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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 ariot 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 headyaromas 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 lifeas chandeliers. Its not the collection of designer objects that ensures

success but rather how the designer carefully brings diverse elements

together.

Designers are forever asked what inspires them. The answer to that is

just about everything - movies, books, painting, periods of time in history,location! What is unusual this year is that in Hong Kong/ China, at least

three projects were inspired by the humble egg.

Also in this issue, we have low-budget eateries with a very dedicated

clientele the school canteen. These are simple but challenging for

requiring good space planning and multiple usage.

We have a number of award-winning restaurants but occasionally, at the

other end of the scale, designers just want to have fun. How else can youexplain 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!!

introduction


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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: caf organic SAN FRANCISCO, CALIFORNIA, U.S.A. 62

ALLEN+PHILP ARCHITECTS/INTERIORS trader vics SCOTTSDALE, ARIZONA, U.S.A. 68

CCS ARCHITECTUREmid-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

CRME macondo NEW YORK, U.S.A. 106

ACARQUITECTOS cenario LISBON, PORTUGAL 110

JHP DESIGN paris baguette SEOUL, SOUTH KOREA 114


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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 odettes LONDON, U.K. 130

WESTAR ARCHITECTShannahs family bistro LAS VEGAS, NEVADA, U.S.A. 134

WILSDON DESIGN ASSOCIATESpark terrace LONDON, U.K. 138

MOHEN DESIGN INTERNATIONALdanbo fun SHANGHAI, CHINA 142

BUCKLEY GRAY YEOMAN nandos 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

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 museumcaf HAARLEM, THE NETHERLANDS 212

VONSUNGv iet 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 INTERNATIONALparkside 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

...contents


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maze by gordon ramsayCROWN METROPOL, MELBOURNE, VICTORIA, AUSTRALIA 1 345M2

BATES SMART

As the name evokes, mazes

interior is crafted as a journey

of intrigue and discovery. It is

an evocative landscape wherea 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, turquoiseand 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 lobbybelow or close these down for

privacy.

The a la carte restaurant is

defined by a glassed, soaring

volume and banquette that

enclose this softer furnishedspace. 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 otherwiseneutral palette of taupes and

charcoals.

Over-scaled light fittings,

custom-made by Foscarini in

Italy, hover above the dining

room and act as beacons when

viewed from the street below.

David Band of Mahon & Band

was commissioned to create

a wall relief sculpture modeled

and created from found birch

trees. This contemporary

installation evokes the imagery

of an ivy-clad wall and travels 60metres, 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 Roomseating 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 thegreater restaurant space.

In maze Grill, a vibrantcombination of raw steel,

maze occupies a sculptural, architectural space outside the

main tower where its inside/outside quality is amplified in

the interior.

rough cut slate and rustic,

thickly glazed tiles in a deep

emerald provide a bold and

robust backdrop to the dynamicworkings of the active kitchen.

Finally, the journey ends in an

elevated private dining space

where the timber floor moulds

dramatically to become both

wall, and then ceiling.

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CLIENT/OWNERCROWN LIMITED & GORDON RAMSAY

DESIGN FIRMBATES SMART

DESIGN TEAMJEFFERY COPOLOV (INTERIOR DESIGN DIRECTOR),

GRANT FILIPOFF(ASSOCIATE DIRECTOR), KENDRA PINKUS(ASSOCIATE DIRECTOR)

MAIN CONTRACTORBAULDERSTONE PTY LTD

FITOUT CONTRACTORSCHIAVELLO

GRAPHIC DESIGNERFABIO ONGARATO DESIGN

PHOTOGRAPHYSHANNON MCGRATH

SUPPLIERS:

TABLE TOPCUSTOM DESIGN BY BATES SMART CERAMIC TILE ARTISTBRIAN KEYTE

TABLE BASECAVIT & CO

CHAIR BONACINA CHYLIUM1HUB FURNITURE

PENDANT LIGHTS FOSCARINI ALLEGROSPACE FURNITURE

WOVEN SCREENSDESIGN SENSE (CUSTOM DESIGN BY BATES SMART)

HEAT LAMPSDESIGN SENSE (CUSTOM DESIGN BY BATES SMART)

ARTWORKDAVID BAND & ANITA BELL

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JORDAN MOZER AND ASSOCIATES, LTD.


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bob sanCHICAGO, 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.

The project, completed in early2010, uses a new circulationsystem to link the DiningRoom, Bar, Leos Loungeand the Private Room, fourseparate public spaces withindividual personalities andmoods that may be operatedseparately or together, as

business requires.

,

including sculptures, furnitureand lighting, which contributeto the Bob San story.

The designs are inspiredby Bob Bees very popularAmerican interpretation ofJapanese dining culture, asinterpreted by Mozer, whose

lifelong obsession with Japanbegan when he was 14.

Jordan Mozer said that hisfather was a doctor whoencouraged his fascinationwith zoology while his mother,who was an artist, praised hiscreative side. When I wasntlooking for creatures in ravinesor along the beach, I drew andmodeled them compulsively.My interest in design wastriggered when I began toinvent new hybrid animalscomposed from parts of whatId collected.

The original kitchen, officesand dining room wereextensively rebuilt and refined.The bar was expanded,pushing out onto vacant landbetween Bob San and LeosLunch Room. The interiorconstruction of the formerLunch Room was entirely

gutted to create a dramatictwo-storeyed, brick-walledlounge with views through anew glass faade to pedestriantraffic on Division Street. Adeep steel beam was placed inthe back wall of Leos to createan enormous arch leading to anew building. A private roomwas constructed on a secondpatch of vacant land.

The designs for Bob San werecreated by Jordan Mozer andAssociates, Limited (JMA), aChicago-based architectureand design firm led by artist/designer Jordan Mozer,who has degrees in botharchitecture and productdesign, and his businesspartner, architect Jeff Carloss.They created the architecturalsolutions as well as many

of the original, hand-madecomponents in the space,

My favorites werecephalopods, a group ofinvertebrates which includesoctopus, squid and theamazing chambered nautilus.On my twelfth birthday Ireceived from my father abook by my hero, JacquesCousteau, on the subject

of cephalopods. On mythirteenth birthday I wasecstatic to be treated todinner at what was then theonly Japanese restaurant inChicago, where I was servedoctopus and squid, creaturesI had never actually seen inperson, much less tasted.At 15, my family traveled toJapan, where everything wasdifferent, the first of 20 tripsthere.Mozer feels that Japan is oneof the most culturally exclusiveand refined cultures in theworld and in many ways,the antithesis of America.Bob Bee has created astylized American portraitof Japanese food culture inChicago. Our designs forhim draw inspiration from the

confluence of these two verydifferent cultures.

Bob Sans pony-tailed owner,Bob Bee, was born andraised in Korea and cookedin Japan for several yearsbefore coming to Chicagowhere he has founded threefreestyle American-Japaneserestaurants. Bob San, his thirdventure, originally opened in

2000. In 2008, he purchasedthe former Leos Lunch Roomand adjoining vacant landto expand and improve histhriving business by adding alounge, a private dining room,and expanding the bar.

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SUPPLIERS

Jordan Mozer and Associates Limited has distinguished their practice for


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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

Jordan Mozer and Associates, Limited has distinguished their practice for25 years by designing and manufacturing proprietary elements used intheir projects.Dozens of artists, craftspeople and manufacturers in Chicago assistedJordan 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 andAssociates, Limited include the following:

3-D FlagThe partition between the lounge and bar is a sandwich red marblesin a field of neutral marbles held between two layers of glass: this is athree-dimensional interpretation of the Japanese flag, a red dot in awhite field.

Glowing OctopusSome cephalopods are bio-luminescent, glowing at night to attractmates. The chandelier in the bar is inspired by arms of the the octopusused to make Tako sushi. It is composed of steel and hand-carved, redsolid-resin castings.

TentaclesSquid and cuttlefish have specialized elongated arms called tentacles.The lamps over the high sofa in the Bar were hand carved in woodand then cast in re-cycled aluminum-magnesium alloy, and then handpolished.

Lounge SeatingHand-sculpted seating composed of cast resin creates flexible seatingin the center of the room. Coral forms inspired the twoseat loungechairs with built-in tables that were created exclusively for Bob SansLounge. They are inspired by coral.

Lounge Lighting SculptureThe raw brick was sandblasted and then Jordan Mozer created asubtle abstract mural by amplifying the colors in the brick with paintand chalk and oil pastels.

A sculpture of cast resinThe lighting in the lounge is indirect, hidden in the steelcompression ring used to restructure the walls after the secondfloor was removed; inside this ring are lights directed at thesculptures on the upper walls of the lounge, which act asreflectors. The sculptures are composed of lacquered cast resin.

Private Dining Room ChandeliersInspired by the forms of ceremonial Japanese bells and bivalvemollusks (cousins to the cephalopods also featured on Japanesemenus) and composed of spun steel and hand-polished recycledaluminum-magnesium castings of wood carvings and finished in cutepastel colors from Japanese manga and designer toys mixed with richwarm colors of ebony floors, chocolate velvet and milky taupe glass tile.

Surfboard TableComposed of hand-polished , recycled aluminum-magnesium castingsof wood hand-carvings, with a solid Midwestern walnut top in the formof a surfboard.

Dining Room SculptureInspired by images of bioluminescent squid photographed by JacuqesCousteau, it is composed of hand carved wood cast in recycledaluminum magnesium alloy.

Milk and Honey Chandelier in the Dining RoomComposed of steel, computer milled glass and locally hand blown, sandetched glass.

Dining Room Candle Sticks,Hand carved, cast in recycled bronze, hand polished and acid washed.

Dining Room BowlHand carved, cast in recycled bronze, hand polished and acid washed.

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alice in mirror landUMEDA, OSAKA, JAPAN 100M2

A book represents the

entrance door and patrons

literally walk into the story. To

create a continuous movement

from the dining hall, a see-

through fabric was chosen forthe private dining room thus

maintaining its privacy.

The layout was designed as anopen space so that all guests

can share in the excitement.

The layout functions as an

Izakaya where drinks and foodare served. Many mirrors have

been used in the restaurant so

that it appears more spacious

but when guests sit down,

they will not see themselves

or others in the mirror, since

pictures or prints were

strategically placed to preventreflection.

The waitresses wear Alice

costumes which are liketraditional maids outfits with

a blue ribbon as in Disney

movies. The skirts wereshortened 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 hasbranches in Shinjuku and

Ginza.

This restaurant concept is derived

from Lewis Carrolls famous workAlice

in Wonderland. Here, the fantasy is

played out in a dark atmosphere with

waitresses dressed in Alice costumes.



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CLIENT/OWNERDIAMOND DINING CO.

DESIGN FIRMFANTASTIC DESIGN WORKS CO.

MAIN CONTRACTORKATSUNORI SUZUKI

PHOTOGRAPHYHIROKAZU MATSUOKA




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alice in picture bookSHINJYUKU, TOKYO, JAPAN 181M2

In the private rooms,chandeliers were made with

10 types of dolls most of which

were acquired from Game

Center attractions. Given

its location in Shinjyuku

Kabuki Cho, the restaurant

is open till early morning. To

enhance this night image,colored, exotic Lewis Carroll

pictures in vibrant colors

were placed on the walls and

screens in private rooms.

The 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.

The newest restaurant in the Alice in

Wonderland Series originates from a

pop-up picture book concept. The base coloris dark black with a gigantic chandelier in the middle. New

colorful images were added as a new design feature.



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PHOTOGRAPHYMASAYA YOSHIMURA

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le porc de versaillesKINSHICYO, TOKYO, JAPAN 182M2In Japan, there is a famouscomic book called the Roseof Versailles in which Marie-Antoinette is introduced. Thisrestaurants name originatesfrom this parody as does itsdesign concept. The interioris not gorgeous as the palaceof Versailles. Instead, it iscasual like the menu. Themenu focuses on pork cuisinesfrom around the world. At theentrance, guests can see apainting of Marie Antoinettehugging a pig to create alaugh, in the main diningroom, there is a big roundtable with a pig sculpture(FRP modeling) that rotates

every hour. Along the window,there are strings of ping-pongballs which functions as a

curtain as well as a logo. Theinspiration for this came fromthe back stage of a popularAmerican hard rock bandcalledKiss.

The interior designer creditedartists, comics, movies andfashion for inspiring himrather than the work of famousarchitects or designers.

The seating in this restaurantis very tight but highlyefficient. The round tablewith the pig sculpture ismost popular but the privaterooms are also very popular forholding big group events.

Kiss music, black tone style, and eye-

catching flashy colors created a striking

image.



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livingstonATLANTA, GEORGIA, U.S.A. 530M2Designed 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.

Flanking the dining room are

two unique works of art, each

featuring dynamic black and

white ghosted images of some

of the citys original socialites

on the red carpet. Recognizing

the historical significance of

the space, these photographs

were selected from those

taken at the premiere party for

Gone With the Wind, held inthe same grand room in 1939.

Glowing lanterns reflect off

dining tables onto the mirrored

bar which offers a window

between the two rooms.

This was an opportunity to

update the lobby in ways to

pay homage to the namesake,

Livingston, for his love of

Atlanta and his lifelong

efforts to green the city.

The citys extensive parks

were an inspiration for the

polished, laser-cut metal

trees created behind the

front desk. The map behindthe 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.

The bar includes sleek, low

tables made of Carrera marble

surrounded by custom seating

ranging from muted silver

snakeskin club chairs, to deep

chocolate crocodile stools

and plush burgundy chairs.

Oversized Palladian windows

allow guests on the terrace

to peek into the bustling

Livingston bar. The baritself, with modern polished

chrome bar back, is a perfect

juxtaposition to the classic

interiors. Th e grand twenty

foot ceiling is punctuated by

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.

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 tocomplete 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 &

caf, Livingston Mims, was

the former mayor of Atlanta

and lived on this very plot of

land in his mansion before theGeorgian 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.

Gold and silver accents are illuminated by a grandiose

chandelier encased in an iridescent screen, adding

dramatic architectural detail to the space.

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CLIENT/OWNERFREMONT REALTY

DESIGN FIRMPUCCINI GROUPPHOTOGRAPHYMICHAEL KLEINBERG

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CCS ARCHITECTURE


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R2L is an elegant, modern restaurant

and lounge that reinterprets the

glamour and exoticism of the 1930s.

Perched high above the

heart of Philadelphia, the

intimate, convivial space

recalls the elegance of the

extravagant Art Deco era

while celebrating the clean

simplicity and spatial balanceof modern architecture. A mix

of texture, color and pattern

bring the long space together

in a combination of plush

lounge furnishing and cozybooth seats contrasting with

moments of glimmering lightand 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-

r2lPHILADELPHI A, PENNSYLVANIA, U.S.A. 930M2

print upholstery. A metallic

ceiling grill undulates across

the bar, dining room and

lounge leading towards the

spectacular city views. Upon

entering the restaurant,

a glass slot invites an up-close look at Daniel Sterns

custom kitchen. A floating

handcrafted sculpture of

polished silverware made by a

local artist encloses a uniquedining area that provides

guests with unobstructedviews across the city. While

in one of the private dining

rooms, one can dine aside the

statue of William Penn atop

Philadelphias City Hall. As a

backdrop to the city skyline,

a wall of wine marches

along reminding us to raisea glass to an unforgettable

experience.



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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 ENGI NEERING, INC .

LIGHTING TLP THE LIGHTIN G PRACTICE

FOOD SERVICE ADVANCED FOODSERVI CE SOLUTIONS

ARTWORK ALI AHMAD/3-D M ETAL ARTS

GENERAL CONTRACTOR DOMUS, INC.

PHOTOGRAPHY KRIS TAMBURELLO

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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 plant: caf organicSAN FRANCISCO, CALIFORNIA, U.S.A. 372M2

The clients program called for

a sustainable design agendawhich would be in sync with,

yet showcase, the food they

are serving. The Plant serves

an almost purely organic

and primarily locally sourced

menu. The space they inhabit

was to follow the same goals.

The Architect inserted light,

delicate interiors within theexisting pier warehouses

using reclaimed wood,

recycled-content tiles and

an eclectic mix of zinc, cold-

rolled steel, and stainless

steel to finish out the spaces.

The Plant, like many newprojects within converted

pier buildings along San

Franciscos Embarcadero, is

helping revitalize this edge of

the city where the land meets

the Bay.

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BAR +RESTAURANT BREEZEWAY CAFE, KITCHEN, SUPPORT

SANFRANCISCO BAY

THE EMBARCADERO ROADWAY

(W)RESTROOMS

(M)

RESTROOMS

HISTORICWALK

PROMENDAE

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ThePlant: CafeOrganic. Pier3, SanFrancisco, CA CCS ARCHITECTURE

1 ENTRY

2 MAINDININGROOM3 COMMUNITY DININGTABLE4 BAR5 BAYSIDE DINING6 CAFE7 KITCHEN

8 SUPPORT9 RESTROOMS

RESTAURANT

CAFE / KITCHEN/ SUPPORT

PATIO SEATING

restaurant

cafe /kitchen / support

patioseating

1 ENTRY 2 MAIN DINING ROOM3 COMMUNITYDINING TABLE 4 BAR 5 BAYSIDE DINING6 CAFE 7 KITCHEN 8 SUPPORT 9 RESTROOMS

CLIENT/OWNER MNMCO LLC


DESIGN TEAM


BARBARA TURPIN-VICKROY(INTERIOR DESIGN DIRECTOR);

SEAN KENNEDY(PROJECT ARCHITECT);

HISTORIC ARCHITECT PAGE & TURNBULL

LIGHTING LUMINESCE DESIGN

MEP ENGINEER ACIES ENGINEERI NG

STRUCTURAL ENGINEER JOHN YADEGAR & ASSOCIATES

FOOD SERVICE ROBERT YICK COMPANY, INC.

TABLE TOPS PACASSA STUDIOS

HICKORY ARNOLD AND EGAN

GRAPHICS EWINGCRAFT

MAIN CONTRACTOR FINELINE GROUP

PHOTOGRAPHY KRIS TAMBURELLOMelissa Werner

Kelly Barrie

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trader vicsSCOTTSDALE, ARIZONA, U.S.A. 710M2

The structure was to house

a restaurant whose concept

has its historical roots in the

1940s-50s, steeped in thePolynesian 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 Vics image and direct

design inspiration from theadjacent hotel.

The building occupies a corner

of the hotel property and is

sited diagonally ensuring a

strong presence on two streets.

This diagonal orientation alsoorganizes the entry axis from

the street corner into the hotel

proper allowing easy access for

the hotel guest as well as theoff-site patron.

The entry axis, in turn, informs

the plan bisecting the buildings

mass and defining its two

distinct uses. The first is a non-

fenestrated box, housing the

kitchen, service, restrooms andback-of-house functions. In

contrast, the other is a naturally-

lit, transparent dining pavilion

and includes a lava cone hub

featuring reception area, bar

and lounge and logo sales area.

The axis is expressed internally

through immense authentichand-carved monumental

tikis that punctuate the edge

of the axis and further define

dining and circulation space.The tikis are sky-lit in the

daytime and top-lit at night

to draw the eye up and show

the relationship between the

curving soffits and the steel

roof structure. A glass enclosed

wood-fired Chinese oven is also

showcased along the axis.

Inside, the lava cone hub acts

as an enclosure for arriving

guests and maitred while

allowing access to the dining

spaces and bar. The bar is

spatially defined by a redsteel tube trellis that floats

beneath the roof structure and

continues through the exterior

glass where it covers the bars

lanai. The trellis and the use of

fully operable sliding glass walls

work together to blur the line

between outside and insidespaces.

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.

An elegant mix of honed

masonry, exposed steel, sliding

and fixed glass and integral-

colored concrete make up themajority of the material palette,

while natural lava, bamboo,

channel glass, tapas cloth and

glass tile used in conjunction

with mica-chip stucco finishes

add richness. Authentic art and

artifacts from the South Pacific

complete the composition andhelp take the guest away.

The transparency between

inside and out is enhanced by

the use of a similar color palette

on finishes and furnishingsthroughout the project. The

exposed grey concrete block

along with the stained concrete

extends from the entry into the

dining spaces and contrasts

with the bright greens, oranges

and soft golds on the seating.

The main dining space is

creatively sub-divided into

smaller, more intimate spaces

on the periphery by massive

battered masonry walls. Sliding

glass doors allow these spaces

to open directly onto exteriordining lanais. Masonry walls,

corrugated translucent panels

and lush landscaping give the

lanais privacy and act as a view

backdrop for the interior spaces.

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CLIENT/OWNER

WESTROC HOSPITALITY / MSR PROPERTIES

DESIGN FIRM

ALLEN+PHILP ARCHI TECTS INTERIORS

DESIGN TEAM

MARK PHILP, ELIZABETH DAMORE,

THOMPSON WARD

OTHER CONSULTANTS

AME ENGINEERING,

HABERMANN ELECTRICAL ENGINEERING,

TLCP STRUCTURAL

MAIN CONTRACTOR

KITCHELL

PHOTOGRAPHYBILL TIMMERMAN

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

This is the essence of MidAtlantic, Chef Daniel Sterns latest

culinary surprise. CCS Architecture designed a warm, urban restaurant space tosupport Sterns vibrant and approachable Pennsylvania Dutch food concept. The 2,500 square

foot space is creatively crafted from simple and reclaimed materials, taking on a casual,

roadhouse feel. An angled wall of reclaimed Western Pennsylvania barnwood runs the length of

Behind the galvanized metalbar, a window invites views

to the keg room stocked with

local microbrews. Locally

fabricated, sliding doors

clad in tin clad enclose a

flexible private dining area.

Outdoors, a linear firepitprovides warmth and a visual

focus for the large dining

terrace. MidAtlantics designencourages frequent visits; its

easy to drop in for dinner or

beers and a ball game.

the restaurant, anchoring

the bar, open kitchen and

counter seating. Custom

lighting fixtures made fromrecycled fluorescent tubes

hang from a long, wooden

drop ceiling. A central

farmhouse table offers social

opportunities between

the bar and dining area.

mid-atlanticPHILADELPHI A, PENNSYLVANIA, U.S.A. 510M2

Brendan McRae

Brendan McRae

Brendan McRae

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main dining

exhibition kitchen

back of house

bar/lounge

patiodining

1 VESTIBULE2 ENTRY3 BAR4 COMMUNITYTABLE5 MAIN DINING

6 EXHIBITION KITCHEN

7 FLEX DINING 8 TERRACE DINING9 FIRE PIT10 KEG ROOM11 RESTROOMS

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CLIENT/OWNER DANIEL STERN


DESIGN TEAM


TAYLOR LAWSON(PROJECT DIRECTOR);

ERICK GREGORY(PROJECT ARCHITECT)

LIGHTING LIGHTING DESIGN COLLABORATIVE

FOOD SERVICE ADVANCED FOODSERVI CE SOLUTIONS

GENERAL CONTRACTOR GARDNER FOX

PHOTOGRAPHY KRIS TAMBURELLO, UNLESS STATED

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85

pradoPARADISE VALLEY, ARIZONA, U.S.A. 1 060M2One 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 thepatio 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 diningareas. Arrival isnt complete

until guests go through the

restaurant and onto the back

dining patio where the stunning

backdrop opens up to reveal

the waters of the Alhambra

walk, the relaxing pools of the

resort and Camelback Mountainbeyond.

Within a setting that was

designed to reflect an

Andalusian village built over

time, Prados character is

unique in that it reflects but

does not mimic the cluster ofbuildings 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 accentedbar 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 playwith 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 withinthe 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-cutstones 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 themood of a dark, sexy, glamorous

speak easy.

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. Theprogression 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 vividlylandscaped, 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 millingaround the outdoor patio with

drinks and music spilling intothe courtyard. Accented with

stone and tiled fountains, the

square feels like the center

of a small village providing a

social gathering space as it

connects Prado, the front lobby,a caf, the wedding chapel and

administrative offices along with

select guest rooms.

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CLIENT/OWNERCROWN DEVELOPMENT

DESIGN FIRMALLEN+PHILP ARCHITEC TS INTERIORS

DESIGN TEAMMARK PHILP, ELIZABETH DAMORE, RACHEL WUELLNER

OTHER CONSULTANTSGLUMAC ENGINEERING, TLCP INC

MAIN CONTRACTORROWLANDS CONSTRUCTION SERVICES

PHOTOGRAPHYJAMES CHRISTY STUDIOS, ZARUBA PHOTOGRAPHY

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CLIENT/OWNERSPRING CREEK DEVELOPMENT

DESIGN FIRMALLEN+PHILP ARCH ITECTS INTERIO RS

DESIGN TEAMJON HEILMAN, ELIZABETH DAMORE, ZACHARY SHIRK

MPEENERGY SYSTEMS DESIGN

KITCHEN CONSULTANTCOLLIER CONSULTING GROUP

LIGHTING CONSULTANTLITEFX

MAIN CONTRACTORHARDISON/DOWNEY CONSTRUCTION

PHOTOGRAPHYFANNY ALLI

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soYOKOHAMA, KANAGAWA, J APAN 132M2

A dark colour palette was

combined with subdued

lighting in this restaurant.The lighting creates pockets of warmth within the

restaurant and draws patrons inside.

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macondoNEW YORK, U.S.A. 170M2

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

gel cushions. In the back,

a dining area with modular

booth seating is enclosed by

an ivy-coloured trellis and a

barrisol ceiling with colour-

changeable LCD.

Unconventional uses of

material evoke a bustling Latin

streetscape. The ceiling is

covered with wood chipboard

that is typically seen at a

construction site. Tables and

banquettes are made out of

salvaged wood as well as

Named after the fictional Colombian village in

Gabriel Garcia Marquezs 1967 novel One Hundred

Years of Solitude, Macondo serves up Latin American

street food.

wood chipboard. Inspired

by the natural landscape,

salvaged wood is used on

the bar front in a random

stripe pattern. The floor and

bar countertops are custom

coloured and textured to

match the restaurant look.



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DESIGN FIRMCRME, JUN AIZAKI

DESIGN TEAMGINA SEUNG OH, MAY KORRANUN PAKARNSEREE,

MAURO SOLMI, PATRICK MCGOVERN

PHOTOGRAPHYFANNY ALLI


JOO TIAGO AGUIAR ACARQUITECTOS


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cenarioLISBON, PORTUGAL 80M2

In that sense, the space wasorganized in a clear way, andto make people feel they arein a different environmentimmediately after entering,there is a change in colourfrom white to black of the

stone on the floor marks therestaurant area. The space isentirely coated in black: black

granite stone on the floor andcolumns and black textileceiling.

This gesture is reinforced bythe orange glass on the wallsthat signs the perimeter. The

space is mainly divided intwo areas: one that includesthe waiting area for peopleto sit and have a drink whilewaiting for their turn and theshow-cooking counter in blackgranite stone with anotherone along the faade; and theorange glass faade where

The programme initially required the creation of a cosmopolitanrestaurant inside a 5 star hotel, contemporary and innovative,using the same materials as the rest of the hotel. It had to belocated exactly beside the main public entrance and by thesidewalk so that people could immediately see it from theoutside 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.

you sit and enjoy the food.The ceiling was powdered byvarious pendant lights (DearIngo by Ron Gilad for Moooi),allowing light to come in fromvarious points. White velvetcurtains were put all along

the faade in order to give it amore comfortable feeling and anot-so-exposed ambience.



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CLIENT/OWNER GRUPO-VIP

DESIGN FIRM JOO TIAGO AGUIAR ACARQUITECTOS

DESIGN TEAM JOO TIAGO AGUIAR & RENATA VIEIRA

MAIN CONTRACTOR EDIFER

PHOTOGRAPHY FERNANDO GUERRA / FG+SG

SUPPLIERS:

PAINTED GLASS VIRCLAR

BLACK STONE PLCIDO JOS SIMES, LDA.

FURNITURE OFFICE/A LINHA DA VIZINHA


JHP DESIGN


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paris baguetteSEOUL, SOUTH KOREA 255M2

Distilling the very

essence of the

best Parisienne

patisserie, and

transporting it

east to the hippest

district in Seoul,

South Korea, a

country with

no great bread

culture created a

distinct challenge

for JHP.

The client is Paris Baguette,a strong chain of 1,600bakeries in South Korea thattasked JHP with creatingeverything.

Every possible aspect of anew concepts creation fell inJHPs remit. Create the brandidentity, store architecture,interior environment,communication strategy,packaging, photographicsuite, uniforms, anddeveloping in-store moviesand music play-lists.

After trips to the bestbakeries in France, as wellas benchmarking localcompetition in Seoul whichproffers some of the finest food

offers in the world, JHP setabout conceiving a space thatwas incredibly modern, withsubtle references to our Gallicneighbours royal legacy - theLouis XIV font, patisserieponderings and palatialchandeliers.

It was deemed the ProvencalEclectic Kitchen. Thisthematic platform wouldgive the client an immediatepoint of difference in themarketplace and attracta younger audience.Underpinning the conceptwould be the duality ofbeing born of the Product(Provenal Kitchen) and beingborn of Paris (eclectic) andcelebrating the theatre of foodwith an open kitchen. Thetone of voice would be light-hearted and witty whilst theessence of the brand wouldexploit the philosophy behindthe purity of ingredients,expertise and authority. Eventhe staffs uniforms impartconfidence and authenticity.

The products on offer rangefrom baguettes, croissants,pastries, sandwiches,coffee, wine, chocolate to aboulangerie and gift area.

The fascia displays a blueawning with the prominentParis Baguette blue and whitelogo. Warm and natural tonesdominate the interior withlimed oak display tables, glasscake showcases and screensstriped with transparent blue,a stainless steel bulkhead andsubtle blue lights.

The new concept is currentlybeing rolled out across theParis Baguette chain.

JHP also worked with

famed film and commercialproduction company RidleyScott Associates on theproduction of a set of TVadvertisements for ParisBaguette to be aired on KoreanTV.

This represented an extensionto the brand strategy andcommunication work that JHPestablished at the outset of theproject. JHP art directed theoriginal in-store movies andphotography for the chain.

Every customer touch-pointwith the brand has beencarefully considered by JHP.The final piece of the mixwas the creation of a newpackaging suite for the storesproducts. Paris Baguettebakery products are housedin beautifully constructedpackaging that make thetransportation of the goodshome or to work as special asthe experience found in-store.

Ultimately JHP achieved thegoal of creating a little tasteof Paris in one of the worldsmost modern and advancedcities.

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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



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CLIENT/OWNERDIAMOND DINING




redox

JOI-DESIGN


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redoxUNTERSCHLEISS HEIM, BAVARIA, GERMANY 86M

2

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 flags updated brand

standards. The designers

solution was to construct

a tale of Bavarian culture

that balances modern and

traditional elements while

celebrating the regions

culinary inheritance.

Redoxs understated entry

suggests a place of respite

from the hubbub of the

neighbouring conference

areas. The name redox

refers to the chemical process

that naturally occurs inantioxidant foods and, as such,

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 rooms tone so diners

can unwind from the frenetic

pace outside the restaurant.

Dramatic contrasts and

adjustable mood levels have

been achieved through the

strategic placement of eco-

friendly LEDs and energy-

saving lamps.

directly corresponds to a tenet

of Dolces redefined corporate

philosophy of nourishment,

or nurturing the spirit, mind

and body of its guests. JOI-

Design interpreted this

concept through the gourmet

restaurants 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 locales provenance.

Evidence of this intimate, 40-

seat dining areas Bavarianinspiration can be found

through the roughly textured

antler chandeliers that provide

a distinct counterpoint to

the smoothness of the crisp

white tablecloths and rich

dark stained oak; together

JOI-Designs attractive yet practical scheme

reflects the locations unique cultural heritage

as well as Dolces new brand identity.



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prince grill

SUNAQUA CONCEPTS LTD.


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prince grillXIAN, CHIN A 500M

2

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.

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.

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.



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CLIENT/OWNER MGF CATERING GROUP

DESIGN FIRM SUNAQUA CONCEPTS LIMITED

MAIN CONTRACTOR

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


odettes

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odette sLONDON, U.K.

This re-interpretation of the famous

restaurant in Londons Primrose Hill

is a riot of refreshing colour, but still

retains the romance it has become

famous for.The rambling white rose floral silhouettewallpaper 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.



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CLIENT/OWNERROBERT ENG

DESIGN FIRMWESTAR ARCHITECTS

PHOTOGRAPHYDARIUS KUZMICKAS


park terraceLONDON, U.K. 335M2

WILSDON DESIGN ASSOCIATES


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WDA were appointed to workon the complete re-design ofthe renowned Park TerraceRestaurant, the much-favoured restaurant at theheart of the hotels food andbeverage operation.

The brief required a completeoverhaul of the existinginteriors to form a newrestaurant-bar-lounge asthe key public area of thehotel, integrating operationalflexibility within the spaceand creating a contemporary-classic look to suit the hotelsclientele.

A myriad of floor and ceilinglevels were removed togetherwith existing services andFF+E, taking the spaceback to the original concretestructure.

Central to the new designwas the desire to provide analmost seamless flow throughthe restaurant, its privatedining space and adjacent barand lounge to allow guests touse the spaces in a variety ofnew ways with the greatestcomfort and ease. This wasachieved through elevatingthis elongated space to onelevel, subtly differentiatingareas with the inclusion oflarge glass-laminated sheerfabric screens and the use ofa natural material palette thatevokes Kensington Gardensbeyond the full-heightwindows. Each windowmodule was framed with alayered effect of sliding sheerscreens to either side withfixed fabric pelmet above.

A discreet host desk andfree-standing leather-cladwardrobe are situated atthe point of entry to therestaurant with adjacentaccess to the new restrooms.The restaurants bar waspositioned as a visualanchor to the centre of themain space, just beyondthe entrance, establishingimportant direct visualcontact with the lobby, whilstsupporting the natural divisionof spaces to either side.

The bar was designed as asingle block of flamed granite,with services recessed to therear and subtle uplightingto the front face, whilst therear bar was kept as light-weight and transparent as

possible to allow daylightto pass through it from thewindows behind, allowingfoliage to form the ultimatebackdrop to the bar elevation.The sheer glass screens ateither side of the bar providea subtle containment to thearea without interfering with

guests views across the entirespace; achieved in part bythe semi-transparency of thescreens - themselves up-lit -and by their varying heightsaccording to their locations.

The visual flow throughthe spaces was partiallymaintained at the privatedining room (far end of therestaurant), where bespokegeometric glass and satin-lacquered shelving form thewall between the two spaces,providing a sense of enclosurefor those using the privatedining room without entirelyremoving it and its end featurewall from the overall form ofthe restaurant. Likewise fromthe restaurant, the view tothe specially commissioned

artwork wall within the loungeis only interrupted by thesheer fabric screens providinga layering effect through thelength of the entire space.

As a highly used, all-daydining environment, it wasessential to build in numerousoperational requirements fromthe start of the design processand to ensure that pantriesand service stations wereproperly located, allowingfor maximum capacity whenrequired. This, and the multi-functional aspect of the space,meant for precision spaceplanning and coordination ofservices.

Materials used throughoutwere selected on the basisof their durability andappropriateness for usewithin the context of thebrief and multi-phased taskand decorative lighting wasincorporated to effect mood

changes throughout the dayand create drama at night.



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MOHEN DESIGN INTERNATIONAL

danbo funSHANGHAI, CHINA 180M2


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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.

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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 hasspilled 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.



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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)


nandosSPINNINGFIELDS , MANCHESTER, U.K. 307M2

BUCKLEY GRAY YEOMAN

Located off the main thoroughfare to the Spinningfields development


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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 Nandos brand.



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CLIENT/OWNER

NANDOS CHICKENLAND

DESIGN FIRM

BUCKLEY GRAY YEOMAN

DESIGN TEAM

MATT YEOMAN, PETER THOMAS,

ZSOFIA KOVACS

MAIN CONTRACTOR

GF CONTRACTS

LIGHTING CONSULTANT

JONATHAN COLES LIGHTING DESIGN

PHOTOGRAPHY

HUFTON & CROW


barbacco eno trattoriaSAN FRANCISCO, CALIFORNIA, U.S.A. 246M2

CCS ARCHITECTURE

Barbacco, just opened in San

Franciscos Financial District

Barbacco, with 66 seats, occupies a long, narrow room within the 1912

Hi d B ildi Inspired by traditional wine bars in


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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 theneed 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 winebar at night. The result is

Barbacco Eno Trattoria.

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 ofa 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

The wine bar and eating

counter extend the length of

the space and sumptuouslycurve. An extended row of

counter-height tables provides

flexibility, accommodating

the change from daytime

to evening. Community

tables cultivate a bustling

atmosphere toward the frontof the space. Ferrari Yellow

elements - a beverage case

on one wall, with framedmirror and blurred images

opposite - horizontally line

the room. A frameless glass

storefront provides views

of the warm interior andopens the restaurant to the

urban landscape beyond. San

Franciscos famous cable cars

rattle by adding an extra sense

of romance.

Vibrant yellow combines

with more subdued colorsto complement the wall

of exposed brick. Negro

Marquina stone and stainless

steel create an urbane,

almost industrial feel that

is moderated by the warm,

textural, dark wood bar face.

Walnut and chrome details onthe tables and chairs recall

the dashboard of a luxury

car. Bias-patterned gray andyellow floor tiles reinforce the

feeling of movement.

Barbacco is filled with the

flavors of Northern Italy,emanating from the food, but

also from the restaurants

colors, materials and urban

attitude. Incorporating some

of Perbaccos DNA, CCS

Architecture has created a

chic and approachable newgathering spot that is already

a destination in its own right.

Italian culture, cinema, and

design. Blurred images

of Vespa scooters, wine

barrels, sexy Italian screen

stars, and motorcycles

create a sense of sport and

speed.

Lawrence Lauterborn



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CLIENT/OWNER

UMBERTO GIBIN & STAFFAN TERJE

DESIGN FIRM

CCS ARCHITECTURE

DESIGN TEAM

CASS CALDER SMITH(DESIGN PRINCIPAL)

BARBARA TURPIN-VICKROY(INTERIOR DESIGN DIRECTOR)

BRYAN SOUTHWICK(PROJECT ARCHITECT)

STRUCTURAL ENGINEER

JOHN YADEGAR ASSOCIATES

KITCHEN

FRANK MULLER

LIGHTING

CITY LIGHTS

MEP

ACIES

GENERAL CONTRACTOR

JME CONSTRUCTION

PHOTOGRAPHER

ERIC RORER, UNLESS STATED

main diningand frontof house

kitchen/back of house

bar

restrooms

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aokHONG KONG, CHINA 149M2

Fusion cuisine in Hong Kong has always been marketed as

a luxury experience by corporate monoliths However the

4N ARCHITECTS


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a luxury experience by corporate monoliths. However, the

owner of AOK, a well-established local restaurant group,

intended to bring fusion cuisine into peoples everyday life.

Working with 4N Architects, AOK set out to combine high

During design concept

development, 4N found that

eggs have always been

an important ingredient inmost Asian cuisine and is

thus used as a main feature

in this restaurant. An egg-

shaped structure and circular

elements become major

elements in the design

approach. The egg shell-cladded VIP booth, the curved

ceiling profile and tectonic

concrete floor overlay withcircular timber-patterned floor

tiles remind customers of

Asias favourite ingredient.

The colour schemefeatures green, white,and monochrome colorslike brown and grey.The earth tone flooring is a

special touch by 4N to make

people aware of the natural

environment. While thegreen bowl-shapeed ceiling

matches the hand-crafted

chairs, specially designed

by 4N for AOK, it gives the

feeling of sitting under a tree.

An elongated mirror on one

major side of the restaurantis another highlight that

provides patrons with

reflections of various views.

This experiences variesdepending on where the

customer sits and dines. A

special feature of the lighting

design is that hidden lights

from above the mirror shine

onto the bottom of the

slanted ceiling panels. Thislight is reflected back into

the interior as comfortable

diffused lighting.

The branding experiencewas enhanced byinserting severalcrafted, patternedpanels featuring therestaurants floral logo.Light fixtures were carefully

chosen to enhance the chic

interior with imported pendant

and fan lights becoming

part of the design feature.

As part of 4Ns

environmentally friendly

objectives, 4N applied various

strategies to lower carbon

emission from the design

aspect as well as in daily

operations such as using

zoned lighting, energy-

saving LED lamps, addingceiling fans to enhance

air circulation and reduce

demand of air-conditioning

units, and designing fittings

that consume less energy.

4Ns design approachis in harmony withinthe environmentand customer needs.While meeting the

owners commercialrequirements, customersdesires and needswere not neglected.

Sandwiched betweensome of Hong Kong oldest

public housing sectors, the

fully opened entrance of

AOK intended to invite a

wide spectrum of the local

population. The facade and

details conjure up a feeling

of natural beauty within.

Spatial experience has

always been a key criteria

in 4Ns design approach.

The interior is sliced intodifferent sections intended to

give customers a distinctive

experience each time theyvisit, an approach specially

set out for a restaurant in

the heart of a residential

suburb. On weekdays, one

can share the long dining

table with neighbors or sit

at a round table with familyand friends. In contrast one

can spend a relaxing Sunday

afternoon with the family

in a cozy booth seating

offering greater privacy.

quality service and

reasonably priced

fusion cuisine with

a chic and inviting

interior.



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susuruBERLIN, 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

ESTER BRUZKUS ARCHITEKTEN


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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 everysingle table. Frank Gehrys

Cloud Suspension Lamp adds

more depth to the space.



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CLIENT/OWNERDR. ROMANN FEHRENTZ

DESIGN FIRMESTER BRUZKUS ARCHITEKTEN

DESIGN TEAMESTER BRUZKUS, SABRINA CEGLA

PHOTOGRAPHYLUDGER PAFFRATH


the entirety of the space, from

a formally white room to the

rugged, solid black room. The

whole space is illuminated

The newly built Restaurant 51

sits within the Cinmathque

Francaise which is housed

in a Frank Gehry structure

MUT-ARCHITECTURE

restaurant 51PARIS, FRANCE 200M2

of only sixty thousand EU. Mut

then began collaborating with

Le Potager in Paris to begin

implementing the design and

Fabrication of the table ended

in the hands of Kunstbetrieb

of Mnchenstein SW. Together

with the Swiss team, Mut

certain legs, then crunched

the remaining parts together

to fit the space allotted for

the epicerie. The piece was


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by ad hoc chandeliers

constructed of Y sockets

purchased in New YorksChinatown for less than 200

EUs and a varying assortment

of bulbs found in hardware

shops around Paris.

completed in 1994 - situated

at 51 rue de Bercy, in Paris

12th arrondissement.

The client initiated the

project after winning an

appel doffres one month

before the project was to be

completed - a completion

date set to coincide with the

restrospectives Jacques Tatiopenning. Working from the

South Bronx in NY, Elonore

Morand and John Mascaro,

i.e., Mut-Architecture, in

competition with another

architect, quickly set out to

conceive a solution for the 200

sq meter space with a budget

167

manage the project on site.

All the team members came

together just one week beforecompletion, 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 thebuilding is a forty meter long

twisting, turning picnic tableconstructed 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 adjoiningneighbourhood.

devised a method for bending

the elements of the table

without the use of steam.Moulds were made, glue was

purchased by the bucketload,

clamps were applied. The

table flows through the space

like a stream broken in points

to allow the flow of foot traffic.

Inside the restaurant, theEpicerie is an amalgamation

of discarded furniture pieces

purchased for 250 EU. Working

on site, Mut and Le Potager

dismantled the furniture,

cut away shelves, smashed

through drawers, chopped off

sanded and coated with the

same black paint used for

the walls of the larger of therestaurants two rooms. Atop

the epicerie, in nooks and

within dresser drawers, sit

cans of pt or bottles of wine.

Hanging from old hutch legs

you find saucisson to be

accompanied this summerby lounge chairs and picnic

baskets one can rent from

the restaurant to relax with

products from the epicerie.

Rather than settling for regular

structural legs, seven pairs

of filled fishing boots serveas the structural support for

a bank which houses thecash register and electronic

equipment for Restaurant 51.

A large protruding mezzanine,

in which a library is housed,

was painted a rich red. Thegiant object passes through



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)

CLIENT/OWNER HUGHES PIKETTY

DESIGN FIRM MUT-ARCHITECTURE

DESIGN TEAM JOHN MASCARO, ELONORE MORAND, BRIGITTE

BOUILLOT, BENOIT MILLOT

TABLE FABRICATION JRG BADER(KUNSTBETRIEB)

PHOTOGRAPHY BRIGITTE BOUILLOT


Bangalore Express is a

restaurant serving creative

Indian food. The client

wanted to maintain a visual

relationship with Outlines

OUTLINE

bangalore express cityLONDON, U.K. 480M2

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

while making sure they are

interlinked and allow views

through to the other spaces.

The booths themselves have

a lowered ceiling and are

the City restaurant has a more

refined colour palate than the

Waterloo restaurant, again

reflecting the surroundings

and clientele.


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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

171

wall, a reference to Indian

take away meals, used by

workers to carry their lunch.

Many of the bars 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 theBasement, 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

designed to make a rhythm

through the restaurants main

axis, based on two tables per

wraparound enclosure. The

grooved walls around the

bar and restaurant are as the

Waterloo restaurant, a 6mm

line cut into the wallboard.

This idea came from seeing

the waste sheet contractors

place under a board they are

cutting. After several cuts,

this underboard has a series

of shallow grooves forming an

abstract pattern. This method

was replicated on the walls

painting the grooves in the

basement bright red. Overall,

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 projects brief, Outline

makes spaces that are not

only visually beautiful, but

functional and practical.

According to them, design isonly part of the process.



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CLIENT/OWNERWATERLOO 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


cargo pizza & barTASMANIA, AUSTR ALIA 275M2

PAUL KELLY DESIGN

Paul Kelly Design was contacted by the client David Hales in early 2008, after the finalization of another projectcompleted for the client Observatory Hotel, to create a small scale pizza and wine bar in the historic SalamancaPrecinct.

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


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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 therenovation was two tenancies,one with a Fish and Chipshop and the other a historicwalkway with cobble stonefloors housing an ATM.A protracted battle wasundertaken to obtain the localgovernment clearance to open

the two tenancies to eachother, due to the history of

the space, but this was finallyobtained and works began.

The concept was basedaround a classic heritage styleinterior with a raw/strippedconcept balancing out thecharm.

The internal bar spacefeatures a large bar area, highbar standing area, side andrear lounges (which are raised)and wide outdoor tables tothe street. The Pizza kitchencan be viewed from the raisedlounge area, and a lot ofnatural light spills through thespace from the wide openingsto the street.

The interior of the space, priorto the renovation, consisted ofpainted stone walls that wereconstructed of a mixture ofplaster and rubble. This wasan early method of securingthe s andstone/bluestonewalls, but is not always themost appealing of surfaces.To cover this to the rear of

the bar, hand-made convictbricks were sourced from ademolished turn of the centurybuilding and placed in thespace to make it feel moreoriginal.

The ceiling in the space wasthe original timber joists for

the floor over. These wereadapted and acoustic liningplaced between the joists toincrease noise absorption. Allexisting timber columns andceiling were painted white forcontinuity.

The fitout looks like it wasexisting but all the originalelements were imported togive it that lived in feel, theidea being that the bar hasalways been here just as itwas discovered.

The space uses a lot of rawsteel mixed. The back of barshelving unit is a continualpiece of steel section, boltedinto the wall (with

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