Restaurants And Bars

R
E
T
A
I
L
S
P
A
C
E
S
restaurants and bars
ta b l e
10
o f
c o n t e n t s
Air France Business Lounge
Paris Charles de Gaulle airport, Paris, France
Brandimage – Desgrippes & Laga
14
20
26
32
Alara Finisterre, Spain
Marcos Samaniego MAS · ARQUITECTURA
Anthology San Diego, CA
BALDAUF CATTON VON ECKARTSBERG Architects
Artsenal La Spezia, Italy
Costa Group
Black Bottle Restaurant Bellevue, WA
Ankrom Moisan Architects
36
Bleu Portland, OR
38
Calla’s The Hague, The Netherlands
42
46
50
Yost Grube Hall Architecture
FG stijl
Crush 29 Roseville, CA
BALDAUF CATTON VON ECKARTSBERG Architects
Cupola Pizzeria San Francisco, CA
CCS Architecture
Dabbous London, UK
Brinkworth
56
Gatsby Santiago, Chile
60
Hell of the North Melhourne, Australia
66
Droguett A&A, Ltda
SMLWRLD
Hyatt Regency Düsseldorf, Germany
FG stijl
130 Mucche & Buoi Milan, Italy
Costa Group
134 Opa Philadelphia, PA
Crème
136 Park Avenue Café New York, NY
AvroKO
142 Press Club San Francisco, CA
BALDAUF CATTON VON ECKARTSBERG Architects
148 RedFarm New York, NY
Crème
150 Remedy Bar & Grill New York, NY
Tobin | Parnes Design
154 Restaurant Les Cavistes Montreal, QC, Canada
Blazysgerard
160 Rootz Kuala Lumpur, Malaysia
Design Spirits Co., Ltd., Yuhkichi Kawai
164 Royal China Restaurant Singapore
Ministry of Design
168 Second Home Kitchen and Bar Denver, CO
Andre Kikoski Architect
172 Sibling Rivalry Boston, MA
Prellwitz Chilinski Associates Inc.
174 Sinju Restaurant Happy Valley, OR
Ankrom Moisan Architects
178 Spices Asian Restaurant and Sushi Bar
Washington, DC
Design Republica, Inc.
74
Innuendo Port Washington, NY
Bluarch Architecture + Interiors + Lighting
182 Strada Santiago, Chile
78
Jamie’s Italian Cheltenham, UK
Stiff + Trevillion Architects
186 Teeq Kuala Lumpur, Malaysia
Kazumi Sushi Lounge Montreal, QC, Canada
190 The Lounge Quebec, Canada
84
La Bohème Porto, Portugal
AVA – Atelier Veloso Architects
194 The Swan at The Globe Theatre London, UK
90
La Boquería Santiago, Chile
Droguett A&A, Ltda
200 The Wright at the Guggenheim Museum
82
96
Jean de Lessard
La Promenade New York, NY
Crème
100 Lake Chalet Seafood Bar and Grill Oakland, CA
CCS Architecture
108 Le Local Montreal, QC, Canada
LEMAYMICHAUD Architecture Design
114 Le Vesuvio/Le Café by Vesuvio Cannes, France
FG stijl
120 Lily & Bloom Hong Kong
AvroKO
126 Mezban – Inverted Topography Calicut, India
Collaborative Architecture
Droguett A&A, Ltda
Design Spirits Co., Ltd. Yuhkichi Kawai
Jean de Lessard
Brinkworth
New York, NY
Andre Kikoski Architect
204 Tinello London, UK
Brinkworth
206 Troll Wall Restaurant Møre og Romsdal, Norway
Reiulf Ramstad Architects
210 Universum Lounge Berlin, Germany
plajer & franz studio
212 Yan Club Beijing, China
Bilkey Llinas Design
216 Zama Philadelphia, PA
Crème
220 Index of desigers/architects
Black Bottle Restaurant
Bellevue, WA
Ankrom Moisan Architects, Portland, OR; Seattle, WA
Seattle’s neighbor across Lake Washington, Bellevue, is
quickly becoming a high-end destination neighborhood
with many expensive and flashy restaurants that cater to
a clientele wishing to see and be seen. The owners of Black
Bottle Restaurant wanted to create an alternative to this
scene. Their goal was to develop a cozy place for customers wanting good food and fulfilling conversation—a place
in which guests would immediately feel comfortable and a
sense of belonging.
The first challenge faced by the designers at Ankrom
Moisan Architects was the space itself—a raw, 5,186 sq. ft.
space on the ground floor of a new steel and glass highrise. Lead Designer, Heather Hayes of Ankrom explains
their solution, “We took a minimalist approach toward the
space to celebrate the elements that struck the desired balance of new and seemingly old. We aimed to give the raw
space a patina, and a look that suggested layers of history
accumulated over time. To fulfill the desired minimalism,
every built element had to be carefully curated. Each selected material, piece of furniture, and accessory serves a
specific purpose and helps tell the story.”
The focal point of Black Bottle, and the foundation
for the rest of the design, is its striking floor. Made from
wood that was reclaimed from the fence posts of a Kentucky horse farm, it features strongly contrasting lights
and darks. The wood provides a level of depth and warmth
that a new floor could not. The designers wisely left large
expanses of the beautiful surface free of furnishings.
Both the lights and the darks of the floor reappear in
the furnishings—the darks with espresso-stained benches
and bar stools, and the lights with the honey-colored
tables and chairs. Texture is used to add visual interest
to the neutral color palette. Concrete columns were left
unfinished and the lighting, furniture, and accessories
were selected to appear as if they had been collected over
a number of years, rather than purchased all at one time.
The designers collaborated with a metal artisan to fabricate the window frames by hand. “It’s not sterile machineperfection, so the guests can see that someone’s hand
really touched it,” explains Richardson. “The fireplace as
well as the niche behind the bar also exude the artisanal
touch with their hand-applied finishes and simple treatment.”
As result of all this attention, the 150-seat Black Bottle
offers a dining experience that is at once modern and cozy.
Black Bottle is a casual gastropub that looks as if it has been in the neighborhood for decades.
32
Custom-made pendant lights with chicken-wire covers hang over the bar. The back of the bar is hand-applied Milestone, a
cement product created by a Seattle craftsman.
33
Looking toward the front entrance the mixture
of modern and rustic can be seen. Handfabricated metal window frames allow natural
light to flood the space.
The espresso-stained wooden benches and bar stools complement the strong darks and lights of the flooring
made of salvaged fence posts from a horse farm. The atmosphere is warm, friendly, and welcoming to all.
The tall and elegant service station, above right, referred to as “The Shed,” has small, movable windows that
recall historic rural structures.
DESIGN: Ankrom Moisan Architects, Portland OR; Seattle, WA
CLIENT: Tavernworks LLC
KITCHEN DESIGN: John Starkey Food Service Design
LIGHTING: Ankrom Moisan Architects
PHOTOGRAPHY: Francis Zera Photography
TEXT: Xylia Buros
35
Crush 29
Roseville, CA
BALDAUF CATTON VON ECKARTSBERG Architects, San Francisco, CA
Entry area
Crush 29 is a full-service, high-end restaurant focused
thematically on wine. Tasked with the design, BALDAUF
CATTON VON ECKARTSBERG Architects, looked to the
Northern California wine country for design inspiration.
Located in Roseville, California, a small city near Sacramento and about 80 miles northeast of Napa Valley, Crush
29’s warm, dramatic spaces and rich natural materials
enable guests to experience the beauty of the wine country
and celebrate all that it has to offer without having to
make the trip west.
The anchor and focal point of the restaurant is a
dramatic circular wine bar and its accompanying sculptural light fixture. Fashioned from thousands of mica
disks, each unique in color and translucence, the dramatic lighting element is the same diameter as the bar.
Flanking the bar are dining rooms that can serve as either
public spaces or private function rooms. Additional dining
options in Crush 29 include two smaller private dining
rooms, a private wine library and an intimate cedar-clad
wine-tasting bar and retail shop.
Black walnut and natural stone head the materials list.
Rustic stone walls and floors, several fireplaces, and
expanses of rich wood give Crush 29 its character and
warmth. The simple and timeless façade, made of Napa
Valley Tufa stone, sets the tone of the dining experience
and introduces the restaurant’s connection to Napa Valley.
Inside, the architects chose black walnut as a feature
material because of its organic and varied quality and rich
natural coloring. The thickness and width of the boards
are varied to create patterns of texture and subtle shadowing, most dramatically expressed in the full-height corner
booths fashioned to look like wine barrels. Special grooved
acoustical ceiling planks surfaced with walnut veneer
provide a warm skin to the main dining ceiling.
The facade, made of Napa Valley Tufa stone, sets the tone of the experience before guests even enter the space.
42
Crush 29 is anchored by a dramatic circular wine bar and sculptural lighting element fashioned from thousands of mica disks,
each unique in color and translucence. Flanking the bar are dining rooms which serve as either public eating areas or private
function rooms. Custom murals celebrating the wine country can be seen on the upper walls.
43
A private booth is fashioned from black walnut
to resemble a wine barrel.
Natural stonework and wood give the private wine cellar a warm and intimate mood.
The effortless flow of space enables guests to experience the beauty of the Napa Valley. A private dining area, above right,
draws its warmth from the extensive use of locally sourced wood. The dark wood, natural lighting and local artwork create a
memorable setting for celebrating all that the Napa Valley has to offer.
INTERIOR DESIGN: BALDAUF CATTON VON ECKARTSBERG Architects (BCV), San Francisco, CA
CLIENT: Kobra Properties
LANDSCAPE ARCHITECTURE: Crouch Landscaping & Design
CONTRACTOR: Stonegate Construction
LIGHTING: Revolver Design
PHOTOGRAPHY: Rien van Rijthoven Architecture Photography; Sharon Risedorph Photography
45
Dabbous
London, UK
Brinkworth, London, UK
Industrial is not a word often associated with the design of
a restaurant, yet it’s certainly an appropriate description
of Dabbous, a new space located on Whitfield Street and
designed by London-based, Brinkworth. With its stark
interior of exposed pipes, steel, concrete and wire mesh,
one might even image survivors in a future, burnt-out
landscape escaping into its weirdly, romantic depths for
some fine dining and stress-relieving libations.
Chef Ollie Dabbous and the designers at Brinkworth
concepted the stark, contemporary look of Dabbous to
complement the chef’s minimal and natural presentation
of food. In the process they created an unforgettable brand
identity. The restaurant occupies two floors: a restaurant
on street level and a bar and lounge on the lower level.
Metal and wood interact wonderfully with each other
throughout the space. Metal mesh screens appear on the
front of storage units and in a structure that separates the
restaurant from the stairs leading to the bar. In keeping
with the client’s request to avoid decorative wall pieces,
Brinkworth designed a free-standing, floor-to-ceiling metal
framework which adds depth and divisions to the upstairs
dining room. Around the rough, raw walls this metal
structure also acts as a frame that presents the texture of
the walls as art.
The furniture, designed by Brinkworth, is also largely a
mixture of wood and metal. In the dining room are waxed,
timber tables accompanied by timber and black leather
chairs. Downstairs are timber and steel benches, large
wooden tables and leather and steel armchairs.
Lighting is carefully chosen to contrast and soften what
might otherwise be harsh surroundings. Custom-made,
colored, blown glass, in an eclectic selection of fixtures,
sparkles off the metal and adds a warm sheen to the
wood. At night the light reflects back onto the space from
large, front windows, creating additional warmth.
Chef Dabbous sums it up: “I had a very clear vision of
how I wanted the site to look. Brinkworth clearly understood this, listened and suggested as opposed to imposed,
and worked closely alongside the contractors to deliver a
finished product far superior than I considered achievable
on our budget.”
The logo, also designed by Brinkworth, is in a sparse and deceptively simple looking typeface. Metal and wood complement each
other throughout the space. A rich, wood table contrasts with the pattern of a wire mesh storage unit.
50
During the day the large windows allow in ample amounts
of light. At night the windows reflect the sparkle from the
blown glass fixtures back into the space.
A steel mesh structure, opposite, serves as a divider between the restaurant and the staircase that leads to the lower-level bar. The
mesh doubles as a handy place for patrons to hang their coats and bags, which in turn doubles as an acoustic buffer. Over the stairs
hangs a jewel-like, clear-glass, tiered light fixture. Throughout Dabbous lighting is utilized to soften the space, adding warmth and
depth.
53
Like its upstairs cousin, the downstairs lounge is raw and minimal. Exposed brick adds warmth
without compromising the industrial mood. Large wooden tables, upholstered arm chairs, and the
snug “cozy” under the stairs invite patrons to sit back and relax, hidden from the world in this
comfortable, if otherworldly, environment.
INTERIOR DESIGN: Brinkworth, London, UK
CLIENT: Ollie Dabbous
PHOTOGRAPHY: Louise Melchior
55
La Promenade
New York, NY
Crème, Brooklyn, NY
The concept behind La Promenade combines chef Alain
Allegretti’s deep roots in southern France with the warmth
and casual elegance of an accessible neighborhood
destination. The neighborhood in question, however, is
Chelsea, a sophisticated, art-loving and forward-thinking
area of New York City—a neighborhood where the glamour
of the South of France and the vivid landscape of La
Promenade are welcomed. “The space captures the spirit of
both worlds, where urbane sophisticates can spend time
in a relaxed and alluring setting,” says Jun Aizaki, a
designer at Crème, the Brooklyn based firm responsible
for La Promenade’s design.
The interior is multilayered, with vibrant colors, rich
96
dark wood, and Mediterranean blue velour banquettes
and booths. Around the long, white marble bar is a classic
black-and-white marble floor and elegantly simple stools
with alternating colors of upholstery. Brass light fixtures
and railings throughout the restaurant diffuse a warm
glow of light, while antique mirrors reflect and enlarge the
space.
Capping the rich scene is ceiling art by Fanny Allié that
evokes the famous promenade in Nice, the chef’s French
hometown. It’s light background and playful imagery are a
perfect counterpoint to the sumptuousness below.
The sumptuous interior of La Promenade balances the playful art on the ceiling with vibrant colors, brass fixtures and rich wood.
97
A booth near the entrance, above left, affords large parties a unique experience. At the rear of La Promenade, and
up a few stairs, is a private dining area, above right. Mirrors placed throughout, reflect the subtle lighting and
enlarge the space.
INTERIOR DESIGN: Crème, Brooklyn, NY
DESIGNER: Jun Aizaki
DESIGN TEAM: David Hassing, Ahra Lee, Patrick McGovern, Mark G. Taber
CLIENT: LDV Hospitality, Alain Allegretti
CEILING ART AND PHOTOGRAPHY: Fanny Allié
99
Rootz
Lot 10 Shopping Center Rooftop, Kuala Lumpur, Malaysia
Design Spirits Co., Ltd., Yuhkichi Kawai, Tokyo, Japan
Yuhkichi Kawai, founder of Design Spirits, was recently
tasked with the design of a Rootz, a lounge slated for the
rooftop—formerly a parking lot—of the Lot 10 Shopping
Center in Kuala Lumpur. Rootz is one of several establishments newly added to the roof in celebration of the
center’s 20th anniversary. Also opened were a restaurant,
a theater and a nightclub. The intended audience for Rootz
are young people wanting to socialize and dance.
Yuhkichi’s vision was to create a space reminiscent of
a grand hall in one of the world’s great palaces—a place
where people from different regions of the world could
mingle and dance. To that end, Yuhkichi negotiated with
a number of palaces from various countries and eventually
secured the rights to use images from a palace in Russia.
The designer and Toshihide Kajiwara, a Japanese photographer, then traveled to Russia and took the photos that
would become the starting point for the Rootz environment.
Instead of constructing difficult and expensive-tochange furnishings on the palace theme, the designer
printed edited versions of the palace photos onto wallpaper.
The wallpaper was then applied to the entire space, including the ceiling. The designer didn’t stop there, however,
but went on to print identical imagery on organza. The
shimmering fabric was then draped over the papered walls,
creating a multi-dimensional, ghost image.
With all this sumptuous visual stimulation, it seemed
a shame, Yuhkichi reported, to keep the light levels low
as in most lounges. He chose relatively bright illumination, running the risk that the youthful clients would be
displeased. Yuhkichi’s fears were unfounded. Rootz is
proving so popular that young patrons wait patiently for
their turn to drink and dance in the “palace.”
Rootz has a floor area of 6,727 square feet (652 square
meters) and a capacity of 200 persons.
The interior of Rootz, a lounge on what was the rooftop
parking lot of a shopping center in Kuala Lumpur, has a
sumptuous environment reminiscent of a grand hall of a
palace. Ample seating and a spacious bar ensure the young
crowd can mingle and dance—see and be seen—with ease.
161
Imagery from a Russian palace were
printed on both the wallpaper and on the
sheer organza fabric that is hung loosely
over the walls, creating a shimmering,
ever-changing effect. The papered
walls are found throughout the space,
including the entrance.
In addition to the main room, smaller spaces are available for more intimate conversation.
Nothing was overlooked: the walls of the restrooms are lined with contemporary and gender-appropriate imagery.
INTERIOR DESIGN: Design Spirits Co., Ltd.
Yuhkichi Kawai, Tokyo, Japan
CLIENT: YTL Land Sdn. Bhd.
CONSTRUCTION: Syarikat Pembenaan Yeoh Tiong Lay Sdn. Bhd.
LIGHTING CONSULTANT: muse•D Inc., Kazuhiko Suzuki
PHOTOGRAPHY: Toshihide Kajiwara (palace photograph);
Zainudin Ashard (project photographs)
163
Royal China Restaurant
Singapore
Ministry of Design, Singapore
When the London-based Royal China Restaurant franchise
wanted to open a location within the historic, colonial
Raffles Hotel in Singapore, they turned to Ministry of
Design, also of Singapore, to develop the restaurant’s
interior. The design needed to complement the fine
Cantonese cuisine and heighten the dining experience
for patrons.
The first challenge for designer Colin Seah was to create
a smooth transition between the white-washed arcade of
the hotel and what was to be a contemporary dining room.
His solution is an entrance foyer that curves, preventing
patrons from seeing the dining room as they make their
way through what is in essence an introduction to the
restaurant. Seah looked to the franchise’s logo, and its
distinctive wave pattern, for inspiration when creating the
visual and spatial “wave” through which patrons enter
Royal China.
After traversing the foyer, patrons are met with a
vibrant dining room in uncommon blue tones. “I really
wanted to transform this great Cantonese restaurant with
its traditional interiors to feel modern and uplifting,” says
Seah. “So from the moment you enter and turn the corner
Located in the historic Raffles Hotel, the entrance to Royal China Restaurant had to facilitate a smooth transition from the whitewashed arcade of the hotel to the contemporary dining room. The wave pattern is inspired by the restaurant’s logo.
164
A huge, gold-framed mirror at one
end of the dining room, visually
extends the room and adds to the
richness of the design.
round the towering fabric of wall, you sense a change from
the traditional exterior of the Raffles Hotel. Nothing quite
prepares you for the entirety of the blue, white and gold
dining space within.”
The visually dramatic dining room is organized around
a strong central axis created with a long stretch of whitedraped tables and a vaulted ceiling overhead. Columns
supporting the vaulted ceiling enclose the central tables
and complete the powerful central line. Visually increasing
the length of the axis, and the room itself, is a large,
gold-framed mirror resting on the floor at one end of the
room.
166
Seah says, “I was trying to make the local Chinese
dining scene more accessible to the younger set, whist not
ostracizing the traditional family and business crowd. One
of the ways we did this was through creating two types of
seating configurations—one, a long canteen style row of
tables for couples or foursomes along the center of the
restaurant for maximizing exposure and flanking this, on
either side, traditional round tables for 8 to 10 guests.”
The result is a striking restaurant that fits beautifully
into the historic hotel without compromising the desired
contemporary aesthetic.
Designer Colin Seah says of the restaurant’s
predominant color: “We were inspired by a
brilliant blue cheong sam brocade I came across
in Beijing. To translate it into the perfect blue
hue for our space, we had to experiment with
countless shades. It was quite impossible to
get it right because cloth, like the brocade, can
be very much more textured and nuanced than
paint, so it was a challenge to capture the same
richness.”
Ministry of Design designed the “double-happiness” chair for the
restaurant as well as the menus and signage.
INTERIOR ARCHITECTURE, FURNITURE DESIGN: Ministry of Design, Singapore
CLIENT: Royal China Restaurant Pte Ltd
CONTRACTOR: Grandwork Interior Pte Ltd
SEATING CAPACITY: 145
AREA: 3,229 sq. ft. (300 sq. meter)
167
Universum Lounge
Berlin, Germany
plajer & franz studio, Berlin, Germany
The designers Alexander Plajer and Werner Franz describe
their design of the Universum Lounge in Berlin as “James
Bond lost in space.” The new lounge is located in the same
building as the Schaubühne Theatre on Lehniner Platz.
The landmark building, once home to Berlin’s famous
Universum cinema, was built in the 1920s and designed
by Bauhaus pioneer Erich Mendelsohn.
Since the fall of the Berlin wall the eastern section of
the city had begun to overtake its western counterpart in
nightlife opportunities. Recently, however, the western
section has reemerged as a place for socializing into the
night, and the Universum Lounge is very much a part of
this new nightlife scene.
For the new lounge the designers chose a space-age
210
disco theme rooted in a 1960s vision of intergalactic
travel—a time when citizens of Berlin sat between the
superpowers and watched the rush to space. The theme is
expressed with materials, style and decorations. The most
obvious manifestation is the built-in windows that display
slides of space scenes including moon-walk images. Other,
less obvious elements include structured wallpaper in gold
that evokes the cratered and pitted lunar landscape, curved
walls, and sleek brown and white, imitation-leather stools.
Recognizing the historical significance of the building,
plajer & franz studio used contemporary versions of the
art-deco materials that would have been found in the
original theater. The resulting design, however, is a very
warm and welcoming interpretation of the art deco style.
Plajer & franz incorporated contemporary versions of art-deco materials into the design including: brushed-brass, geometrically-patterned
plating for the bar front, Soinhofner limestone on the floor, and teak wood for the bar top.
DESIGN: plajer & franz studio, Berlin, Germany
CLIENT: Franco Francucci, Berlin, Germany
PHOTOGRAPHY: Ken Schluchtmann, diephotodesigner.de, Berlin, Germany
211