon entering the restaurant guests Walk on Water over a meandering Koi sh pond which has been recessed into the oor, giving the guests a sense of ow. The feature is fed by two sources: the rst being a waterfall gently cascading down a wall next to the entry door, and the second from a glass-topped twelve-seat communal dining table where the water ows under the diners tabletop,

then down into the Walk on Water feature. The third water feature is a 30-foot-long waterfall gently cascading over a glass wall above the Sushi bar giving visual appeal to guests dining at the bar. The restaurant is separated into various experiences. The marble Sushi bar with its water feature is the focal point upon entry into Hannahs. The lounge is anchored by a circular reective glasstopped bar with embedded metallic sheers. The dining room is divided in half by booths that are shrouded with sheer draperies hanging from wooden trusses above; gentlymoving wicker ceiling fans and brown Venetian plaster are all features designed to create a sense of tropical home for the diners. The rear dining room is anked by large scale Asian inuenced artwork and noodle artifacts.

There are two exterior patios: one serves as a dessert and cigar lounge at the rear of the building, and the other, located on the opposite side of

the restaurant, serves grilled appetizers from an outdoor grille behind the exterior bar. The furnishings in these areas are of the lounge type. Bottle service and live entertainment top off the experience. The base color palette complements the rich colors of autumn. Deep reds, browns, greens and beige create the framework for the restaurant. Accent purples, violets and blue can be found on pillows and artwork.

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CLIeNt/OwNer DesIGN FIrM PHotoGrapHY

ROBErT ENG WESTAR ArCHITECTs DarIUs KUZMICkas

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WILSDON DESIGN ASSOCIaTES

park terrace
LONDON, U.K. 335M2

WDA were appointed to work on the complete re-design of the renowned Park Terrace Restaurant, the muchfavoured restaurant at the heart of the hotels food and beverage operation. The brief required a complete overhaul of the existing interiors to form a new restaurant-bar-lounge as the key public area of the hotel, integrating operational exibility within the space and creating a contemporaryclassic look to suit the hotels clientele. A myriad of oor and ceiling levels were removed together with existing services and FF+E, taking the space back to the original concrete structure.

Central to the new design was the desire to provide an almost seamless ow through the restaurant, its private dining space and adjacent bar and lounge to allow guests to use the spaces in a variety of new ways with the greatest comfort and ease. This was achieved through elevating this elongated space to one level, subtly differentiating areas with the inclusion of large glass-laminated sheer fabric screens and the use of a natural material palette that evokes Kensington Gardens beyond the full-height windows. Each window module was framed with a layered effect of sliding sheer screens to either side with xed fabric pelmet above.

A discreet host desk and free-standing leather-clad wardrobe are situated at the point of entry to the restaurant with adjacent access to the new restrooms. The restaurants bar was positioned as a visual anchor to the centre of the main space, just beyond the entrance, establishing important direct visual contact with the lobby, whilst supporting the natural division of spaces to either side. The bar was designed as a single block of amed granite, with services recessed to the rear and subtle uplighting to the front face, whilst the rear bar was kept as lightweight and transparent as possible to allow daylight to pass through it from the windows behind, allowing foliage to form the ultimate backdrop to the bar elevation. The sheer glass screens at either side of the bar provide a subtle containment to the area without interfering with

guests views across the entire space; achieved in part by the semi-transparency of the screens - themselves up-lit and by their varying heights according to their locations. The visual ow through the spaces was partially maintained at the private dining room (far end of the restaurant), where bespoke geometric glass and satinlacquered shelving form the wall between the two spaces, providing a sense of enclosure for those using the private dining room without entirely removing it and its end feature wall from the overall form of the restaurant. Likewise from the restaurant, the view to the specially commissioned artwork wall within the lounge is only interrupted by the sheer fabric screens providing a layering effect through the length of the entire space.

As a highly used, all-day dining environment, it was essential to build in numerous operational requirements from the start of the design process and to ensure that pantries and service stations were properly located, allowing for maximum capacity when required. This, and the multifunctional aspect of the space, meant for precision space planning and coordination of services. Materials used throughout were selected on the basis of their durability and appropriateness for use within the context of the brief and multi-phased task and decorative lighting was incorporated to effect mood changes throughout the day and create drama at night.

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ROYAL GArDEN HOTEL WILSDON DESIgN ASSOCIATES LIGHTING CONSULTaNT ELEKTrA LIghTINg ART CONSULTaNT ArTEFACT MaIN CONTRaCTOR EE SMITh OTHER CONSULTaNTS ChILD GrADDON LEwIS / OSTELL ASSOCIATES PHOTOGRapHY COUrTESY OF ROYAL GArDEN HOTEL
CLIENT/OwNER DESIGN FIRM SUppLIERS:

MEgA MArBLE COUrISTAN FaBRICS POLLACK / DESIgNTEX / BrENTANO LaMINaTED DECORaTIVE GLaSS DAEDALIAN GLASS FURNITURE RHA DECORaTIVE LIGHTING POrTA ROMANA BLIND SYSTEM SILENT GLISS
STONE FLOORING CaRpET

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MOHEN DESIGN INTERNATIONAL

danbo fun
SHANGHAI, CHINA 180M2

Danbo Fun means a special kind of omelette in Putonghua where rice is covered with eggs and other ingredients. It is regarded as a mix of western and oriental food. The design concept of Danbo Fun comes from the original Putonghua meaning, which is the vivid and energetic power of eggs. The site is located at the basement atrium of a department store close to the Zhong Shan Park, one of the major city parks in Shanghai. The department store itself is about 10 stories in height with two-escalator access at the sides on all levels.

The designer opted for a dramatic visual impact from the top view of each oor. The oor plan resembles a cracked egg where the yolk has

spilled out. The main access to the restaurant is from the bottom looking towards the free form egg shape. Vinyl oor tiles in an optical artistic pattern reinforce the visual impact of the yolk by including further loose freestanding furniture.

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ZOE INTERNATiONAL MOHEN DESiGN INTERNATiONAL dESIGN TEAm HANK M. ChAO(ARChITECT), MiKE FANG, YU LONG LUO, JUN ZENG ChEN, TiffANy WEi PhOTOGRAphY MAOdER ChOU(MOHEN DESIGN INTERNATIONAL)
CLIENT/OWNER dESIGN FIRm

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BUCKLEY GRAY YEOMAN

nandos

SPINNINGFIELDs , MANCHEsTER, U.K.

307m2

Located off the main thoroughfare to the Spinningelds development, the design needed to have a strong external presence to attract the attention of passing trade. Buckley Gray Yeoman were to continue to work with a palette of natural materials and evolve design concepts from the Beckenham scheme. A new build shell unit presented BGY with a blank canvas but no discernable design direction from the surrounding urban realm. The

stated aim of drawing attention to the restaurant had to be achieved without altering or projecting out from the existing shopfront. BGY were to capitalise on the volume of the unit,
maximising covers, whilst maintaining a sense of intimacy to dining areas.

A silvered oak box sits within the shell unit. Lights to the front edge give external presence. Backlit perforated panels by Jonathan Coles dene the entrance and highlight a servery kitchen. In-situ concrete walls, seating booths and rope screens divide the unit without creating isolated zones. Murals hang to perimeter walls, glimpsed through a timber wrap, and oversized text emphasises the Nandos brand.

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CLIENT/OWNER

NAnDOS CHIcKEnLAnD
DESIgN FIRM

BUcKLEY GRAY YEOMAn

DESIgN TEAM

MATT YEOMAn, PETER THOMAS, ZSOFIA KOVAcS

MAIN CONTRACTOR

GF COnTRAcTS
LIgHTINg CONSULTANT

JOnATHAn COLES LIgHTIng DESIgn

PHOTOgRApHY

HUFTOn & CROW

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CCS ARcHITEcTURE

barbacco eno trattoria

SAN FRANCIsCO, CALIfORNIA, U.S.A. 246M2

Barbacco, just opened in San Franciscos Financial District, is the sexy little sister of Perbacco, the acclaimed 2006 Italian restaurant on California Street. Owners Umberto Gibin and chef Staffan Terje saw the need for a more casual option to serve the neighborhood, and when a space next door became available, they engaged CCS Architecture to develop a trattoria that would convert to an enoteca or wine bar at night. The result is Barbacco Eno Trattoria.

Barbacco, with 66 seats, occupies a long, narrow room within the 1912 Hind Building. Inspired

a sports car, links the higher ceiling at the front of the restaurant with the lower ceiling toward the rear. Forms, detailing, colors and art celebrate Italian culture, cinema, and design. Blurred images of Vespa scooters, wine barrels, sexy Italian screen Vibrant yellow combines The wine bar and eating stars, and motorcycles with more subdued colors counter extend the length of create a sense of sport and to complement the wall the space and sumptuously speed. of exposed brick. Negro curve. An extended row of counter-height tables provides Marquina stone and stainless steel create an urbane, exibility, accommodating almost industrial feel that the change from daytime is moderated by the warm, to evening. Community textural, dark wood bar face. tables cultivate a bustling Walnut and chrome details on atmosphere toward the front the tables and chairs recall of the space. Ferrari Yellow the dashboard of a luxury elements - a beverage case car. Bias-patterned gray and on one wall, with framed yellow oor tiles reinforce the mirror and blurred images feeling of movement. opposite - horizontally line the room. A frameless glass Barbacco is lled with the storefront provides views avors of Northern Italy, of the warm interior and emanating from the food, but opens the restaurant to the also from the restaurants urban landscape beyond. San Franciscos famous cable cars colors, materials and urban rattle by adding an extra sense attitude. Incorporating some of Perbaccos DNA, CCS of romance. Architecture has created a chic and approachable new gathering spot that is already a destination in its own right.

by traditional wine bars in Milan and Rome, the space is sleek, urbane and welcoming. A dramatic shaped ceiling, evoking the lines of

Lawrence Lauterborn

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CLIENT/OWNER

UMBERTO GIBIN & STAFFAN TERJE

DEsIGN FIRM

CCS ARCHITECTURE
DEsIGN TEaM

CAss CALDER SMITh(DEsIGN PRINcIpaL) BARBARA TuRPIN-VIcKROY(INTERIoR DEsIGN BRYAN SOuThWIcK(PRoJEcT ARcHITEcT)
STRUcTURaL ENGINEER

DIREcToR)

JOhN YADEgAR AssOcIATEs

KITcHEN

FRANK MuLLER
LIGHTING
4 5 1 ENTRY 2 BAR 3 cOMMuNITY TABLE DININg 4 BANQuETTE DININg 5 Wc 6 KITchEN 7 sIDEWALK 5 3 7 1

CITY LIghTs
MEP

4 5 5

AcIEs
GENERaL CoNTRacToR

7 1

2 6

main dining and front of house kitchen/back of house bar bar restrooms restrooms
main dining and front of house kitchen/back of house

1 2 3 4 5 6 7

ENTRY BAR COMMUNITY TABLE DINING BANQUETTE DINING WC KITCHEN SIDEWALK

JME CONsTRucTION
PHoToGRapHER

ERIc RORER, uNLEss sTATED

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ENTRY BAR COMMUNITY TABLE DINING BANQUETTE DINING WC

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4N ARCHITECTS

aok

HONG KONG, CHINA

149M2

Fusion cuisine in Hong Kong has always been marketed as a luxury experience by corporate monoliths. However, the owner of AOK, a well-established local restaurant group, intended to bring fusion cuisine into peoples everyday life. Working with 4N Architects, AOK set out to combine high quality service and reasonably priced During design concept fusion cuisine with Sandwiched between some of Hong Kong oldest development, 4N found that a chic and inviting public housing sectors, the eggs have always been interior. fully opened entrance of an important ingredient in
AOK intended to invite a wide spectrum of the local population. The facade and details conjure up a feeling of natural beauty within. Spatial experience has always been a key criteria in 4Ns design approach. The interior is sliced into different sections intended to give customers a distinctive experience each time they visit, an approach specially set out for a restaurant in the heart of a residential suburb. On weekdays, one can share the long dining table with neighbors or sit at a round table with family and friends. In contrast one can spend a relaxing Sunday afternoon with the family in a cozy booth seating offering greater privacy. most Asian cuisine and is thus used as a main feature in this restaurant. An eggshaped structure and circular elements become major elements in the design approach. The egg shellcladded VIP booth, the curved ceiling prole and tectonic concrete oor overlay with circular timber-patterned oor tiles remind customers of Asias favourite ingredient. The colour scheme features green, white, and monochrome colors like brown and grey. The earth tone ooring is a special touch by 4N to make people aware of the natural environment. While the green bowl-shapeed ceiling matches the hand-crafted chairs, specially designed by 4N for AOK, it gives the feeling of sitting under a tree. An elongated mirror on one major side of the restaurant is another highlight that

provides patrons with reections of various views. This experiences varies depending on where the customer sits and dines. A special feature of the lighting design is that hidden lights from above the mirror shine onto the bottom of the slanted ceiling panels. This light is reected back into the interior as comfortable diffused lighting. The branding experience was enhanced by inserting several crafted, patterned panels featuring the restaurants oral logo. Light xtures were carefully chosen to enhance the chic interior with imported pendant and fan lights becoming part of the design feature. As part of 4Ns environmentally friendly objectives, 4N applied various strategies to lower carbon emission from the design aspect as well as in daily operations such as using

zoned lighting, energysaving LED lamps, adding ceiling fans to enhance air circulation and reduce demand of air-conditioning units, and designing ttings that consume less energy. 4Ns design approach is in harmony within the environment and customer needs. While meeting the owners commercial requirements, customers desires and needs were not neglected.

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AOK RESTAURANT GrouP 4N ARCHITECTS DesiGn TeaM Sinner Sin & DannY Ng Main COntractOr Kee Wah Contracting CoMPanY PhOtOGraphY Mr. Pine YiP & Ms. HYedY Tsui
cLient/OWner DesiGn FirM sUppLier: PenDant LiGht

ArteMide

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ESTeR BRUZKUS ARCHITeKTeN

susuru
BERLIN, GERMANY

175M2

The udon noodle bar Susuru is located in the centre of Berlin. Susuru means slurping in Japanese whereas in Europe, this is frowned upon. The interior was inspired by the cult Japanese lm Tampopo directed by Juzo Itami.

The interior design connects an ideal midday stop-off with a familial atmosphere.
The design combines Japanese ornamental, highclass white furniture and minimalist accents. Gently curved seating creates an elegant contrast to sophisticated dark wall tiles. The tiles are a major design element along the main axis. LIghting illuminates every single table. Frank Gehrys Cloud Suspension Lamp adds more depth to the space.

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CLIeNT/OWNeR DeSIGN FIRM DeSIGN TeaM PHoToGRapHY

DR. ROMANN FEHRENTZ ESTER BRUZKUS ARCHITEKTEN ESTER BRUZKUS, SAbRINA CEGLA LUdGER PAffRATH

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MUT-ARCHITECTURE

restaurant 51
PARIS, FRANCE 200M2

The newly built Restaurant 51 sits within the Cinmathque Francaise which is housed in a Frank Gehry structure completed in 1994 - situated at 51 rue de Bercy, in Paris 12th arrondissement. The client initiated the project after winning an appel doffres one month before the project was to be completed - a completion date set to coincide with the restrospectives Jacques Tati openning. Working from the South Bronx in NY, Elonore Morand and John Mascaro, i.e., Mut-Architecture, in competition with another architect, quickly set out to conceive a solution for the 200 sq meter space with a budget

of only sixty thousand EU. Mut then began collaborating with Le Potager in Paris to begin implementing the design and manage the project on site. All the team members came together just one week before completion, working straight through to actualize the project.

building is a forty meter long twisting, turning picnic table constructed of Swiss Pine. The table enters and exits the building in a virtually seemless line, creating a sense of social dining, inviting people from the parc and adjoining neighbourhood.

The space opens to face Parc de Bercy so that unifying the interior space with the Parc became a crucial element of the concept. Spilling from the

Fabrication of the table ended in the hands of Kunstbetrieb of Mnchenstein SW. Together with the Swiss team, Mut devised a method for bending the elements of the table without the use of steam. Moulds were made, glue was purchased by the bucketload, clamps were applied. The table ows through the space like a stream broken in points to allow the ow of foot trafc.

certain legs, then crunched the remaining parts together to t the space allotted for the epicerie. The piece was sanded and coated with the same black paint used for the walls of the larger of the restaurants two rooms. Atop the epicerie, in nooks and within dresser drawers, sit cans of pt or bottles of wine.

the entirety of the space, from a formally white room to the rugged, solid black room. The whole space is illuminated by ad hoc chandeliers constructed of Y sockets purchased in New Yorks Chinatown for less than 200 EUs and a varying assortment of bulbs found in hardware shops around Paris.

Hanging from old hutch legs you nd saucisson to be accompanied this summer Inside the restaurant, the by lounge chairs and picnic Epicerie is an amalgamation baskets one can rent from of discarded furniture pieces purchased for 250 EU. Working the restaurant to relax with products from the epicerie. on site, Mut and Le Potager Rather than settling for regular dismantled the furniture, structural legs, seven pairs cut away shelves, smashed of lled shing boots serve through drawers, chopped off as the structural support for a bank which houses the cash register and electronic equipment for Restaurant 51. A large protruding mezzanine, in which a library is housed, was painted a rich red. The giant object passes through

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HUGhES PIKETTY MUT-ARChiTECTURE DESIGN TEAm JOhN MASCARO, ELONORE MORAND, BRiGiTTE BOUiLLOT, BENOiT MiLLOT TABLE FABRICATION JRG BADER(KUNSTBETRIEB) PHOTOGRApHY BRiGiTTE BOUiLLOT
CLIENT/OWNER DESIGN FIRm

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OUTLINE

bangalore express city

LONDON, U.K. 480M2

Bangalore Express is a restaurant serving creative Indian food. The client wanted to maintain a visual relationship with Outlines rst Bangalore restaurant in Waterloo. However, it was also important that the City site should have its own character,

responding to its location within the square mile. The designers conceived of the City restaurant as the older sibling of the Waterloo branch. Coffered ceilings were created over the two oors as a modern allusion to the banking halls in the vicinity. The ceiling is a negative landscape, allowing the side

lighting to have darker and brighter spots to heighten the volume of the spaces. Around the Ground oor Bar, tifn bowls are set into the wall, a reference to Indian take away meals, used by workers to carry their lunch. Many of the bars surfaces reect at strange angles, allowing views over to the informal seating arrangement behind. An overhead mirrored glass rack, running the full length of the bar, adds to the abstraction of the space and reects the linear lights set under the bar top. A large, feature staircase, purposefully sited opposite the entrance, leads customers directly down to the dining rooms. Here a series of covered booths runs the entire length of the Basement, splitting the room to make three separate areas: A main dining room, an Indian seating area with raised platform and a private dining room, all lead from the booths. The intention is to make three distinctive dining experiences

while making sure they are interlinked and allow views through to the other spaces. The booths themselves have a lowered ceiling and are designed to make a rhythm through the restaurants main axis, based on two tables per wraparound enclosure. The grooved walls around the bar and restaurant are as the Waterloo restaurant, a 6mm line cut into the wallboard. This idea came from seeing the waste sheet contractors place under a board they are cutting. After several cuts, this underboard has a series of shallow grooves forming an abstract pattern. This method was replicated on the walls painting the grooves in the basement bright red. Overall,

the City restaurant has a more rened colour palate than the Waterloo restaurant, again reecting the surroundings and clientele. Outline offers a design-led service to clients looking for a creative team who can respond to their individual requirements. Through collaboration with a network of specialist contractors, consultants, craftsmen, artists and suppliers they deliver innovative, userspecic spaces. Through use of materials, understanding of light and exploration of the projects brief, Outline makes spaces that are not only visually beautiful, but functional and practical. According to them, design is only part of the process.

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WATERLOO LEISURE OUTLINE MAin ContRACtoR TBA COnTRAcTORS EleCtRiCAl ContRACtoR GRIFFIn ELEcTRIcAL EnGineeRS PAcKMAn LUcAS M&E ConSultAnt PEARcE AnD ASSOcIATES PHotoGRApHY COURTESY OF OUTLInE
Client/oWneR DeSiGn FiRM

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PAUL KELLY DESIGN

cargo pizza & bar

TASMANIA, AUStRALIA 275M2

Paul Kelly Design was contacted by the client David Hales in early 2008, after the nalization of another project completed for the client Observatory Hotel, to create a small scale pizza and wine bar in the historic Salamanca Precinct.

The brief from the client was to create a bar that could trade from lunch to late night, by keeping a low and small prole and not being too denite in the direction/markets that were being attracted. The space was to offer an internal offer of high volume pizza and wine / bar and an external retail face offering pizza, coffee and gelato.

The space previous to the renovation was two tenancies, one with a Fish and Chip shop and the other a historic walkway with cobble stone oors housing an ATM. A protracted battle was undertaken to obtain the local government clearance to open the two tenancies to each other, due to the history of

the space, but this was nally obtained and works began. The concept was based around a classic heritage style interior with a raw/stripped concept balancing out the charm. The internal bar space features a large bar area, high bar standing area, side and rear lounges (which are raised) and wide outdoor tables to the street. The Pizza kitchen can be viewed from the raised lounge area, and a lot of natural light spills through the space from the wide openings to the street. The interior of the space, prior to the renovation, consisted of painted stone walls that were constructed of a mixture of plaster and rubble. This was an early method of securing the sandstone/bluestone walls, but is not always the most appealing of surfaces. To cover this to the rear of

the bar, hand-made convict bricks were sourced from a demolished turn of the century building and placed in the space to make it feel more original. The ceiling in the space was the original timber joists for the oor over. These were adapted and acoustic lining placed between the joists to increase noise absorption. All existing timber columns and ceiling were painted white for continuity. The tout looks like it was existing but all the original elements were imported to give it that lived in feel, the idea being that the bar has always been here just as it was discovered. The space uses a lot of raw steel mixed. The back of bar shelving unit is a continual piece of steel section, bolted into the wall (with secret LED lighting). The bar is

made up of steel proles, all distressed with antique mirror in between to maximize the depth. The main feature of the room is the dividing spine wall between the two original tenancies. This was covered in white tiles, with every tile laid in a different direction. It has the appearance of the original wall which may have been used 30 years ago. The tile pattern, combined with lighting, has a great effect as night increases because the tiles reect different shapes in the shadowing. The raised lounge area, which is hidden between the recesses in the white tiled wall, is a great place for customers to get into the space early and hide in the background enjoying a few wines, on the leather banquettes with the customdesigned acrylic pendants overhead.

The renovations have brought the quantity of pizzas to 1,200 per week and has become the destination bar for the states capital. The space is a simple concept located in a prime location with heavy competition, but pushes through the competition due to its quality service, product and t-out.

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ClienT/OWneR

SOUTHBANC GROUP DaVId HaLEs Design FiRM PAUL KELLY DESIGN Design TEAM PAUL KELLY, STUART FORMOSA, HANNAR DAR BUILDER CORDWELL LANE STRUCURAL ENGINEER BURBURY CONSULTING AV SERVICES KWMC PHoTogRapHy SEan FEnnEssy

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SHH

teaspoon
ST PETERsBURG, RUssIA 305M2

6 year-old and 70-strong Russian chain of tea and pancake houses, based mainly in the St Petersburg and Moscow

A bold and striking new design concept was conceived for Russian tearoom operator Teaspoon. Teaspoon is a

regions in high street and hypermarket locations. The Teaspoon offer is based around a range of speciality teas, along with savoury and sweet pancakes. Each pancake is made to order and so the client brief asked to underline the theatricality of the preparation process, whilst customers await their order. The new design also had to encapsulate a broader offer including coffee, cakes and also draught beer, created

as a separated offer with a dedicated till and aimed at different customer time slots in the day and evening. The new 300 sq m space had a natural sense of theatre with an exceptionally high 6m void below the beams (and a further 2m above) and existing industrial-feel exposed ceilings, with enough volume to allow for an interior

treatment of strong colours and dramatic design features. SHH wanted to achieve a clean, light and dramatic feel for the interior, building on the existing orange brand identity. The designers were also briefed to create a highly contemporary concept, but one that was specically Russian and non-generic. The strongest new design feature a 6m-high wraparound ceramic wall took the existing orange of the

Teaspoon brand and added two further tones of orange, along with black and white for contrast. Taking inspiration from traditional Russian folkloric art, the colours were combined to create a locationspecic, huge scale ceramic wall, which dominates the space. The main space customer seating area takes the form of large, communal, picnic-style tables; some with benches and some higher up with loose seating, whilst some tables are single and others double-sided, so that all types

of users, from single users to groups, feel comfortable. Above the main seating area and balancing out the impact of the tiled ceramic wall is a series of ten giant-scale, bespoke hanging pendant lights in black with an orange interior. A more intimate area down one side of the new space features booth seating, with bespoke-designed highbacked orange seats and orange perspex low-pendant lights above each table. A lounge area, with a different design treatment, houses 8 smaller round tables and loose furniture.

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TEASPOON SHH DEsIGN TEAM NEIL HOGAN, HELEN HUGhES, AShLEY ThOMPSON PROJECT LOCATION St PEtERSBURG, RUSSIA PhOTOGRAPhY COURtESY OF SHH
CLIENT/OWNER DEsIGN FIRM

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WESTAR ArCHIteCts

liquid
NEW JERSEY, U.S.A.

557M2

The concept behind the Liquid Bar and Caf was to create a multipurpose entertainment and dining experience.
The bar and caf are colocated, each open 24 hours a day and they both change functions throughout the day. The bar serves quick to-go pastries and coffee in the morning and salads and sandwiches throughout the day. The back wall of windows and doors open to the famous boardwalk that overlooks the Atlantic Ocean while the front is open to the hotel and the caf. At night, it turns into a live entertainment venue with V.I.P. seating and bottle service and music that can be heard on the beach. Frozen vodka lockers and a curved-glass wine display conspire to create private seating areas in the Bar. The backlit serpentine bar meanders throughout the space. Faux ostrich skin wall panels, wood ceilings and red terrazzo oors dene the bar. A double-sided second bar opens to the Boardwalk and the Atlantic Ocean. The patio seating is dened by hand-bent railings. The color palette of the Bar furniture is deep reds, oranges and browns while the fabrics are mostly solids with interesting textures of terrycloth and velvet. The upscale Caf serves a sophisticated menu of Asian, Italian, Americana, and vegetarian fares. Half of the dining room is open to the lounge for an exciting dining and dancing experience, while the other half is intimate and quiet for a romantic evening. The Caf softens to a palette of pastels of yellows, oranges, reds, and browns in interesting patterns. Twenty-foot tall metal piping encloses the booths and denes the boundaries of the Caf. Banquettes create freestanding scrolls to divide the Caf into small, quaint zones.

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CLIeNt/OwNer DesIGN FIrM PHotoGrapHY

TRUMP ENtERtAINMENt WESTAR ARCHItECts DARIUs KUZMICkAs

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PLANET 3 STUDIOs

mochamojo
BANDRA, MUmbAI, INDIA 237m2

A well known chain of coffee shops distinguished by a distinct, eclectic kind of interiors wanted to up-end the experience for its patrons at one of the outlets. A brand and space quality perception study was conducted by the designers involving patrons, management and employees provided interesting pointers to the way forward.
Chor bazaar chic seemed to work well only up to a point and beyond that the cognitive dissonance of reconciling second hand furniture with quality experience was testing customer approval. The designers understood that at its essence, the experience hinged on period evocation. By reorienting the entire concept towards the exuberant, visually exciting and easily recognizable 70s, they drew from retro references and interpreted them in a contemporary context. By researching art, graphics, colour palettes, nishes, furniture, wall treatments, tiles, window dressings, interior styles, lighting and more, they created a library of sorts to be mined for inspiration. Except for an interesting ceiling in one section of the existing restaurant, everything else was stripped bare. Within this empty shell, a retro inspired bar and backdrop in signal red with frosted acrylic cutouts and faint backlighting was added. A collage of Roy Lichtenstein pop art clad on adjacent walls dened the access to a faux fur lined alcove that exuded excess and decadence of the age. Sofas, seats and even a oor rug took the crimson hue. A high recognition pattern was specially recreated and printed on plain wallpaper to create a striking backdrop for an iconic object of the age. an Ambassador car. A trunk accommodated a seat and ensured the tail lights worked. Plastic moulded seats, the iconic lip sofa, chrome edged and Formica-topped diner tables, ower power ottomans, white couches with quilted covers, neo-retro table with a lamp for a leg, high gloss jigsaw puzzle tables, a Rubiks cube for a corner table, a large table shaped as a telephone dial, a multi-colour sofa, a whole seating that spelt Make Love Not War and colourful garden benches that hugged a live treeall were created and assembled to achieve the intended vibe. An authentic cement oor from the time and an exciting 3D tile patterned oor outside were polished and left basically intact. Shag pile carpets added colour in intense patches. Accessoried with LOVE laser cut in mirror, lava lamps and up to door handles fashioned out of telephone parts, this space was crafted with attention to detail. From retro washroom tiles to cladding laminate on the outdoor fascia, the intensity of the design quality is maintained consistently. This project is unabashedly over the top and revels in sheer excess. The designers helped create a unique spatial experience for patrons who will hopefully take in multiple cultural references and a design vibe to be transported to another age and time. Forever retro!

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CLIENT/OWNER

IMPRESARiO ENTERTAiNMENT & HOSPiTALiTY PVT. LTD DEsIGN FIRM PLANET 3 STUDiOS DEsIGN TEAM KALhAN MATTOO, SANThA GOUR MATTOO, DiMPLE TORASkAR, MANSEE JAiN. PHOTOGRApHY MRigANk ShARMA, INDiA SUTRA

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STUDIO GAIA, INC.

sakea
BUSAN, SOUTH KOREA

740M2

SAKAE is a modern interpretation of a traditional Japanese restaurant, elegant and warm, a bit formal, wrapped in a traditional wrapping paper. The restaurant is monolithic and architectural, designed with basic shapes and with a sense of surprise and discovery. Lighting plays an integral part in the design without being overwhelming. It is a play of the old and new, traditional and modern, wrapped in red and owers. The main challenge was creating this balance.

Upon entering the re-opened Japanese restaurant Sakae, one is greeted by cherry blossoms on a red wall. Sakae encompasses three unique spaces including an independent space in a modernistic, simple design and a hall that embraces sunshine in summer. During the summer vacations in July and August, Sakae introduces two special menus for lunch, a bowl of boiled eel and rice set and an Eenaniwa udon set. In Sakae, one can enjoy the feeling of hot and cold in the interior design and menu, which reects the blazing sun and a cool breeze.

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PARADISE GROUP STUDIO GAIA, INC. DEsign TEaM ILan WaisBrod, Heaohn Lee, RonaLd DeschaMps, Patricia WaLKer PHotogRapHY CourtesY oF STUDIO GAIA
cLiEnt/oWnER dEsign FiRM

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MOHEN DESIGN INTERNATIONAL

danbo fun fast food

SHANGHAI, CHINA 250M2

The design consideration about ambience and function in fast food chains and restaurants are vastly different, not only in the general atmosphere but also in their overall operation. In addition to the necessary functions such as an easy usage and sanitization, the design focus for this particular fast food chain was to emphasize its unique market segment, as well as enhance the companys corporate identity. The owner of Danbo Fun has an accurate understanding of the image and concept they hope to achieve, as well as

determining their position in the market. The target was to create a joyful and modern gathering for people in the 18 to 35 year age group place to dine comfortably.

To accomplish this, the designers decided to analyze and draw their inspiration from the root of the concept.

After consideration, the designers were inspired to present the energy and power How could this be conveyed intrinsically without resorting of an egg with ourish and to conventional methods? How energy, symbolizing the bloom could a stronger visual impact of youth. Following the basis be marketed? How could this of this design concept, they be achieved to allow people to created and interpreted all the create a buzz about a distinct design lines and decorative image? Or to be more specic, language accordingly. Lines how could Danbo Fun be are relatively mild, though made unforgettable in the it is not an exaggerated free minds of consumers? circumstance of space as expected; decorative language

is also appropriated with playful patterns, emphasizing cuteness rather than naughtiness. The lava lamp wall symbolizes the ow of an egg yolk while the entire LED comes together to make the whole space appear livelier. The oating curves from the bar shapes are also attempts at slightly increasing the comparable line tensions. However, using an intense stimulus, the color hues veered from traditional tones, but approximations of the yellow tone was still the main base which was controlled to achieve a modest contrast.

naughty at heart just like in my school days.

According to the designer, It is both interesting and fun to help the younger generation to design space evoking a youthful revival. I think Im

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ZOE INTERNATiONAL MOHEN DESiGN INTERNATiONAL dESIGN TEAm HANK M. ChAO(ARChITECT), MiKE FANG, YU LONG LUO, JUN ZENG ChEN PhOTOGRAphY MAOdER ChOU(MOHEN DESIGN INTERNATIONAL)
CLIENT/OWNER dESIGN FIRm

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WILLIAM TOZER arCHiteCtUre & DeSiGN

kaffeine
laneway
FITZROVIA, LONDON, U.K. 80M2

The scheme consists of a full refurbishment to an existing restaurant in Fitzrovia, London. The new cafe, Kaffeine was shortlisted for Best Cafe in the 2010 Restaurant & Bar Design Awards
Timber decking and bluestone tiles respectively reference Australia generally and Melbourne in particular, where this type of stone was used extensively in the Victorian era. Boxes of timber decking function as seating and tables, alluding to the ubiquitous reuse of milk crates in contemporary Melbournian cafs. High-level mirror to the rear similarly creates an illusion of innite space, recalling the at Australian horizon. The compression of a Melbourne laneway is evoked by the longitudinal arrangement of the service counter and seating through the middle of the space, while the expansive area to the rear mimics the openness of the street to the front. A number of previously latent elements of the London site are brought to the foreground, including Victorian oorboards, brickwork, and a traditional shop-front. An active tension is established between these found-object components of the existing building, and the transplanted spatial and formal devices that have been introduced.

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PRIVATE WILLIAM TOZER ARCHITECTURE & DESIGN DeSiGN Team WIllIAm TozER, CHRIS BEER, Tom SHElSwEll & BoNNIE RoGERS MaiN CoNtraCtor METRopolITAN CoNSTRUCTIoN PHotoGrapHY CoURTESY oF WILLIAM TOZER ARCHITECTURE & DESIGN
ClieNt/OwNer DeSiGN Firm

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MAURICE MENTJENS DESIGN

frans hals museumcaf

HAARLEM, ThE NEthERLAnDS 200M2

The museum caf in the Frans Hals Museum has gone back to its original tripartite layout: a row of three small houses. Interior designer Maurice Mentjens gave each house its own colour palette in shades of grey. As an accent, he used the

colours of the historic Dutch ag - orange, white and blue. The design is intended to honour the sober yet sophisticated schutterstukken (group portraits of civilian guards) by the Dutch master Frans Hals.

The Frans Hals Museum is housed in the Oudemannenhuis (Old Mens Alms House), a tranquil group of 17th-century homes surrounding a courtyard. In order to add a museum caf to the building, three adjoining houses dating from the early 20th century were bought and broken through. Twenty years later, the interior had become very dated because of its lowered ceilings, obscured passageways and

fragmented space. Johan Jacobs, architectural historian for the municipality of Haarlem, proposed restoring the former layout and making the structure recognisable as three distinct houses, while respecting the existing oor plan. In his search for inspiration, Maurice Mentjens looked rst at the paintings of Frans Hals, one of the Old Dutch Masters, who experienced his greatest

success in the Dutch Golden Age of the 17th century. To my surprise, I realised that the interiors in his paintings are all decorated very soberly, almost minimalistically. This is true of both his individual portraits and his large schutterstukken. The underlit, purposely vague decors in which the characters are placed are actually always composed of the same basic tones: antique white, grey, tan, dark grey, and black. This characteristic sobriety was carried over into the interior design. Each former house received its own corresponding palette of grey shades. The rst space with its alcoves has been painted in three shades of grey, the second in the historical shade horn white (a pale off-white) with light grey, and the third, the lecture room, has been done completely in black. The wall decorations, also in black and white, consist of halftone prints of Frans Hals

paintings, large enough to ll an entire wall. The print on the wall by the kitchenette is dominated by shades of white, while the version in the lecture room shows a preponderance of black. The colour concept also uses three particular colours for contrast. Mentjens chose them with great care after examining ve famous schutterstukken, including the Banquet of the Ofcers of the Cavaliermen Civic Guard (1627). In this Hals work, the ofcers of the Cavaliermen Civic Guard stand out against a grey background, decorated with sashes in orange, white and blue. These are the colours of the various companies of the Civic Guard, and also the colours of the ag of the States of Holland, the governing body of the County of Holland until 1795. This combination of symbolic colours is present in the new museum caf in the fabrics used for the benches along the walls.

An existing bottleneck was put to good use in planning the new layout of the museum caf. The housing for the transformer juts halfway into the rst two houses. Instead of trying to disguise it, Mentjens decided to take advantage of this bulky structure by using it as a bar. The addition of beams to the walls surrounding the unit makes it resemble an old half-timbered house. The beams themselves serve as bottle-racks. In order to combine all the individual details into a coherent whole, pale oak oors have been used throughout, complemented by oak doors, as well as oak shutters in the lecture room. Teardrop lamps add a playful touch to this relatively sober, almost calculated interior. The result is a three-dimensional deconstruction and transmutation of a sumptuous schutterstuk from that glorious period of Dutch history that is the Golden Age.

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FRANS HALS MUSEUm HAARLEm MAURICE MENTJENS DESIGN GENERAL CONTRACTOR BOUWbEdRIJf HENSELmANS CONSTRUCTOR CONSTRUCTIEbUREAU TENTIJ BV ELECTRIC INSTALLATIONS SOmERS ELEKTRO TEChNIEK SOUNdSYSTEm TEChNO DESK CLImATECONTROL SPAARNELANdEN N.v. LIGHTING GREASE LIGhTING FLOOR BREdEROdE PARKET PAINTING RIJS SChILdERWERKEN INTERIOR CURfS INTERIEURbOUW WALL pRINTS JEAN-PIERRE ZOETbROOd PHOTOGRApHY ARJEN SChmITz
CLIENT/OWNER dESIGN FIRm

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VONSUNG

viet hoa cafe

LONDON, U.K. 128M2

Situated in the heart of a conservation area, VietHoa Cafeis the rst Vietnamese restaurant established (1995) on Kingsland Road, London, E1. When the designers sat down with the client in August 2009, they wanted to resist the endless march for efciency in a place of dining and basically, human interaction. But people are wonderfully chaotic, messy, unorganized, and complicated creatures. The designers felt that the restaurants or shopping centers customers are

constantly being shunted into a carefully shaped box which isnt tted perfectly.When they researched Vietnam and its culture, they were pleasantly surprised to see less chaotic stock and more people in their atmospheric surrounding. Thus the

planks. There is oak wood scent in every corner of the restaurant and the oors and walls are smooth and inviting to the touch. The oors and walls are made of4 meterlong pieces that stop one-inch short of the purpose-built acoustic brief became less ceilings to create lateral is more. They openings across the top of the west side of the restaurant craved simplicity made of lacquered black and added wood strips. The gap is to individuality to the show how the restaurant breathes - the heating and air restaurants main conditioning are channelled focus. through the strips and it makes the restaurant feel Discovering that the buildings longer and higher. structure was strong enough to support heavy materials, the To maintain the innity of the entire restaurants oors, walls space using the strips, Joseph and ceilings were constructed Sung (Creative Director of with solid, thick European oak VONSUNG) avoided revealing the surfaces whenever possible. Storage area, and

even the toilets, disappear into the walls only to be opened by a hidden door handle. The entrance to the restaurant has been positioned out of view, eliminating the need for an additional second entrance door. The main task was to unify the space in terms of color and materials - as furniture was acquired that would have such an impact. The palette was earthy and neutral yet structured with distinct lines, like sculptures, are references to Vietnams surrounding water and sky. The furniture nishes amplify the straight lines of the restaurants wood and strip panelling. The main

feature of the restaurant is the 9 meter-long center table which houses the King & Queen chair underneath the David Chippereld chandelier. Intimacy was achieved by focusing on the smallest details and by trying to surprise and delight guests by way of branding designs by Michiko Ito. We developed the new identity by creating the HOA - blossoming ower in Vietnamese - these intimate Hoa logo mark can be found in all way-nding, branding collateral, packaging and uniforms.

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VIET HOA CAFE VONSUNG DEsIgn TEAM JosePh Sung, Jing Chen LIgHTIng ConsuLTAnT DeLta Lights MAIn ConTRAcToR VONSUNG PHoTogRApHY Yu-Kuang
CLIEnT/OWnER DEsIgn FIRM

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SHH

applemore college canteen

SOUTHAMPTON, U.K. 450M2

SHH redesigned the dining area of Applemore College, a Southampton secondary school, in close consultation with both The Sorrell Foundation and UK government body The School Food Trust, which seeks to improve the quality of school food, promote the health of children and young people and increase school meal take up by targeting problem areas. The dining area had a series of complex issues. It was essentially a set of knocked-together spaces within a separated singlestorey building, it lacked cohesiveness and atmosphere and was very unpopular

with the pupils. The brief for the low-budget project was to create a sense of indoor greenery and some sheltered outdoor space, blurring the indoor/outdoor barriers. Dividing walls were to be translucent, increasing the sense of space and visibility; queue times were to come down and there should be better provision for litter and the use of sound-absorbing materials.

SHHs design concept for this space was to make a virtue of the spareness of the space and create a semi-industrial graphic-led environment with a certain tough and streetwise atmosphere, softened by an outside in policy with three of the new faades facing out onto the green grass.
The 4,000 sq ft interior has a relaxed cafeteria feel with zoned areas, some formal and some with looser low seating. Overhead hanging graphic panels help to absorb noise. Materials throughout are inspired by nature, with a yellow and green colourway. A rationalised seating plan with value-engineered furniture is offset by a striking striped floor in 2m-wide stripes (in a nonslip durable vinyl), with an industrial look inspired by Manchesters groundbreaking Haienda club. An external shipping container provides cover for some extra external seating (sprayed green to add a visual link to the interior). Also outside, screeded-off concrete stools (formed from Milton concrete tubes filled with concrete and aggregate) feature an iconic belisha beacon at their centre.

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CLIENT/OWNER

APPLEMORE COLLEGE / THE ScHOOL FOOD TRUst DEsIGN FIRM SHH

DEsIGN TEAM

NEIL HOGan, HELEn HUGHEs, AsHLEY THOMPsOn, ADaM WOODwaRD PhOTOGRAphY GaREtH GaRDnER

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SHH

cherbourg primary school dining room

SOUTHAMPTON, U.K. 200M2

SHH redesigned the dining area of Cherbourg Primary School in close consultation with both The Sorrell Foundation and UK government body The School Food Trust.
Like many schools, Cherbourgs dining area was also the school hall and served as a multi-purpose space, used variously for assemblies, sport, after-school club, storage and AV presentations. It was inevitably full of clutter, as it held equipment associated with all these functions, preventing it from serving any individual function as well as it should. The brief for the very tight budget scheme (45k in total) was to create a way to make all those activities smoother and less invasive by creating imaginative storage solutions and reworking the dining space counter area. The brief was to allow a separate feel for each activity, with improved lighting and storage, nicer furniture, better queuing at lunchtimes and quicker service - and to allow a sense of nature, colour and pattern into the space. Simple redecoration in white created a pure backdrop for a number of creative solutions to lighting, storage and highimpact graphic designs. Furniture was chosen that could be stored in trolleys, so that the whole hall space could be cleared, when needed, for other purposes. The trolleys also sit in the space during lunchtimes and feature coat hooks on the side for the childrens coats to hang on before going out to play. The far side of the hall has classrooms beyond a corridor area. The windows for these have been dressed with stained glass vinyl applications, tying in with the decoration of all existing storage containers to create a highly graphic environment, with great projected reections when the sunlight shines through. New pinboards can be used for notices, teaching or to display the childrens work. The new graphics were developed in close consultation with the children, who wanted to use images suggesting the outdoors, trees (tying in with the schools proximity to the New Forest), freshness and fresh food - especially fruit and vegetables. To help keep noise down, lighting is set within 8 foam, sound-absorbing chandeliers (or sound hoovers as the children have christened them), each measuring 1500 x 1200mm.

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CLIENT/OWNER

CHERBOURG PRIMARY ScHOOL / THE ScHOOL FOOD TRUst DEsIGN FIRM SHH
DEsIGN TEAM

NEIL HOGAn, HELEn HUGHEs, AsHLEY THOMpsOn, ADAM WOODwARD PhOTOGRAphY GAREtH GARDnER

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EVOKe INTeRNATiONAL DeSiGN iNC.

commune cafe
VANCOUvER, BRITISH COLUMbIA, CANADA 125M2

Commune Caf is a modern space utilizing light woods, recycled felt upholstery, corkpendants, custom wood tables and bright red chairs, creating acontemporary and inclusive room.
The space is organized around theservice kitchen, with large custom food display units and dark stone countertops. The menu boardsare written with magnetic letters, easy to change and viewable from any location in the room. The dining area has a capacity of 26 seats, and comprises a long white oak communal table with 18 red lacquer chairs and custom built booths at the perimeter. The four 2-person booths are also built in white oak, with seat cushions made from recycled wool industrial felt. Above the communal table hang three cork pendant lamps by Benjamin Hubert. At the back of the dining room there is a large scale, vibrant muralthat depicts a time when the cafe was the hub of social life and the inspiration for the exchange of ideas and creativity. The exterior of the corner site space is wrapped by a dining patio constructed entirely of western red cedar. The patio has space for an additional 24 seats, and is useable year round. Jasper Morrison Air Arm Chairs by Magis provide a clean compliment to the sleek patio details and glass curtainwall frontage. Branding for the caf was also used extensively on the exterior. Bright red vinyl window coverings provide a dramatic punch of colour and graphics framing the patio, while the central message of those who eat together stay together greets the guests upon entering the room. The client requested a holistic sustainable approach, and this is manifest in the use of FSC certied wood ooring, recycled felt, low ow plumbing xtures, energy efcient lighting, durable stone and stainless work surfaces and exposed concrete ceilings. This complements the recycling and food composting programme the kitchen strictly adheres to. There is a common design language used throughout Commune with Evoke being responsible for: interior design, custom-designed furniture, wall mural design and illustration, menus and all branding (including name development, logo identity, collateral graphics, signage).

SAMEI HOLDINGs EVOKE INTERNATIONAL DEsIGN INC DESIGN TEAM DAVID NICOLAY, ROBERT EDMONDs, DEAN COLLINGRIDGE LIGHTING CoNSULTANTS LIGhTFORM MAIN CoNTRAcToR ACTION PROJECTs PHoToGRApHY JANIs NICOLAY
CLIENT/OWNER DESIGN FIRM SUppLIERS: PENDANT LAMpS PATIo CHAIRS DINING

BENJAMIN HUBERT (CORK) MAGIs (MAGIs) CHAIRS ANDREU WORLD (ANDREU WORLD)

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WILLIAM TOZER arCHiteCtUre & DeSiGN

lantana
FITZROVIA, LONDON, U.K.

striated space
75M2

The scheme consists of a full refurbishment to an existing restaurant in Fitzrovia, London. Lantana was voted Best New Cafe in the Timeout London awards.

A distinction is drawn between the modern insertion of sculptural timber volumes and associated white planes that enclose various functional elements, and the existing building into which they have been placed. Through the addition of a white paint nish, the existing ceilings and walls have been curated and brought into a new relationship with the modern insertions, but are otherwise preserved in their raw and partially nished state.

The scheme consists of an internal and external refurbishment to an existing restaurant in Fitzrovia, London.
The new joinery and existing walls are white painted. The existing ceiling and walls have been left in their original state and painted white, creating a new relationship with the modern insertions. The oor has been nished in oak oorboards, mirrored in the slats of the service counter and high bar area, which conceals an existing vent to an electrical sub-station in the basement. The external xed glazing has been replaced with a hinged window to encourage interaction with the outside area. The washrooms are white painted with white tiles.

PRIVATE WILLIAM TOZER ARCHITECTURE & DESIGN DeSiGN Team WIllIAm TozER, CHRIS BEER, Tom SHElSwEll & BoNNIE RoGERS MaiN CoNtraCtor METRopolITAN CoNSTRUCTIoN PHotoGrapHY CoURTESY oF WILLIAM TOZER ARCHITECTURE & DESIGN
ClieNt/OwNer DeSiGN Firm

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CAMBRIDGE SEVEN AssOcIATEs, INc.

clink

BOSTON, MASSACHUSETTS, U.S.A.

307m 2

Unlike the space in its former life however, the restaurant now is a high-energy environment with polished wood oors, contemporary artwork and comfortable furnishings. The menu is broad and eclectic and the chef can be seen at work in the open kitchen. The restaurant also has a bar that serves the hotel lobby and has in itself become a Boston institution, offering classic drinks in its most unusual setting of a repurposed jail! Clink is a unique restaurant in a very unique setting.

CLIENT/OWNER
Kwesi Arthur

THE LIBERtY HOtEl

DEsIGN FIRM

CAMBRIDGE SEVEN AssOcIAtEs, INc.

DEsIGN TEAM

CAMBRIDGE SEVEN AssOc./AlEXANDRA CHAMPAlIMUAD & AssOc.

LIGHTING CONsULTANT

CANDAcE KlING LIGHtING DEsIGN

ART CONsULTANT
Peter Vanderwarker Peter Vanderwarker Peter Vanderwarker

ANJA KOHlER
MAIN CONTRAcTOR

SUFFOlk CONstRUctION
PHOTOGRApHY

KWEsI ARtHUR, PEtER VANDERWARkER

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Kwesi Arthur

Clink Restaurant is the full service, three-meal restaurant in the new Liberty Hotel in Boston. The Liberty, located in the former 1851 historic Charles Street Jail Building has become one of Bostons newest and most popular hotel and restaurant destinations.

Clink is a casual restaurant that is located adjacent to the hotels lobby. Its name is of course derived from jailhouse slang which seems appropriate given that the dcor surrounding this restaurant is indeed complete with original and authentic cell doors, steel bars, and brick walls.

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JORDAN MOZER AND ASSOCIATES, LTD.

copper bleu
MINNEAPOLIS, MINNESOTA, U.S.A. 650m2

Copper Bleu is a Modern American Bistro in Dakota County, Minnesota, fteen minutes south of Minneapolis. It is an independent restaurant featuring handcrafted American supper-club dishes composed with seasonal ingredients and pronounced culinary inections from Asia and Europe, reecting the increasingly diverse suburban population united by popular culture. Similarly, the design for the building is an abstraction of the prairie landscape and the idyllic archetypical midcentury vernacular lodges and roadhouses of Minnesota. The design team for Copper Bleu was led by Jordan Mozer and Associates, Limited Jordan Mozer is an artist / designer with degrees in architecture and product design. He and his partner, architect Jeff Carloss, created designs for the building, the landscape, and most of the handmade furnishings, employing many regional

materials such as eldstone, copper, bronze, Douglas r lumber, quartz, Minnesota limestone and walnut. The site features rolling farmland and slices of deciduous forest and prairie. The form of the building emerged from a series of drawings, paintings and sculptures Jordan Mozer used to study and abstract the landscape forms. Two undulating copper-clad buildings (nicknamed Josh and Jake, after the owners sons) wrap around a terraced patio surrounded by evergreens, evoking a public exterior space suggestive of the north-woods weekend homes of Minnesota. Copper, mined nearby, was used to clad the roof and walls. The base of the building is local eldstone.

The sculptural forms of the building give the restaurant drive-by street presence. The building forms are like the landscape forms and as copper has developed a healthy patina, the natural color has become even more integrated with the landscape. The design of the restaurant began with an efcient kitchen and seating plan that minimized waiter travel distance and maximized the number of seats and exibility.

The plan is terraced, rolling like the landscape, allowing guests inside and outside to see one another. The interior of Copper Bleu is inspired by the archetypical lodges and roadhouses throughout rural Minnesota. The interior is entirely surfaced in warm wood, softened with textiles and highlighted by glass. The ceiling is a twisting rhythm of glue-laminated Douglas r beams and decking. Between the beams are chandeliers composed of

perforated metal and 25,000 glowing test tubes, inspired by the famous Minnesota Mayo Medical Clinic. The walls, like the ceiling decking, are composed of Douglas r tongue and groove decking. Sunlight from the long garden window illuminates velvet seating in the terraced dining room. Finish materials are natural and designed to improve with age and patina. Seating, lights and hardware were designed and manufactured for Copper Bleu by Jordan Mozer and Associates Limited.

RESTAUrANT TOUr LLC JOrDAN MOZEr AND ASSOcIATES, LImITED DESIGN TEAm JOrDAN MOZEr(PRINCIpAl/DESIGNER); JEFF CArlOSS(PRINCIpAl/ARCHITECT); BEVErlEE MOZEr(GENERAl MANAGER); SIAmAK MOSTOUFI(PROjECT DESIGNER / PROjECT MANAGER); MATT WINTEr (PROjECT PRODUCT DESIGNER); TIm ScHwArZ, BrAD ScHENKEl & COUrTNEY SUESS (DESIGNERS); REGGIE TrImblE (COORDINATOR) ARCHITECT OF RECORD CUNINGHAm GrOUP ArcHITEcTUrE, P.A. STRUCTURAl ENGINEER LINDAU COmPANIES, INc. REAl ESTATE SERVICES HEmPEl PrOPErTIES MECHANICAl ENGINEER HArrIS COmPANIES ElECTRICAl ENGINEER PArSONS CIVIl ENGINEER PIErcE PINI & ASSOcIATES, LLC MAIN CONTRACTORS KrAUS-ANDErSON CONSTrUcTION CO (GENERAl CONTRACTOR); JOrDAN MOZEr STUDIOS, LLC (INTERIOR ElEmENTS) PHOTOGRApHY DOUG SNOwEr PHOTOGrAPHY
ClIENT/OWNER DESIGN FIRm

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SMOLENICKY & PARTNER ARCHITEKTUR

strozzi piu
ZURICH, SWITzERLAND

Smolenicky & Partner Architektur won the contract to design a new restaurant within the former Credit Suisse headquarters building on Paradeplatz, Zurich. The conversion of the bank building into a covered shopping arcade created a new urban focus point with unique spatial qualities in the heart of the city. The Pi Restaurant aims to introduce a fresher, more youthful edge to the traditional idea of exclusivity. It adds a new dimension to the public life of Bahnhofstrasse (the adjacent main shopping street) and creates a contemporary interpretation of the Zurich urban tradition of sophisticated cafes, such as Consserie Sprngli, situated opposite.

As an open room of glass, the concept plays with the fascination and complexity of multiple transparencies and spatial transitions. A new connection with the surrounding city is created by seamless transitions between the internal and external areas. The entire space becomes unied through a continuous ow across different layers of transparency from the Paradeplatz main entrance through to the Baerengasse patio. The grand curtain wall, the continuous perimeter sofa, and the sweeping lines of the bar counter and kitchen front mediate between the rectangular geometries of the existing structure and the new courtyard enclosure.

The intensity of views through the glass cube is controlled by oor to ceiling curtains. Multiple layers of fabrics with varying degrees of transparency from sheer to opaque allow - depending on the chosen layering - just enough glimpses of the interior to entice passers by while protecting the privacy of guests inside. The project will prove itself as a beautiful canvas for the colourful urban social life. It tries to not merely understand aesthetics as an architectural dimension - it emphasises the celebration of beauty in use.

CLIENT/OWNER DEsIGN FIRM PHOTOGRApHY

STROZZIs AG SMOLENICKY & PaRTNER WaLTER MaIR

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FANTASTIC DESIGN WORKS CO.

maruha shokudo
NAGOYA, AICHI, JAPAN 300M2

This restaurant features teakwood and it is designed with a resort feel. It is famous for its lobster dishes.

MARUHA CO. FANTASTIc DESIGN WoRKS co. MAIN CONTRACTOR KATSUNoRI SUZUKI PHOTOGRApHY KEISUKE MIYAMOTO
CLIENT/OWNER DESIGN FIRM

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SJB INTERiORs

sepia

SYDNEY, NEW SOUTH WALEs, AUsTRALIA

300M2

Sepia was designed with art deco overtones to inspire a sense of timelessness in the interior.
An entry vestibule with gloss black timber frames forms a gentle transition from the busy, noisy street into bar area, which works not only as a transitional space for predinner drinks, but also as a more casual dining location. The dining spaces have been broken in to main rooms which are located either side of the bar area. This allows like minded diners and functions to be comfortably grouped to minimize any compromise to each groups dining experience.

Every area has been given its own personality while maintaining a consistency to the colour tones and textures throughout. The bar space is enclosed with circular banquette seating upholstered in snakeskin embossed velvet. High darkstained timber paneling surrounds the banquette providing a subtle separation from the quieter dining spaces beyond. The curved bar itself has been formed from Liguria marble bar reminiscent of

Paris or Rome in the early 20th century while the oor has been laid in semi circles of black, white and grey marble to create the drama of a grand European entry foyer. Continuous timber panelling has been studded with brass studs to form interlocking circular patterns, which add sparkle to the serene mood of the dining rooms. The paneling wraps around the kitchen areas to conceal the frenetic back of house activity. The dining rooms are anked with banquettes which not only screen the outside street, but also provide graphic decoration with their Art Deco inspired fabric.

VICKI WILD, MARTIN BENN, ANDREA AND GEORgE COSTI DEsiGN FiRM SJB INTERIORS DEsiGN TEAM KIRSTEN STANISICH, DAvE SwEATmAN OTHER CONsULTANTs AUSTmONT CATERINg MAiN CONTRACTOR ICMG PROjECTS PHOTOGRApHY LOUISE LISTER, UNLESS STATED
CLiENT/OWNER

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MOHEN DESIGN INTERNATIONAL

parkside
SHANGHAI, CHINA 150M2

Shanghai got its own colonial history which can be traced back a hundred years. This historic background gives the metropolitan a multi-cultural basis under a mysterious Eastern veil. Hundreds of NeoBaroque buildings along the Bund have a special identity. Nowadays, Shanghainese people enjoy art and culture from different parts of the world and are creating their own blend of eastern-western taste. Occupying a150 sq. m. space next to the small Fu-Xing Park in the heart of downtown

Hui-Hai Road area, the designers decided to inject the historical background of Shanghai into their design concept for Parkside Bistro and Bar. The restaurant is located on the rst oor of a 70-year-old, three storeyed Beaux-Arts Condo. Instead of traditional mouldings and trompe loeil, brass pipes are used to decorate the ceiling and become another interesting asymmetrical pattern of 3D effect. Faux-nishes are used to give a touch of historic feeling on the gilt painting. Old bricks are used in the backdrop and are lit by continuous wall washers. A geometric pattern is made on the oor by vinyl tiles.

The luxury of the Baroque Style was used in a mild, contemporary way with a low budget. The solution was to design a a

palace in a contemporary way and add a touch of oriental taste.

MR LEE MOHEN DESIGN INTERNATIONAl ARChITECT HANK M. ChAO(MOHEN DESIGN INTERNATIONAL) PhOTOGRAphY MAOdER ChOU(MOHEN DESIGN INTERNATIONAL)
CLIENT/OWNER dESIGN FIRm

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HIRSChBERG DESIGN GROUP INC.

empire
ONTARIo, CANADA 515M2

Located on the fringes of the trendy Yorkville district in downtown Toronto, Empire Restaurant & Lounge is designed as a place where royalty comes to play. This has a bold design that is arresting in its very simplicity.
The owners envisioned Empire as a venue to ll a major gap in the areas night scene where Mr. and Mrs. Famous could go to the scene with the cuisine. The entire venue is a sleek blend of highly polished surfaces, where white bar tops, dark zebrawood furniture, and dramatic draperies come together to create a theatrical and cool club-like atmosphere. Upstairs is the luxe new supper club that accommodates 110 for lunch, dinner, and look-atme lounging on adjacent street-level patio. It can best be described as spacious and minimalist. The layout was designed for maximum space usage by having only perimeter furniture xed. A long bar occupies the rear wall, creating a dramatic stage for those passing by on the street. The three Jewel Booths dressed in ostrich leather introduce some very private seating to the main level, while sparkling sheers that can be moved to separate the loose tables adds a very unique element that allows guests inside the booth to view the entire restaurant, and guests outside to look back at them. Downstairs is Chazz nightclub, where the sense of privilege is enhanced by VIP bottle service and a deliberately understated back alley entrance that allows VIPs to be smuggled in. Downstairs, the feeling is more communal with an intimate dance oor and curvy banquettes. The white ostrich leather seats stand out in contrast to the dark wood and subdued lighting. Empire Restaurant & Lounge adds vibrancy and style to the Yorkville strip, reaching into the areas of seclusion and voyeurism. DAVId LAXTON HIRSChBERG DESIGN GROUP DESIGN TEAM MARTIN HIRSChBERG, GEORGE FOUSSIAS MAIN CONTRACTOR KEVIN FERRY SOUNd ENGINEERING BANG ANd OlUfSEN PhOTOGRAPhY JOY VON TIEdEmANN
CLIENT/OWNER dESIGN FIRM SUPPLIERS:

STONE TIlE, FlOORWORkS STONE TIlE, SAlTIllO ImPORTS, ARC COm, METRO WAllCOVERINGS, GENERAl CONTRACTOR GLASS GENERAl CONTRACTOR WINdOW ROdGERS SURFACES DESSCO SOlId SURfACE COUNTERS UPhOLSTERY VAllEY FORGE FABRICS CURTAINS/BLINdS ARC COm
FLOORING WALL COVERING

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MARCEL WANDERS STUDIO

blits

ROTTERDAM, THE NETHERLAnDS

The latest culinary hotspot from Rotterdam-based Hotel New York Group was designed by Marcel Wanders. The restaurant is beautifully located on the banks of the river Maas. Head chef Glyn Stoker is responsible for the culinary creations. The building is a design by the Dutch architect Francine Houben that dates from 1989. Marcel redesigned the interior and made Blits a restaurant like a theatre.

Its even got Amsterdam talking! It combines typical Rotterdam brawn with the charm of Amsterdam. A restaurant like a theatre. As evening falls, its time for the audience to take the stage. Spectators and theatre merge, and it becomes impossible to tell the actors from the onlookers.The Rotterdam audience is the star of the evening; bottles are poured with charisma and bravado, bread and sh miraculously multiplies all around. The stage is scattered with props, and the formalities of the performance make way for chance encounters and unwritten romances. Young couples with no interest in the view ock to the red lodge, where they can safely drown in each others eyes. With the days work done, its time to loosen up and get down on the ashy Blits stage. Laughter lls the room, and the pressures of the day make way for the sensuality of night. The tired players peer into the darkened hall; oodlit ships oat past on the murmuring water, the moon glistens, and the actors costumes get a critical going over. Heavenly light lls the waterside stage, but not all that glitters is gold here. Tomorrow will be another day, the waters will ow; the Maas, it seems, is no longer alone.

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Jonas de Witte

??? MARCEL WANDERS MAIN CONTRACTOR ??? PHOTOGRApHY INGA POwiLLEiT, STYLiNG TATJANA QUAX (UNLESS STATED)
CLIENT/OwNER DESIGN FIRm

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index by designer
4N ARCHITECTS www.4N.com.hk ACARQUITECTOS www.acarquitectos.pt AllEN+PhIlp ARChITECTS/INTERIORS www.allenphilp.com BATES SmART www.batessmart.com BUCklEY GRAY YEOmAN www.buckleygrayyeoman.com CAmbRIDGE SEvEN ASSOCIATES, INC. www.c7a.com CCS ARChITECTURE www.ccs-architecture.com CRME www.cremedesign.com ESTER BRUZkUS ARChITECTS www.esterbruzkus.com EvOkE INTERNATIONAl DESIGN INC. www.evoke.ca FANTASTIC DESIGN WORkS CO. www.f-fantastic.com HIRSChbERG DESIGN GROUp INC. www.hirschbergdesign.com JHP DESIGN www.jhp-design.com JOI-DESIGN www.JOI-Design.com JORDAN MOZER AND ASSOCIATES, LTD. www.mozer.com aok cenario canal prado trader vics maze by gordon ramsay nandos clink barbacco eno trattoria mid-atlantic r2l the plant: caf organic macondo susuru commune cafe alice in mirror land alice in picture book le porc de versailles maruha shokudo scottish glamour so empire paris baguette redox bob san 156 110 92 84 68 8 146 244 152 76 52 62 106 160 240 26 32 40 250 118 100 256 114 122 20 WIlSDON DESIGN ASSOCIATES www.wilsdon-da.com MUT-ARChITECTURE www.mut-architecture.com OUTlINE www.outline-projects.co.uk PAUl KEllY DESIGN www.paulkellydesign.com.au PlANET 3 STUDIOS www.planet3studios.com PUCCINI GROUp www.puccinigroup.com SHAUN CLARKSON www.shaunclarksonid.com SHH www.shh.co.uk SJB INTERIORS www.sjb.com.au SmOlENICkY & PARTNER ARChITEkTUR www.smolenicky-architektur.com STUDIO GAIA, INC. www.studiogaia.com SUNAQUA CONCEpTS LTD. www.sunaquahk.com VONSUNG vonsung.com WESTAR ARChITECTS www.wagnarchitects.com WILLIAM TOZER ARChITECTURE & DESIGN www.wtad.co.uk JORDAN MOZER AND ASSOCIATES, LTD. www.mozer.com MARCEl WANDERS STUDIO www.marcelwanders.com MAURICE MENTjENS DESIGN www.mauricementjens.com MOHEN DESIGN INTERNATIONAl www.mohen-design.com copper bleu blits frans hals museumcaf danbo fun danbo fun fast food parkside restaurant 51 bangalore express city cargo pizza & bar mochamojo livingston odettes applemore college canteen cherbourg primary school dining room teaspoon sepia strozzi piu sakea prince grill viet hoa cafe hannahs family bistro liquid kaffeine lantana park terrace 246 258 212 142 202 254 166 170 174 188 44 130 228 234 178 252 248 194 126 224 134 184 208 242 138

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index by location
AUSTRaLIa > NEW SOUTH WaLES > SYDnEY AUSTRaLIa > TaSManIa AUSTRaLIa > VICTORIa > MELBOURnE > CROWn METROPOL CanaDa > BRITISH COLUMBIa > VanCOUvER CanaDa > OnTaRIO CHIna > HOnG KOnG CHIna > SHanGHaI CHIna > SHanGHaI CHIna > SHanGHaI CHIna > XIan FRanCE > PaRIS GERManY > BavaRIa > UnTERSCHLEISSHEIM GERManY > BERLIn InDIa > MUMBaI > BanDRa JaPan > AICHI > NaGOYa JaPan > KanaGaWa > YOkOHaMa JaPan > OSaka > UMEDa JaPan > TOkYO > GInZa JaPan > TOkYO > KInSHICYO JaPan > TOkYO > SHInjYUkU PORTUGaL > LISBOn SOUTH KOREa > BUSan SOUTH KOREa > SEOUL RUSSIa > ST PETERSBURG SWITZERLanD > ZURICH sepia cargo pizza & bar maze by gordon ramsay commune cafe empire aok danbo fun danbo fun fast food parkside prince grill restaurant 51 redox susuru mochamojo maruha shokudo so alice in mirror land scottish glamour le porc de versailles alice in picture book cenario sakea paris baguette teaspoon strozzi piu 252 174 8 240 256 156 142 202 254 126 166 122 160 188 250 100 26 118 40 32 110 194 114 178 248 THE NETHERLanDS > HaaRLEM THE NETHERLanDS > ROTTERDaM U.K. > LOnDOn U.K. > LOnDOn U.K. > LOnDOn U.K. > LOnDOn U.K. > LOnDOn > FITZROvIa U.K. > LOnDOn > FITZROvIa U.K. > ManCHESTER > SPInnInGfIELDS U.K. > SOUTHaMPTOn U.K. > SOUTHaMPTOn U.S.A. > ARIZOna > PaRaDISE VaLLEY U.S.A. > ARIZOna > SCOTTSDaLE U.S.A. > ARIZOna > SCOTTSDaLE U.S.A. > CaLIfORnIa > San FRanCISCO U.S.A. > CaLIfORnIa > San FRanCISCO U.S.A. > GEORGIa > ATLanTa U.S.A. > ILLInOIS > CHICaGO U.S.A. > MaSSaCHUSETTS > BOSTOn U.S.A. > MInnESOTa > MInnEaPOLIS U.S.A. > NEvaDa > LaS VEGaS U.S.A. > NEW JERSEY U.S.A. > NEW YORk U.S.A. > PEnnSYLvanIa > PHILaDELPHIa U.S.A. > PEnnSYLvanIa > PHILaDELPHIa frans hals museumcaf blits bangalore express city odettes park terrace viet hoa cafe kaffeine lantana nandos applemore college canteen cherbourg primary school dining room prado canal trader vics barbacco eno trattoria the plant: caf organic livingston bob san clink copper bleu hannahs family bistro liquid macondo r2l mid-atlantic 212 258 170 130 138 224 208 242 146 228 234 84 92 68 152 62 44 20 244 246 134 184 106 52 76

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 2010 by designzens designzens is an imprint of pace publishing ltd isbn: 978-988-1887-39-9 cover photo Kris Tamburello pace publishing ltd 2101-2102, 21/f., north point asia-pac commercial centre, 10 north point road, north point, hong kong t: +852 28971688 f: +852 28972888 www.beisistudio.com booknews@beisistudio.com publisher: george lam / george.lam@beisistudio.com proofreader: raka dewan design / layout: polly leung

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