zodia(Space).

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 2
space
空
間

space  2
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 finishes. 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 find a new lease of life
as chandeliers. It’s 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!!

2 2 Restaurant   3
 contents...
introduction  3
Bates Smart  maze by gordon ramsay  Crown Metropol, Melbourne, Victoria, Australia 8
Jordan Mozer and Associates, Ltd.  bob san  Chicago, Illinois, U.S.A. 20
Fantastic Design Works co.  alice in mirror land  Umeda, Osaka, Japan 26
Fantastic Design Works co.  alice in picture book  Shinjyuku, Tokyo, Japan 32
Fantastic Design Works co.  le porc de versailles  Kinshicyo, Tokyo, Japan 40
Puccini Group  livingston  Atlanta, Georgia, U.S.A. 44
CCS Architecture  r2l  Philadelphia, Pennsylvania, U.S.A. 52
CCS Architecture  the plant: café organic  San Francisco, California, U.S.A. 62
Allen+Philp Architects/Interiors  trader vic’s  Scottsdale, Arizona, U.S.A. 68
CCS Architecture  mid-atlantic  Philadelphia, Pennsylvania, U.S.A. 76
Allen+Philp Architects/Interiors  prado  Paradise Valley, Arizona, U.S.A. 84
Allen+Philp Architects/Interiors  canal  Scottsdale, Arizona, U.S.A. 92
Fantastic Design Works co.  so  Yokohama, Kanagawa, Japan 100
CRÈME  macondo  New York, U.S.A. 106
acarquitectos  cenario  Lisbon, Portugal 110
JHP Design  paris baguette  Seoul, South Korea 114

4 2 Restaurant  
 ...contents
Fantastic Design Works co.  scottish glamour  Ginza, Tokyo, Japan 118
JOI-Design  redox  Unterschleissheim, Bavaria, Germany 122
Sunaqua Concepts Ltd.  prince grill  Xian, China 126
SHAUN CLARKSON  odette’s  London, U.K. 130
Westar Architects  hannah’s family bistro  Las Vegas, Nevada, U.S.A. 134
Wilsdon Design Associates  park terrace   London, U.K. 138
MoHen Design International  danbo fun  Shanghai, China 142
Buckley Gray Yeoman  nando’s  Spinningfields, Manchester, U.K. 146
CCS Architecture  barbacco eno trattoria  San Francisco, California, U.S.A. 152
4N ARCHITECTS  aok  Hong Kong, China 156
Ester Bruzkus Architects  susuru  Berlin, Germany 160
Mut-architecture  restaurant 51  Paris, France 166
Outline  bangalore express city  London, U.K. 170
Paul Kelly Design  cargo pizza & bar  Tasmania, Australia 174
SHH  teaspoon  St Petersburg, Russia 178
Westar Architects  liquid  New Jersey, U.S.A. 184
Planet 3 Studios  mochamojo  Bandra, Mumbai, India 188
STUDIO GAIA, INC.  sakea  Busan, South Korea 194
6 2 Restaurant   7
MoHen Design International  danbo fun fast food  Shanghai, China 202
WILLIAM TOZER architecture & design  kaffeine  Fitzrovia, London, U.K. 208
Maurice Mentjens Design  frans hals museumcafé  Haarlem, The Netherlands 212
Vonsung  viet hoa cafe  London, U.K. 224
SHH  applemore college canteen  Southampton, U.K. 228
SHH  cherbourg primary school dining room  Southampton, U.K. 234
Evoke International Design inc.  commune cafe  Vancouver, British Columbia, Canada 240
WILLIAM TOZER architecture & design  lantana  Fitzrovia, London, U.K. 242
Cambridge Seven Associates, Inc.  clink  Boston, Massachusetts, U.S.A. 244
Jordan Mozer and Associates, Ltd.  copper bleu  Minneapolis, Minnesota, U.S.A. 246
Smolenicky & Partner Architektur  strozzi “piu”  Zurich, Switzerland 248
Fantastic Design Works co.  maruha shokudo  Nagoya, Aichi, Japan 250
SJB Interiors  sepia  Sydney, New South Wales, Australia 252
MoHen Design International  parkside  Shanghai, China 254
Hirschberg Design Group Inc.  empire  Ontario, Canada 256
Marcel Wanders Studio  blits  Rotterdam, The Netherlands 258
index by designer  268
index by location  270
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 amplified in
the interior.

As the name evokes, maze’s
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
defined by a glassed, soaring
volume and banquette that
enclose this softer furnished
space. Working in collaboration
with New York / Miami-
based textile designers
NIBA, Bates Smart created
a boldly patterned, vibrant,
contemporary carpet that, like
a flower bed, provides a strong
accent colour to an otherwise
neutral palette of taupes and
charcoals.
Over-scaled light fittings,
custom-made by Foscarini in
Italy, hover above the dining rough cut slate and rustic,
room and act as beacons when thickly glazed tiles in a deep
viewed from the street below. emerald provide a bold and
robust backdrop to the dynamic
David Band of Mahon & Band workings of the active kitchen.
was commissioned to create
a wall relief sculpture modeled Finally, the journey ends in an
and created from found birch elevated private dining space
trees. This contemporary where the timber floor moulds
installation evokes the imagery dramatically to become both
of an ivy-clad wall and travels 60 wall, and then ceiling.
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 definition to the
greater restaurant space.
In maze Grill, a vibrant
combination of raw steel,

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 Client/Owner Crown Limited & Gordon Ramsay
design firm Bates Smart
Design Team Jeffery Copolov (Interior Design Director),
Grant Filipoff (Associate Director), Kendra Pinkus (Associate Director)
Main Contractor Baulderstone Pty Ltd
Fitout Contractor Schiavello
Graphic designer Fabio Ongarato Design
Photography Shannon McGrath

suppliers:
Table top Custom design by Bates Smart Ceramic tile artist Brian Keyte
Table Base 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

18 2 Restaurant   19
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, filled 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 Japanese-
American restaurant, bar and lounge.

Bob San’s 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 Leo’s 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, Leo’s 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, offices
and dining room were
extensively rebuilt and refined.
The bar was expanded,
pushing out onto vacant land
between Bob San and Leo’s
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 façade to pedestrian
traffic on Division Street. A
deep steel beam was placed in
the back wall of Leo’s 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 firm 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 Bee’s 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 wasn’t
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
I’d 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 first of 20 trips
there.”
Mozer feels that Japan is one
of the most culturally exclusive
and refined 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
confluence of these two very
different cultures.”

20 2 Restaurant   21
22 2 Restaurant   23

design firm 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
24 2 Restaurant   25
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 custom-
made 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 field of neutral marbles held between two layers of glass: this is a
three-dimensional interpretation of the Japanese flag, a red dot in a
white field.
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 cuttlefish 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 flexible seating
in the center of the room. Coral forms inspired the two–seat lounge
chairs with built-in tables that were created exclusively for Bob San’s
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
floor was removed; inside this ring are lights directed at the
sculptures on the upper walls of the lounge, which act as
reflectors. 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 finished in cute
pastel colors from Japanese manga and designer toys mixed with rich
warm colors of ebony floors, 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.
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.
fantastic design works co.

alice in mirror land

UMEDA, OSAKA, JAPAN 100m2

This restaurant concept is derived

from Lewis Carroll’s 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 that it appears more spacious

entrance door and patrons
literally walk into the story. To
create a continuous movement
from the dining hall, a see-
through 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
but when guests sit down,
they will not see themselves
or others in the mirror, since
pictures or prints were
strategically placed to prevent
reflection.
The waitresses wear Alice
costumes which are like
traditional maids’ outfits 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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 Client/Owner Diamond dining co.
design firm fantastic design works co.
Main Contractor Katsunori suzuki
Photography HIROKAZU MATSUOKA

30 2 Restaurant   31
fantastic design works co.

alice in picture book

shinjyuku, tokyo, Japan 181m2

The newest restaurant in the Alice in

Wonderland Series originates from a
pop-up picture book concept. The base color
is dark black with a gigantic chandelier in the middle. New
colorful images were added as a new design feature.

In the private rooms, were placed on the walls and

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
screens in private rooms.
The flooring 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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 Client/Owner Diamond dining co.
design firm fantastic design works co.
Main Contractor Katsunori suzuki
Photography Masaya yoshimura

38 2 Restaurant   39
fantastic design works co.
le porc de versailles
KINSHICYO, tokyo, Japan
In Japan, there is a famous
comic book called the Rose
of Versailles in which Marie-
Antoinette is introduced. This
restaurant’s 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
40 2 Restaurant   41
182m2
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 eye-
catching flashy 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
efficient. The round table
with the pig sculpture is
most popular but the private
rooms are also very popular for
holding big group events.
 Client/Owner Diamond dining co.
design firm fantastic design works co.
Main Contractor Katsunori suzuki
Photography Masaya yoshimura

42 2 Restaurant   43
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.  
Flanking the dining room are The bar includes sleek, low
two unique works of art, each tables made of Carrera marble
featuring dynamic black and surrounded by custom seating
white ghosted images of some ranging from muted silver
snakeskin club chairs, to deep
of the city’s original socialites
on the red carpet. Recognizing chocolate crocodile stools
the historical significance of and plush burgundy chairs.
the space, these photographs Oversized Palladian windows
were selected from those allow guests on the terrace
taken at the premiere party for to peek into the bustling
Gone With the Wind, held in Livingston bar. The bar
the same grand room in 1939. itself, with modern polished
chrome bar back, is a perfect
Glowing lanterns reflect off juxtaposition to the classic
dining tables onto the mirrored interiors. The grand twenty
bar which offers a window foot ceiling is punctuated by
between the two rooms. stately columns intermixed
with a glowing ghost column
filled 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.
 
44 2 Restaurant   45
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 specifications 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 &
café, 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 city’s 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 Fremont Realty
Design firm Puccini Group
Photography Michael Kleinberg

50 2 Restaurant   51
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 print upholstery. A metallic

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 hand-
polished zinc, stacked strips
of glass, ebonized mahogany,
woven leather and zebra-
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 up-
close look at Daniel Stern’s
custom kitchen. A floating
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
Philadelphia’s 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.

52 2 Restaurant   53
54 2 Restaurant   55
56 2 Restaurant   57
 10
10
main dining
main dining
main dining 1
1 ELEVATOR 1 elevator lobby
ELEVATOR LOBBY
LOBBY
2 EXHIBITION KITCHEN
KITCHEN
exhibition kitchen
exhibition kitchen
exhibition kitchen
2
3
3
BAR
BAR
2 exhibition kitchen
EXHIBITION

4
4 WINE
WINE WALL
WALL 3 bar 10
back
back
back of of house
of house
house 5
5 MAIN DINING
MAIN DINING
4 wine wall 9
main dining 1 ELEVATOR LOBBY 6
6 LOUNGE
LOUNGE 9
2 bar/lounge
bar/lounge
EXHIBITION
bar/loungeKITCHEN 7
7
8
PRIVATE/FLEX DINIG
PRIVATE/FLEX DINIG ROOM
PRIVATE/FLEX DINIG
ROOM A
DINIG ROOM
A
5 main dining
ROOM B
B
8 PRIVATE/FLEX
exhibition kitchen 3 BAR circulation
4 WINEcirculation
circulation
WALL
9
9
10
6 lounge
PRIVATE/FLEX DINIG
PRIVATE/FLEX DINIG ROOM
ROOM C
C
PRIVATE/FLEX DINIG ROOM D
back of house 5 MAIN DINING
10
11
11 RESTROOMS
RESTROOMS 7 private/flex dining room a
PRIVATE/FLEX DINIG ROOM D

6 LOUNGE 8 private/flex dining room b 9

8
8
bar/lounge 7 PRIVATE/FLEX DINIG ROOM A 9 private/flex dining room c
8 PRIVATE/FLEX DINIG ROOM B
circulation 9 PRIVATE/FLEX DINIG ROOM C 10 private/flex dining room d
10 PRIVATE/FLEX DINIG ROOM D 11 restrooms
11 RESTROOMS

8
1
1

11 11
11
11

7
7
4
4
1
2
11 11 2
3
3 5
5
7
4
6
6

3
5
R2L. Philadelphia,
R2L. Philadelphia, PA
PA CCS ARCHITECTURE
CCS ARCHITECTURE

58 2 Restaurant   R2L. Philadelphia, PA CCS ARCHITECTURE 59

 client/owner Daniel Stern
design firm CCS Architecture
Design Team
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

60 2 Restaurant   61
CCS Architecture

the plant: café organic

San Francisco, CAlifornia, U.S.A. 372m2

The Plant: Cafe Organic occupies two historic, waterfront

buildings at Pier 3, straddling what was once a railroad
passage, which has been modified 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 client’s program called for The Architect inserted light,
a sustainable design agenda delicate interiors within the
which would be in sync with, existing pier warehouses
yet showcase, the food they using reclaimed wood,
are serving. The Plant serves recycled-content tiles and
an almost purely organic an eclectic mix of zinc, cold-
and primarily locally sourced rolled steel, and stainless
menu. The space they inhabit steel to finish out the spaces.
was to follow the same goals. The Plant, like many new
projects within converted
pier buildings along San
Francisco’s Embarcadero, is
helping revitalize this edge of
the city where the land meets
the Bay. 

62 2 Restaurant   63
64 2 Restaurant   65
 ©Kelly Barrie

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

(M)
RESTROOMS
client/owner MNMCO LLC
(W)
RESTROOMS
design firm CCS Architecture
PROMENDAE
9
Design Team
1 ENTRY

Cass Calder Smith(Design Principal);

1
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Barbara Turpin-Vickroy(Interior Design Director);
4 BAR
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CAFE
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Sean Kennedy(Project Architect);

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SAN FRANCISCO BAY
SAN FRANCISCO BAY restaurant
RESTAURANT
RESTAURANT
SAN FRANCISCO BAY RESTAURANT

Historic Architect Page & Turnbull

CAFE / KITCHEN / SUPPORT
cafe /kitchen / support
CAFE / KITCHEN / SUPPORT
CAFE
PATIO /SEATING
KITCHEN / SUPPORT
PATIO SEATING
8
patio seating
PATIO SEATING

Lighting Luminesce Design

2
7
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1
1 entry
2 main dining room MEP Engineer ACIES Engineering
(M)
3 RESTROOMS
community
(M) dining table
Structural Engineer John Yadegar & Associates
RESTROOMS
(M)
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(W)
4 RESTROOMS
bar
(W)
RESTROOMS 5 bayside dining
Food Service Robert Yick Company, Inc.
4 PROMENDAE
(W)
RESTROOMS
PROMENDAE
PROMENDAE
RESTROOMS
6 9cafe
7 99kitchen
8 support Table Tops Pacassa Studios
9 restrooms
5 Hickory Arnold and Egan
5 HISTORIC WALK
5
Graphics EwingCraft
HISTORIC WALK
BAR + RESTAURANT BREEZEWAY CAFE, KITCHEN, SUPPORT HISTORIC WALK

Main Contractor Fineline Group

2
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The Plant: Cafe Organic. Pier 3, San Francisco, CA
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Allen+Philp Architects/Interiors

trader vic’s
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 post-
war America. The architecture
and interior design reinterprets
and reinvents the restaurant in
modernist terms while paying
homage to its history, the
Trader Vic’s 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
the street corner into the hotel “tikis” that punctuate the edge
proper allowing easy access for of the axis and further define
the hotel guest as well as the dining and circulation space.
off-site patron. The “tikis” are sky-lit in the
daytime and top-lit at night
The entry axis, in turn, informs to draw the eye up and show
the plan bisecting the building’s the relationship between the
mass and defining its two curving soffits and the steel
distinct uses. The first is a non- roof structure. A glass enclosed
fenestrated “box,” housing the wood-fired Chinese oven is also
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
lit, transparent dining pavilion as an enclosure for arriving
and includes a “lava cone” hub guests and maitre’d while
featuring reception area, bar allowing access to the dining
and lounge and logo sales area. spaces and bar. The bar is
The axis is expressed internally spatially defined by a red
through immense authentic steel tube trellis that “floats”
hand-carved monumental beneath the roof structure and
continues through the exterior
glass where it covers the bar’s
lanai. The trellis and the use of
fully operable sliding glass walls
work together to blur the line
between outside and inside
spaces.
The transparency between An elegant mix of honed
inside and out is enhanced by masonry, exposed steel, sliding
the use of a similar color palette and fixed glass and integral-
on finishes and furnishings colored concrete make up the
throughout the project. The majority of the material palette,
exposed grey concrete block while natural lava, bamboo,
along with the stained concrete channel glass, tapas cloth and
extends from the entry into the glass tile used in conjunction
dining spaces and contrasts with mica-chip stucco finishes
with the bright greens, oranges add richness. Authentic art and
and soft golds on the seating. artifacts from the South Pacific
complete the composition and
The main dining space is help “take the guest away”.
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.

68 2 Restaurant   69
70 2 Restaurant   71
72 2 Restaurant   73
 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

74 2 Restaurant   75
CCS Architecture

mid-atlantic
Philadelphia, Pennsylvania, U.S.A. 510m2

Urban and Rustic. Past and Present. Tradition and Renewal.

This is the essence of MidAtlantic, Chef Daniel Stern’s latest
culinary surprise. CCS Architecture designed a warm, urban restaurant space to
support Stern’s 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 ©Brendan McRae
lighting fixtures made from Behind the galvanized metal
recycled fluorescent tubes bar, a window invites views ©Brendan McRae
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. flexible private dining area.
Outdoors, a linear firepit
provides warmth and a visual
focus for the large dining
terrace. MidAtlantic’s design
encourages frequent visits; it’s
easy to drop in for dinner or
beers and a ball game.

©Brendan McRae

76 2 Restaurant   77
78 2 Restaurant   79
 11

10

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back of house
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FLEXkitchen
DINING 8 terrace dining
kitchenkitchen 2 entry
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exhibition kitchen
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8 TERRACE DINING 9 fire pit
9back
back
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FIRE
of ofPIT
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house house 3 bar
4 community table 10 keg room
10 KEG ROOM
bar/lounge
bar/lounge
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11 RESTROOMS 5 main dining 11 restrooms
patio dining
patio dining
patio dining
patio dining
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1
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ENTRY
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FLEX DINING
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TERRACE DINING
8 TERRACE DINING
DINING
2 Restaurant  
8 TERRACE
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KEG
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PIT
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81
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 client/owner Daniel Stern
design firm CCS ARCHITECTURE
Design Team
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

82 2 Restaurant   83
Allen+Philp Architects/Interiors
prado
Paradise Valley, Arizona, U.S.A.
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 filled 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 café, the wedding chapel and
administrative offices along with
select guest rooms.
84 2 Restaurant   85
1 060m2
One can enter Prado between
the massive terra cotta over-
scaled vessels and past the
uniquely jeweled entry lights
flanking 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 isn’t 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 reflect an
Andalusian village built over
time, Prado’s character is
unique in that it reflects 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 reflects 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 fireplace
of the exhibition kitchen. Heavy
use of dark woods contrast with
light colored plaster walls and
ceilings. Spanish influenced
patterns on the heavy tapestries
within the booths subtly play
with those on cool concrete tile
floors 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
specifically for Prado portraying
the unique atmosphere and the
mood of a dark, sexy, glamorous
speak easy.
86 2 Restaurant   87
88 2 Restaurant   89
 Client/Owner Crown Development
design firm 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

90 2 Restaurant   91
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 traffic 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 Scottsdale’s
reincarnation as a budding Mecca for fashionistas and
its recent more utilitarian past. Both concepts come from
the context of the restaurant’s 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 find 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 finished 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 reflects off the crowd
within, while the changing
colors of the backlit forms give
the space a sexy theatrical
energy, alluding to spaces
that aren’t seen and providing
an ideal backdrop to the
fashionable nighttime crowd.

92 2 Restaurant   93
94 2 Restaurant   95
96 2 Restaurant   97
 Client/Owner Spring Creek Development
design firm 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 Allié

98 2 Restaurant   99
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.

100 2 Restaurant   101

102 2 Restaurant   103
 Client/Owner Soushin
design firm fantastic design works co.
Main Contractor Katsunori suzuki
Photography Masaya yoshimura

104 2 Restaurant   105

CRÈME
macondo
New York, U.S.A. 170m2
Named after the fictional Colombian village in
Gabriel Garcia Marquez’s 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
filled 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
106 2 Restaurant   107
gel cushions. In the back, wood chipboard. Inspired
a dining area with modular by the natural landscape,
booth seating is enclosed by salvaged wood is used on
an ivy-coloured trellis and a the bar front in a random
barrisol ceiling with colour- stripe pattern. The floor and
changeable LCD. bar countertops are custom
coloured and textured to
Unconventional uses of match the restaurant look.
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
 design firm CRÈME, JUN AIZAKI
Design Team GINA SEUNG OH, MAY KORRANUN PAKARNSEREE,
MAURO SOLMI, PATRICK MCGOVERN
Photography Fanny Allié

108 2 Restaurant   109

joão 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 granite stone on the floor and you sit and enjoy the food.
organized in a clear way, and columns and black textile The ceiling was powdered by
to make people feel they are ceiling. various pendant lights (Dear
in a different environment Ingo by Ron Gilad for Moooi),
immediately after entering, This gesture is reinforced by allowing light to come in from
there is a change in colour the orange glass on the walls various points. White velvet
from white to black of the that signs the perimeter. The curtains were put all along
stone on the floor marks the space is mainly divided in the façade in order to give it a
restaurant area. The space is two areas: one that includes more comfortable feeling and a
entirely coated in black: black the waiting area for people not-so-exposed ambience.
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 façade; and the
orange glass façade where

110 2 Restaurant   111

 Client/Owner GRUPO-VIP
design firm joão tiago aguiar – acarquitectos
Design Team joão Tiago Aguiar & Renata Vieira
Main Contractor EDIFER
Photography Fernando Guerra / FG+SG

suppliers:
Painted glass VIRCLAR
Black stone PLÁCIDO JOSÉ SIMÕES, LDA.
Furniture OFFICE/A LINHA DA VIZINHA

112 2 Restaurant   113

JHP Design
paris baguette
Seoul, South Korea 255m2
Distilling the very The client is Paris Baguette,
a strong chain of 1,600
essence of the bakeries in South Korea that
best Parisienne tasked JHP with “creating
everything”.
patisserie, and
transporting it Every possible aspect of a
east to the hippest new concept’s creation fell in
JHP’s remit. Create the brand
district in Seoul, identity, store architecture,
South Korea, a interior environment,
communication strategy,
country with packaging, photographic
no great ‘bread suite, uniforms, and
culture’ created a developing in-store movies
and music play-lists.
distinct challenge
for JHP. After trips to the best
bakeries in France, as well
as benchmarking local
competition in Seoul which
proffers some of the finest 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.
114 2 Restaurant   115
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’
(Provençal Kitchen) and being
‘born of Paris’ (eclectic) and
celebrating the theatre of food
with an open kitchen. The
tone of voice would be light-
hearted and witty whilst the
essence of the brand would
exploit the philosophy behind
the purity of ingredients,
expertise and authority. Even
the staff’s uniforms impart
confidence 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 film 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 final piece of the mix
was the creation of a new
packaging suite for the store’s
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.
 Client/Owner SPC Korea
design firm JHP Design
Lighting Consultant YoungJun Lighting
Art Consultant JHP Design
Main Contractor CM Construction
Photography JHP Design

suppliers:
Wood Flooring Sung Chang Wood
Floor tiles EuroCeramic for floor tiles
Graphic production SungShin

116 2 Restaurant   117

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.

118 2 Restaurant   119

 Client/Owner DIAMOND DINING
design firm fantastic design works co.
Main Contractor Katsunori suzuki
Photography MASAYA YOSHIMURA

120 2 Restaurant   121

JOI-Design

redox
Unterschleissheim, Bavaria, Germany 86m2

For the restaurant “redox”
in the Dolce Munich
Unterschleissheim, JOI-Design
was briefed to conceive a fine
dining establishment that
would tell a story through
its individuality and reflect
the flag’s updated brand
standards. The designers’
solution was to construct
a tale of Bavarian culture
that balances modern and
traditional elements while
celebrating the region’s
culinary inheritance.
Redox’s 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, 40-
that naturally occurs in
antioxidant foods and, as such, inspiration can be found
directly corresponds to a tenet
of Dolce’s redefined corporate
philosophy of “nourishment”,
or nurturing the spirit, mind
and body of its guests. JOI-
Design interpreted this
concept through the gourmet
restaurant’s contemporary
focal point, a backlit “wine
wall” which showcases the
bountiful – and antioxidant-
rich - varietals vinified 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 locale’s provenance.
seat dining area’s Bavarian
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
they evoke the spirit of a
fine, 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 room’s 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 “eco-
friendly” LEDs and energy-
saving lamps.
JOI-Design’s attractive yet practical scheme
reflects the location’s unique cultural heritage
as well as Dolce’s new brand identity.

122 2 Restaurant   123

 client/owner Hotel am BallhausForum GmbH,Augsburg
design firm JOI-Design GmbH
Architect WSSA Architekten GmbH
Photography JOI-Design GmbH

124 2 Restaurant   125

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 finishings 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 unfinished adding a vintage feel to
the space.
There are two private rooms. The first 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.

126 2 Restaurant   127

 Client/Owner MGF CATERING GROUP
design firm Sunaqua Concepts Limited
Main Contractor 中山縱橫裝飾公司
Photography Ken Choi

suppliers:
Furniture SUNNY TRADING CO.
Wall Covering cole & son
Artwork SUNAQUA+
Upholstery SUNNY TRADING CO.
Curtains/Blinds SUNNY TRADING CO.
SPECIAL GLASS 中山創美玻璃公司

128 2 Restaurant   129

Shaun Clarkson

odette’s
London, U.K.

This re-interpretation of the famous

restaurant in London’s Primrose Hill
is a riot of refreshing colour, but still
retains the romance it has become
famous for. The rambling white rose floral silhouette
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.

130 2 Restaurant   131

 client/owner PAK LOH CHIU CHOW RESTAURANT
design firm SHAUN CLARKSON
Design Team Mr. Sinner Sin & Mr. Danny Ng
Photography Mr. Pine Yip & Ms. Hyedy Tsui

132 2 Restaurant   133

WESTAR Architects
hannah’s family bistro
Las Vegas, Nevada, U.S.A.
The restaurant’s interior
and exterior design was
inspired by the An family’s
tropical, Asian summer home
in Vietnam. Diners enjoy a
fusion menu of Vietnamese
dishes with French and Pacific
Rim influences.
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 façade was
redesigned, an exterior
BBQ bar was added, lush
landscaping installed, and
a welcoming entrance was
incorporated.
134 2 Restaurant   135
669m2
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 flowing
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 first,
upon entering the restaurant
guests “Walk on Water” over
a meandering Koi fish pond
which has been recessed into
the floor, giving the guests
a sense of flow. The feature
is fed by two sources: the
first 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 flows
under the diner’s tabletop,
then down into the “Walk on There are two exterior patios:
Water” feature. The third one serves as a dessert and
water feature is a 30-foot-long cigar lounge at the rear of
waterfall gently cascading the building, and the other,
over a glass wall above the located on the opposite side of
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 Hannah’s.
The lounge is anchored by
a circular reflective glass-
topped 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; gently-
moving 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 flanked by large scale the restaurant, serves grilled
Asian influenced artwork and appetizers from an outdoor
noodle artifacts. 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.
 Client/Owner Robert Eng
Design firm WESTAR Architects
Photography Darius Kuzmickas

136 2 Restaurant   137

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 much-
favoured restaurant at the
heart of the hotel’s food and
beverage operation.  use the spaces in a variety of
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
flexibility within the space
and creating a contemporary-
classic look to suit the hotel’s
clientele.  beyond the full-height
A myriad of floor and ceiling
levels were removed together
with existing services and
FF+E, taking the space
back to the original concrete
structure.  to pass through it from the
Central to the new design
was the desire to provide an
almost seamless flow through
the restaurant, its private
dining space and adjacent bar
and lounge to allow guests to
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
windows. Each window
module was framed with a
layered effect of sliding sheer
screens to either side with
fixed fabric pelmet above.  weight and transparent as
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.  according to their locations.
The restaurant’s 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.  wall between the two spaces,
The bar was designed as a
single block of flamed granite,
with services recessed to the
rear and subtle uplighting
to the front face, whilst the
rear bar was kept as light-
possible to allow daylight
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
The visual flow through
the spaces was partially
maintained at the private
dining room (far end of the
restaurant), where bespoke
geometric glass and satin-
lacquered shelving form the
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 multi-
functional 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.

138 2 Restaurant   139

 Client/Owner Royal Garden Hotel
Design firm 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

suppliers:
Stone flooring Mega Marble
Carpet Couristan
Fabrics Pollack / DesignTex / Brentano
Laminated decorative glass Daedalian Glass
Furniture RHA
Decorative lighting Porta Romana
Blind system Silent Gliss

140 2 Restaurant   141

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 floor. The floor 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 floor tiles in an optical artistic pattern reinforce the visual impact of the yolk by
including further loose freestanding furniture.

142 2 Restaurant   143

 client/owner Zoe International
design firm 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)

144 2 Restaurant   145

Buckley Gray Yeoman

nando’s
Spinningfields , Manchester, U.K. 307m2

Located off the main thoroughfare to the Spinningfields 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 define 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 Nando’s brand.

146 2 Restaurant   147

148 2 Restaurant   149
 Client/Owner
Nando’s 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

150 2 Restaurant   151

CCS Architecture
barbacco eno trattoria
San Francisco, CAlifornia, U.S.A.
Barbacco, just opened in San
Francisco’s 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.
© Lawrence Lauterborn
152 2 Restaurant   153
246m2
Barbacco, with 66 seats, occupies a long, narrow room within the 1912
Hind Building. Inspired
by traditional wine bars in
Milan and Rome, the space is sleek, urbane
and welcoming. A dramatic shaped ceiling, evoking the lines of
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
The wine bar and eating Vibrant yellow combines
stars, and motorcycles
counter extend the length of with more subdued colors
create a sense of sport and
the space and sumptuously to complement the wall
speed.
curve. An extended row of of exposed brick. Negro
counter-height tables provides Marquina stone and stainless
flexibility, accommodating steel create an urbane,
the change from daytime almost industrial feel that
to evening. Community is moderated by the warm,
tables cultivate a bustling textural, dark wood bar face.
atmosphere toward the front Walnut and chrome details on
of the space. “Ferrari Yellow” the tables and chairs recall
elements - a beverage case the dashboard of a luxury
on one wall, with framed car. Bias-patterned gray and
mirror and blurred images yellow floor tiles reinforce the
opposite - horizontally line feeling of movement.
the room. A frameless glass
storefront provides views Barbacco is filled with the
of the warm interior and flavors of Northern Italy,
opens the restaurant to the emanating from the food, but
urban landscape beyond. San also from the restaurant’s
Francisco’s famous cable cars colors, materials and urban
rattle by adding an extra sense attitude. Incorporating some
of romance. of Perbacco’s DNA, CCS
Architecture has created a
chic and approachable new
gathering spot that is already
a destination in its own right.
 Client/Owner
Umberto Gibin & Staffan Terje
design firm
CCS ARCHITECTURE
Design Team
Cass Calder Smith(Design Principal)
Barbara Turpin-Vickroy(Interior Design Director)
Bryan Southwick(Project Architect)
Structural Engineer
John Yadegar Associates
Kitchen
Frank Muller
Lighting
4
3

5 5
City Lights
1 entry 7

4
2 bar MEP
3 3 community table dining 1

Acies
2
4 banquette dining 6
5 wc
5 5 6 kitchen
7
7 sidewalk General Contractor

1 main dining and front of house

main dining and front of house 1 ENTRY
JME Construction
2 2 BAR
6 kitchen/back of house
kitchen/back of house 3
4
COMMUNITY TABLE DINING
BANQUETTE DINING Photographer
bar
bar 5 WC

restrooms
restrooms
6
7
KITCHEN
SIDEWALK Eric Rorer, unless stated

main dining and front of house 1 ENTRY

2 BAR
154 2 Restaurant   3 COMMUNITY TABLE DINING
155
kitchen/back of house
4 BANQUETTE DINING
bar 5 WC
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 people’s everyday life.
Working with 4N Architects, AOK set out to combine high
quality service and
reasonably priced
fusion cuisine with Sandwiched between During design concept provides patrons with zoned lighting, energy-
some of Hong Kong oldest development, 4N found that reflections of various views. saving LED lamps, adding
a chic and inviting public housing sectors, the “eggs” have always been This experiences varies ceiling fans to enhance
interior. fully opened entrance of an important ingredient in depending on where the air circulation and reduce
AOK intended to invite a most Asian cuisine and is customer sits and dines. A demand of air-conditioning
wide spectrum of the local thus used as a main feature special feature of the lighting units, and designing fittings
population. The facade and in this restaurant. An egg- design is that hidden lights that consume less energy.
details conjure up a feeling shaped structure and circular from above the mirror shine
of natural beauty within. elements become major onto the bottom of the 4N’s design approach
elements in the design slanted ceiling panels. This is in harmony within
Spatial experience has approach. The egg shell- light is reflected back into the environment
always been a key criteria cladded VIP booth, the curved the interior as comfortable and customer needs.
in 4N’s design approach. ceiling profile and tectonic diffused lighting. While meeting the
The interior is sliced into concrete floor overlay with owner’s commercial
different sections intended to circular timber-patterned floor The branding experience requirements, customers’
give customers a distinctive tiles remind customers of was enhanced by desires and needs
experience each time they Asia’s favourite ingredient. inserting several were not neglected.
visit, an approach specially crafted, patterned
set out for a restaurant in The colour scheme panels featuring the
the heart of a residential features green, white, restaurant’s floral logo.
suburb. On weekdays, one and monochrome colors Light fixtures were carefully
can share the long dining like brown and grey. chosen to enhance the chic
table with neighbors or sit The earth tone flooring is a interior with imported pendant
at a round table with family special touch by 4N to make and fan lights becoming
and friends. In contrast one people aware of the natural part of the design feature.
can spend a relaxing Sunday environment. While the
afternoon with the family green bowl-shapeed ceiling As part of 4N’s
in a cozy booth seating matches the hand-crafted environmentally friendly
offering greater privacy. chairs, specially designed objectives, 4N applied various
by 4N for AOK, it gives the strategies to lower carbon
feeling of sitting under a tree. emission from the design
aspect as well as in daily
An elongated mirror on one operations such as using
major side of the restaurant
is another highlight that

156 2 Restaurant   157

 client/owner AOK RESTAURANT Group
design firm 4N ARCHITECTS
Design Team Sinner Sin & Danny Ng
Main Contractor Kee Wah Contracting Company
Photography Mr. Pine Yip & Ms. Hyedy Tsui

supplier:
Pendant Light Artemide

158 2 Restaurant   159

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
film Tampopo directed by Juzo Itami.
The interior design connects an
ideal midday stop-off with a familial
atmosphere.

The design combines

Japanese ornamental, high-
class 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 Gehry’s
Cloud Suspension Lamp adds
more depth to the space.

160 2 Restaurant   161

162 2 Restaurant   163
 Client/Owner Dr. Romann Fehrentz
design firm Ester Bruzkus Architekten
Design Team Ester Bruzkus, Sabrina Cegla
Photography Ludger paffrath

164 2 Restaurant   165

Mut-architecture
restaurant 51
Paris, France 200m2
The newly built Restaurant 51
sits within the Cinémathèque
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 d’offres one month
before the project was to be
completed - a completion
date set to coincide with the
restrospective’s Jacques Tati
openning. Working from the
South Bronx in NY, Eléonore
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
166 2 Restaurant   167
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.
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
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.
Fabrication of the table ended certain legs, then crunched the entirety of the space, from
in the hands of Kunstbetrieb the remaining parts together a formally white room to the
of Münchenstein SW. Together to fit the space allotted for rugged, solid black room. The
with the Swiss team, Mut the epicerie. The piece was whole space is illuminated
devised a method for bending sanded and coated with the by ad hoc chandeliers
the elements of the table same black paint used for constructed of ‘Y’ sockets
without the use of steam. the walls of the larger of the purchased in New York’s
Moulds were made, glue was restaurant’s two rooms. Atop Chinatown for less than 200
purchased by the bucketload, the epicerie, in nooks and EUs and a varying assortment
clamps were applied. The within dresser drawers, sit of bulbs found in hardware
table flows through the space cans of pâté or bottles of wine. shops around Paris.
like a stream broken in points
Hanging from old hutch legs
to allow the flow of foot traffic.
you find saucisson to be
Inside the restaurant, the accompanied this summer
Epicerie is an amalgamation by lounge chairs and picnic
of discarded furniture pieces baskets one can rent from
purchased for 250 EU. Working the restaurant to relax with
on site, Mut and Le Potager products from the epicerie.
dismantled the furniture, Rather than settling for regular
cut away shelves, smashed structural legs, seven pairs
through drawers, chopped off of filled fishing boots serve
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
 )

client/owner Hughes PIketty

design firm Mut-architecture
design team John Mascaro, Eléonore Morand, Brigitte
Bouillot, Benoit Millot
Table fabrication Jürg Bader(kunstbetrieb)
Photography Brigitte Bouillot

168 2 Restaurant   169

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 Outline’s
first 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 floors
as a modern allusion to the
banking halls in the vicinity.
The ceiling is a negative
landscape, allowing the side
170 2 Restaurant   171
lighting to have darker and
brighter spots to heighten
the volume of the spaces.
Around the Ground floor Bar,
tiffin bowls are set into the
wall, a reference to Indian
take away meals, used by
workers to carry their lunch.
Many of the bar’s surfaces
reflect 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
reflects 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 restaurant’s 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
refined colour palate than the
Waterloo restaurant, again
reflecting 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, user-
specific spaces. Through use
of materials, understanding
of light and exploration of
the project’s brief, Outline
makes spaces that are not
only visually beautiful, but
functional and practical.
According to them, design is
only part of the process.
 client/owner Waterloo Leisure
design firm OUTLINE
Main Contractor TBA Contractors
Electrical Contractor Griffin Electrical
Engineers Packman Lucas
M&E Consultant Pearce and Associates
Photography Courtesy of outline

172 2 Restaurant   173

PAUL KELLY DESIGN

cargo pizza & bar

Tasmania, Australia 275m2

Paul Kelly Design was contacted by the client David Hales in early 2008, after the finalization 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 profile and not being too
definite 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
floors 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 finally
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 floor 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 fitout 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 profiles, all The renovations have brought
distressed with antique mirror the quantity of pizzas to 1,200
in between to maximize the per week and has become the
depth. destination bar for the states
capital.
The main feature of the room
is the dividing spine wall The space is a simple concept
between the two original located in a prime location
tenancies. This was covered with heavy competition,
in white tiles, with every tile but pushes through the
laid in a different direction. competition due to its quality
It has the appearance of the service, product and fit-out.
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 reflect 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 custom-
designed acrylic pendants
overhead.

174 2 Restaurant   175

 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

A bold and striking new design

concept was conceived for Russian
tearoom operator Teaspoon. Teaspoon is a
6 year-old and 70-strong Russian chain of tea and pancake
houses, based mainly in the St Petersburg and Moscow

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 specifically
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 location-
specific, 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 high-
backed 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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 client/owner Teaspoon
design firm SHH
Design Team Neil Hogan, Helen Hughes, Ashley Thompson
project location St Petersburg, Russia
Photography Courtesy of SHH

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WESTAR Architects
liquid
New Jersey, U.S.A. 557m2
The concept behind the Liquid Bar
and Café was to create a multipurpose
entertainment and dining experience.
The bar and café are co-
located, 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 café. 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
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Bar. The backlit serpentine
bar meanders throughout
the space. Faux ostrich skin
wall panels, wood ceilings
and red terrazzo floors define
the bar. A double-sided
second bar opens to the
Boardwalk and the Atlantic
Ocean. The patio seating
is defined 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 Café 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 Café softens to
a palette of pastels of yellows,
oranges, reds, and browns
in interesting patterns.
Twenty-foot tall metal piping
encloses the booths and
defines the boundaries of the
Café. Banquettes create free-
standing scrolls to divide the
Café into small, quaint zones.
 Client/Owner Trump entertainment
Design firm WESTAR Architects
Photography 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 access to a faux fur lined and Formica-topped diner cement floor from the time and intensity of the design quality
work well only up to a point alcove that exuded excess tables, flower power ottomans, an exciting 3D tile patterned is maintained consistently.
and beyond that the cognitive and decadence of the age. white couches with quilted floor outside were polished
dissonance of reconciling Sofas, seats and even a floor covers, neo-retro table with and left basically intact. Shag This project is unabashedly
second hand furniture with rug took the crimson hue. a lamp for a leg, high gloss pile carpets added colour in over the top and revels in
quality experience was testing A high recognition pattern jigsaw puzzle tables, a Rubik’s intense patches. Accessoried sheer excess. The designers
customer approval. was specially recreated and cube for a corner table, a large with LOVE laser cut in mirror, helped create a unique spatial
printed on plain wallpaper to table shaped as a telephone lava lamps and up to door experience for patrons who
The designers understood create a striking backdrop for dial, a multi-colour sofa, a handles fashioned out of will hopefully take in multiple
that at its essence, the an iconic object of the age…. whole seating that spelt ‘Make telephone parts, this space cultural references and a
experience hinged on period an Ambassador car. A trunk Love Not War’ and colourful was crafted with attention to design vibe to be transported
evocation. By reorienting the accommodated a seat and garden benches that hugged detail. From retro washroom to another age and time.
entire concept towards the ensured the tail lights worked. a live tree…all were created tiles to cladding laminate Forever retro!
exuberant, visually exciting Plastic moulded seats, the and assembled to achieve the on the outdoor fascia, the
and easily recognizable iconic lip sofa, chrome edged intended vibe. An authentic
70s, they drew from retro
references and interpreted
them in a contemporary
context. By researching art,
graphics, colour palettes,
finishes, 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 defined the

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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 Upon entering the re-opened Japanese restaurant Sakae, one is
greeted by cherry blossoms on a red wall. Sakae encompasses three
and discovery. Lighting unique spaces including an independent space in a modernistic,
plays an integral part in simple design and a hall that embraces sunshine in summer.
the design without being During the summer vacations in July and August, Sakae introduces
overwhelming. It is a two special menus for lunch, a bowl of boiled eel and rice set and an
play of the old and new, Eenaniwa udon set. In Sakae, one can enjoy the feeling of hot and
cold in the interior design and menu, which reflects the blazing sun
traditional and modern, and a cool breeze.
wrapped in red and flowers.
The main challenge was
creating this balance.

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 client/owner PARADISE GROUP
design firm STUDIO GAIA, INC.
Design Team Ilan Waisbrod, Heaohn Lee,
Ronald Deschamps, Patricia Walker
Photography Courtesy of STUDIO GAIA

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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
company’s corporate identity.
The owner of Danbo Fun has
an accurate understanding of
the image and concept they
hope to achieve, as well as
202 2 Restaurant   203
determining their position in To accomplish this, the is also appropriated with According to the
the market. The target was designers decided to analyze playful patterns, emphasizing
to create a joyful and modern and draw their inspiration cuteness rather than designer, “It is
gathering for people in the 18 from the root of the concept. naughtiness. The lava lamp both interesting
to 35 year age group place to wall symbolizes the flow of an
dine comfortably. After consideration, the egg yolk while the entire LED
and fun to help
designers were inspired to comes together to make the the younger
How could this be conveyed present the energy and power whole space appear livelier. generation to
intrinsically without resorting of an egg with flourish and The floating curves from the
to conventional methods? How energy, symbolizing the bloom bar shapes are also attempts design space
could a stronger visual impact of youth. Following the basis at slightly increasing the evoking a youthful
be marketed? How could this of this design concept, they comparable line tensions.
be achieved to allow people to created and interpreted all the However, using an intense revival. I think I’m
create a buzz about a distinct design lines and decorative stimulus, the color hues naughty at heart just like in
image? Or to be more specific, language accordingly. Lines veered from traditional tones, my school days.”
how could ‘Danbo Fun’ be are relatively mild, though but approximations of the
made unforgettable in the it is not an exaggerated free yellow tone was still the main
minds of consumers? circumstance of space as base which was controlled to
expected; decorative language achieve a modest contrast.
204 2 Restaurant   205
 client/owner Zoe International
design firm MoHen Design International
design Team Hank M. Chao(Architect), Mike Fang, Yu Long
Luo, Jun Zeng Chen
Photography Maoder Chou(MoHen Design International)

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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 the rear similarly creates A number of previously latent
tiles respectively reference an illusion of infinite space, elements of the London site
Australia generally and recalling the flat Australian are brought to the foreground,
Melbourne in particular, horizon. The compression including Victorian
where this type of stone of a Melbourne laneway is floorboards, brickwork, and
was used extensively in the evoked by the longitudinal a traditional shop-front. An
Victorian era. Boxes of timber arrangement of the service active tension is established
decking function as seating counter and seating through between these found-object
and tables, alluding to the the middle of the space, while components of the existing
ubiquitous reuse of milk crates the expansive area to the rear building, and the transplanted
in contemporary Melbournian mimics the openness of the spatial and formal devices
cafés. High-level mirror to street to the front. that have been introduced.

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 Client/Owner Private
Design firm 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

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Maurice Mentjens Design

frans hals museumcafé

Haarlem, The Netherlands 200m2

The museum café 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 flag - 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 Men’s
Alms House), a tranquil
group of 17th-century homes
surrounding a courtyard. In
order to add a museum café 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 floor
plan.
In his search for inspiration,
Maurice Mentjens looked first
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 first 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 fill
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 five famous
schutterstukken, including
the Banquet of the Officers of
the Cavaliermen Civic Guard
(1627). In this Hals work, the
officers 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
flag 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 café 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
café. The housing for the
transformer juts halfway into
the first 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 floors
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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Restaura   215
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 client/owner Frans Hals Museum Haarlem
design firm 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

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VONSUNG
viet hoa cafe
LONDON, U.K. 128m2
Situated in the heart of a
conservation area, Viet Hoa
Cafe is the first 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 efficiency 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
224 2 Restaurant   225
constantly being shunted into planks.  There is oak wood even the toilets, disappear into feature of the restaurant is
a carefully shaped box which scent in every corner of the the walls only to be opened the 9 meter-long center table
isn’t fitted perfectly. When restaurant and the floors and by a hidden door handle.  The which houses the King &
they researched Vietnam walls are smooth and inviting entrance to the restaurant has Queen chair underneath the
and its culture, they were to the touch. been positioned out of view, David Chipperfield chandelier.
pleasantly surprised to see   eliminating the need for an  
less chaotic stock and more The floors and walls are additional second entrance Intimacy was achieved by
people in their atmospheric made of 4 meter long pieces door. focusing on the smallest
surrounding.  Thus the that stop one-inch short of   details and by trying to
brief became ‘less the purpose-built acoustic The main task was to unify surprise and delight guests -
ceilings to create lateral the space in terms of color by way of branding designs
is more’. They openings across the top of the and materials - as furniture by Michiko Ito.  We developed
craved simplicity west side of the restaurant was acquired that would have the new identity by creating
made of lacquered black such an impact.  The palette the HOA - ‘blossoming flower’
and added wood strips.  The gap is to was earthy and neutral yet in Vietnamese - these intimate
individuality to the show how the restaurant structured with distinct lines, Hoa logo mark can be found
breathes - the heating and air like sculptures, are references in all way-finding, branding
restaurant’s main conditioning are channelled to Vietnam’s surrounding collateral, packaging and
focus. through the strips and it water and sky.  The furniture uniforms.
  makes the restaurant feel finishes amplify the straight
Discovering that the building’s longer and higher.   lines of the restaurant’s wood
structure was strong enough   and strip panelling. The main
to support heavy materials, the To maintain the infinity of the
entire restaurant’s floors, 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
 Client/Owner VIET HOA CAFE
Design firm VONSUNG
Design Team Joseph Sung, Jing Chen
Lighting Consultant Delta Lights
Main Contractor VONSUNG
Photography Yu-Kuang

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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 single-
storey building, it lacked
cohesiveness and atmosphere
and was very unpopular
228 2 Restaurant   229
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.
SHH’s 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 façades facing out onto the green grass.
The 4,000 sq ft interior has A rationalised seating plan container provides cover for
a relaxed cafeteria feel with with value-engineered some extra external seating
zoned areas, some formal furniture is offset by a (sprayed green to add a
and some with looser low striking striped floor in visual link to the interior).
seating. Overhead hanging 2m-wide stripes (in a non- Also outside, screeded-off
graphic panels help to slip durable vinyl), with concrete stools (formed
absorb noise. Materials an industrial look inspired from Milton concrete tubes
throughout are inspired by by Manchester’s ground- filled with concrete and
nature, with a yellow and breaking Haçienda club. aggregate) feature an iconic
green colourway. An external shipping belisha beacon at their
centre.
230 2 Restaurant   231
 client/owner
Applemore College / The School Food Trust
design firm SHH
Design Team
Neil Hogan, Helen Hughes, Ashley Thompson, Adam
Woodward
Photography Gareth Gardner

232 2 Restaurant   233

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,
Cherbourg’s 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 high-
impact 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
children’s 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 reflections when the
sunlight shines through. New
pinboards can be used for
notices, teaching or to display
the children’s 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 school’s 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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236 2 Restaurant   237
 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

238 2 Restaurant   239

Evoke International Design inc.

commune cafe
Vancouver, British Columbia, Canada 125m2

Commune Café is a modern space utilizing light woods, recycled

felt upholstery, cork pendants, custom wood tables and bright red
chairs, creating a contemporary and inclusive room.

The space is organized around
the service kitchen, with large
custom food display units
and dark stone countertops.
The menu boards are 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
mural that 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 café 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 certified wood flooring,
recycled felt, low flow
plumbing fixtures, energy
efficient 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).

Client/Owner Samei Holdings

design firm Evoke International Design inc
Design Team David Nicolay, Robert Edmonds, Dean
Collingridge
Lighting Consultants Lightform
Main Contractor Action Projects
Photography Janis Nicolay

Suppliers:
Pendant Lamps Benjamin Hubert (Cork)
Patio Chairs Magis (Magis)
Dining Chairs Andreu World (Andreu World)

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WILLIAM TOZER architecture & design

lantana
striated space
Fitzrovia, London, U.K. 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 The scheme consists of an internal and

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 finish, 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
finished state.
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 floor has been
finished in oak floorboards,
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 fixed
glazing has been replaced
with a hinged window
to encourage interaction
with the outside area.
The washrooms are white
painted with white tiles.

Client/Owner Private
Design firm 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

242 2 Restaurant   243

 Cambridge Seven Associates, Inc.
clink
Boston, Massachusetts, U.S.A.
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 Boston’s
newest and most popular hotel
and restaurant destinations.
©Kwesi Arthur
©Peter Vanderwarker
©Peter Vanderwarker
244 2 Restaurant   245
307m 2
Clink is a casual restaurant that is located adjacent to the
hotel’s lobby. Its name is of course derived from “jailhouse
©Kwesi Arthur
slang” which seems appropriate given that the décor
surrounding this restaurant is indeed complete with original
and authentic cell doors, steel bars, and brick walls.
Unlike the space in its former life however, the restaurant now is a high-energy
environment with polished wood floors, 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
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
Anja Kohler
©Peter Vanderwarker
Main Contractor
Suffolk Construction
Photography
Kwesi Arthur, Peter Vanderwarker
Jordan Mozer and Associates, Ltd.
copper bleu
Minneapolis, Minnesota, U.S.A.
Copper Bleu is a Modern
American Bistro in Dakota
County, Minnesota, fifteen
minutes south of Minneapolis.
It is an independent restaurant
featuring handcrafted American
supper-club dishes composed
with seasonal ingredients and
pronounced culinary inflections
from Asia and Europe,
reflecting the increasingly
diverse suburban population
united by popular culture.  used to study and abstract
Similarly, the design for the
building is an abstraction
of the prairie landscape and
the idyllic archetypical mid-
century vernacular lodges and
roadhouses of Minnesota.  evoking a public exterior space
 
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
246 2 Restaurant   247
650m2
materials such as fieldstone,
copper, bronze, Douglas fir
lumber, quartz, Minnesota
limestone and walnut.    another.  Medical Clinic. The walls,
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
the landscape forms. Two
undulating copper-clad
buildings (nicknamed Josh and
Jake, after the owner’s sons)
wrap around a terraced patio
surrounded by evergreens,
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
fieldstone. 
The sculptural forms of the The plan is terraced, rolling like perforated metal and 25,000
building give the restaurant the landscape, allowing guests glowing test tubes, inspired by
drive-by street presence. inside and outside to see one the famous Minnesota Mayo
The building forms are like the like the ceiling decking, are
landscape forms and as copper The interior of Copper Bleu is composed of Douglas fir tongue
has developed a healthy patina, inspired by the archetypical and groove decking. Sunlight
the natural color has become lodges and roadhouses from the long garden window
even more integrated with the throughout rural Minnesota. illuminates velvet seating
landscape. The interior is entirely surfaced in the terraced dining room.
in warm wood, softened with Finish materials are natural
The design of the restaurant textiles and highlighted by and designed to improve with
began with an efficient glass. The ceiling is a twisting age and patina. Seating, lights
kitchen and seating plan rhythm of glue-laminated and hardware were designed
that minimized waiter travel Douglas fir beams and and manufactured for Copper
distance and maximized the decking. Between the beams Bleu by Jordan Mozer and
number of seats and flexibility. are chandeliers composed of Associates Limited.  
client/owner Restaurant Tour LLC
design firm 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
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 Più
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 “Confisserie Sprüngli”,
situated opposite.
248 2 Restaurant   249
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
unified through a continuous
flow 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.
client/owner Strozzi’s AG
design firm Smolenicky & Partner
Photography Walter Mair
The intensity of views
through the glass cube is
controlled by floor 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”.
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.

Client/Owner maruha CO.

design firm fantastic design works co.
Main Contractor Katsunori suzuki
Photography KEISUKE MIYAMOTO

250 2 Restaurant   251

SJB Interiors
sepia
Sydney, New South Wales, Australia
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 pre-
dinner 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 group’s dining
experience.
252 2 Restaurant   253
300m2
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 dark-
stained 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 floor 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 flanked
with banquettes which not
only screen the outside street,
but also provide graphic
decoration with their Art Deco
inspired fabric.
client/owner 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
©Vicki Wild
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 Neo-
Baroque 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
254 2 Restaurant   255
Hui-Hai Road area, the The luxury of the Baroque
designers decided to inject Style was used in a mild,
the historical background of contemporary way with a low
Shanghai into their design budget. The solution was to
concept for Parkside Bistro design a “a
palace in
and Bar.
a contemporary
The restaurant is located on way” and add a
the first floor of a 70-year-old,
three storeyed Beaux-Arts touch of oriental
Condo. Instead of traditional taste.
mouldings and trompe
l’oeil, brass pipes are used
to decorate the ceiling and
become another interesting
asymmetrical pattern of 3D
effect. Faux-finishes 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 floor by vinyl tiles.
client/owner Mr Lee
design firm MoHen Design International
Architect Hank M. Chao(MoHen Design International)
Photography Maoder Chou(MoHen Design International)
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 be described as spacious Downstairs is “Chazz”
Empire as a venue to fill and minimalist. The layout nightclub, where the sense
a major gap in the area’s was designed for maximum of privilege is enhanced
night scene where Mr. and space usage by having only by VIP bottle service and
Mrs. Famous could go to the perimeter furniture fixed. A a deliberately understated
“scene with the cuisine”. The long bar occupies the rear back alley entrance that
entire venue is a sleek blend wall, creating a dramatic allows VIPs to be smuggled
of highly polished surfaces, stage for those passing by on in. Downstairs, the feeling
where white bar tops, dark the street. The three “Jewel is more communal with an
zebrawood furniture, and Booths” dressed in ostrich intimate dance floor and
dramatic draperies come leather introduce some very curvy banquettes. The white
together to create a theatrical private seating to the main ostrich leather seats stand
and cool club-like atmosphere. level, while sparkling sheers out in contrast to the dark
that can be moved to separate wood and subdued lighting.
Upstairs is the luxe the loose tables adds a very Empire Restaurant & Lounge
new supper club that unique element that allows adds vibrancy and style to
accommodates 110 for guests inside the booth to the Yorkville strip, reaching
lunch, dinner, and “look-at- view the entire restaurant, and into the areas of seclusion and
me” lounging on adjacent guests outside to look back at voyeurism.
street-level patio. It can best them.
Client/Owner David Laxton
design firm Hirschberg Design Group
Design Team Martin Hirschberg, George Foussias
Main Contractor Kevin Ferry
Sound Engineering Bang and Olufsen
Photography Joy von Tiedemann

suppliers:
Flooring Stone Tile, Floorworks
Wall Covering 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

256 2 Restaurant   257

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’.

It’s even got Amsterdam talking!

“It” combines typical Rotterdam brawn with the charm of
Amsterdam. “A restaurant like a theatre.”

As evening falls, it’s 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 fish 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 flock
to the red lodge, where they can safely drown in each other’s
eyes.

With the day’s work done, it’s time to loosen up and get
down on the flashy Blits stage. Laughter fills the room, and
the pressures of the day make way for the sensuality of

night. The tired players peer into the darkened hall; floodlit
ships float past on the murmuring water, the moon glistens,
and the actors’ costumes get a critical going over.

Heavenly light fills the waterside stage, but not all that
glitters is gold here. Tomorrow will be another day, the
waters will flow; the Maas, it seems, is no longer alone.
©Jonas de Witte

258 2 Restaurant   259

 ©Jonas de Witte
260 2 Restaurant   261
262 2 Restaurant   263
264 2 Restaurant   265
 ©Jonas de Witte ©Jonas de Witte

client/owner ???
design firm Marcel Wanders
Main Contractor ???
Photography Inga Powilleit, styling Tatjana Quax (unless stated)

266 2 Restaurant   267

 index by designer
4N ARCHITECTS  www.4N.com.hk aok  156
acarquitectos  www.acarquitectos.pt cenario 110
Allen+Philp Architects/Interiors  www.allenphilp.com canal 92
prado 84
trader vic’s 68
Bates Smart  www.batessmart.com maze by gordon ramsay 8
Buckley Gray Yeoman  www.buckleygrayyeoman.com nando’s 146
Cambridge Seven Associates, Inc.  www.c7a.com clink 244
CCS Architecture  www.ccs-architecture.com   barbacco eno trattoria 152
   mid-atlantic 76
r2l 52
the plant: café organic 62
CRÈME  www.cremedesign.com macondo 106
Ester Bruzkus Architects  www.esterbruzkus.com susuru 160
Evoke International Design inc.  www.evoke.ca commune cafe 240
Fantastic Design Works co.  www.f-fantastic.com alice in mirror land 26
  alice in picture book 32
le porc de versailles 40
  maruha shokudo 250
  scottish glamour 118
  so 100
Hirschberg Design Group Inc.  www.hirschbergdesign.com empire 256
JHP Design  www.jhp-design.com paris baguette 114
JOI-Design  www.JOI-Design.com redox 122
Jordan Mozer and Associates, Ltd.  www.mozer.com bob san 20
268 2 Restaurant   269
Jordan Mozer and Associates, Ltd.  www.mozer.com copper bleu 246
Marcel Wanders Studio  www.marcelwanders.com blits 258
Maurice Mentjens Design  www.mauricementjens.com frans hals museumcafé 212
MoHen Design International  www.mohen-design.com danbo fun 142
  danbo fun fast food 202
  parkside 254
Mut-architecture  www.mut-architecture.com restaurant 51 166
Outline  www.outline-projects.co.uk bangalore express city 170
Paul Kelly Design  www.paulkellydesign.com.au cargo pizza & bar 174
Planet 3 Studios  www.planet3studios.com mochamojo 188
Puccini Group  www.puccinigroup.com livingston 44
SHAUN CLARKSON  www.shaunclarksonid.com odette’s 130
SHH  www.shh.co.uk  applemore college canteen 228
  cherbourg primary school dining room 234
teaspoon 178
SJB Interiors  www.sjb.com.au sepia  252
Smolenicky & Partner Architektur  www.smolenicky-architektur.com strozzi “piu” 248
STUDIO GAIA, INC.  www.studiogaia.com sakea 194
Sunaqua Concepts Ltd.  www.sunaquahk.com prince grill 126
Vonsung  vonsung.com viet hoa cafe 224
Westar Architects  www.wagnarchitects.com hannah’s family bistro 134
liquid 184
WILLIAM TOZER architecture & design  www.wtad.co.uk kaffeine 208
  lantana 242
Wilsdon Design Associates  www.wilsdon-da.com park terrace 138
 index by location
Australia > New South Wales > Sydney sepia  252
Australia > Tasmania cargo pizza & bar 174
Australia > Victoria > Melbourne > Crown Metropol maze by gordon ramsay 8
Canada > British Columbia > Vancouver commune cafe 240
Canada > Ontario empire 256
China > Hong Kong aok  156
China > Shanghai danbo fun 142
China > Shanghai danbo fun fast food 202
China > Shanghai parkside 254
China > Xian prince grill 126
France > Paris restaurant 51 166
Germany > Bavaria > Unterschleissheim redox 122
Germany > Berlin susuru 160
India > Mumbai > Bandra mochamojo 188
Japan > Aichi > Nagoya maruha shokudo 250
Japan > Kanagawa > Yokohama so 100
Japan > Osaka > Umeda alice in mirror land 26
Japan > Tokyo > Ginza scottish glamour 118
Japan > Tokyo > Kinshicyo le porc de versailles 40
Japan > Tokyo > Shinjyuku alice in picture book 32
Portugal > Lisbon cenario 110
South Korea > Busan sakea 194
South Korea > Seoul paris baguette 114
Russia > St Petersburg teaspoon 178
Switzerland > Zurich strozzi “piu” 248
270 2 Restaurant   271
The Netherlands > Haarlem frans hals museumcafé 212
The Netherlands > Rotterdam blits 258
U.K. > London bangalore express city 170
U.K. > London odette’s 130
U.K. > London park terrace 138
U.K. > London viet hoa cafe 224
U.K. > London > Fitzrovia kaffeine 208
U.K. > London > Fitzrovia lantana 242
U.K. > Manchester > Spinningfields nando’s 146
U.K. > Southampton applemore college canteen 228
U.K. > Southampton cherbourg primary school dining room 234
U.S.A. > Arizona > Paradise Valley prado 84
U.S.A. > Arizona > Scottsdale canal 92
U.S.A. > Arizona > Scottsdale trader vic’s 68
U.S.A. > California > San Francisco barbacco eno trattoria 152
U.S.A. > California > San Francisco the plant: café organic 62
U.S.A. > Georgia > Atlanta livingston 44
U.S.A. > Illinois > Chicago bob san 20
U.S.A. > Massachusetts > Boston clink 244
U.S.A. > Minnesota > Minneapolis copper bleu 246
U.S.A. > Nevada > Las Vegas hannah’s family bistro 134
U.S.A. > New Jersey liquid 184
U.S.A. > New York macondo 106
U.S.A. > Pennsylvania > Philadelphia r2l 52
U.S.A. > Pennsylvania > Philadelphia mid-atlantic 76
 © 2010 by designzens
designzens is an imprint of pace publishing ltd
isbn: 978-988-1887-39-9

cover photo ©Kris Tamburello

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