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    Ronan Bouroullec creates pared-back furnishings for 17th-century chapel in Brittany

    Following the wildfires that ravaged Brittany’s Arrée mountains last summer, Ronan Bouroullec has reimagined the interior of the region’s historic Chapelle Saint-Michel de Brasparts as part of a full restoration.

    Originally built at the end of the 17th century, the chapel is a modest building without lighting or electricity, perched on top of a prominent hill that rises above the surrounding moorland.
    Chappelle Saint-Michel de Brasparts has undergone a full restorationBreton businessman François Pinault, founder of luxury group Kering, financed the chapel’s restoration after it was damaged during the wildfires, patching up its metre-thick stone walls, rammed-earth floors and the exposed oak frame supporting the slate roof.
    Bouroullec, who was born and raised in Brittany, remembers the chapel from his childhood and was compelled to design a new altar and several furnishings for the building as part of the refurbishment.
    Working in collaboration with local artisans, he used a trinity of roughly-hewn materials – granite, steel and glass – that would stand the test of time while reflecting the building’s rugged rural location.

    Ronan Bouroullec designed a new altar for the chapel”Heavy enough not to be moved, sturdy enough not to be damaged, rough enough not to require cleaning, the elements that Ronan Bouroullec has placed in the chapel must succeed, despite or because of these characteristics, in creating a sensory experience,” wrote Martin Bethenod, former CEO of Pinault’s Bourse de Commerce museum, in an introductory text for the project.
    “The bush-hammered granite, blurred glass, hammered steel, the choice of a galvanized finish to soften the contrast of the cross and candlesticks with the whiteness of the lime-rendered walls – each intervention combines sensations of roughness and softness, of force and tremor.”
    The granite altar is topped with a simple hammered-steel crossNuit celtique de Huelgoat granite – quarried less than 15 kilometres away from the chapel – was cut into three pieces before being worked by local stone mason Christophe Chini to create an altarpiece, its horizontal base and a console table for candles and offerings.
    Bethenod compares the dark stone, studded with shards of white, to “the starry night sky over the chapel, virtually devoid of light pollution”.

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    The metal elements – a simple cross and a group of three tall candle holders, all in hammered steel – were the result of another collaboration, this time between Bouroullec and Roscoff-based metalworker Mathieu Cabioch.
    Some of the candles stand directly on the altar while the rest are integrated into the Brutalist console table, which consists of a long slab of granite, seemingly supported by several of the steel candle holders.
    A mirrored glass disc is mounted centrally behind the altarThe final element in Bouroullec’s material trinity is glass, in the form of a large mirrored disc that hangs centrally behind the altar.
    Made by glassmakers from the Venice area, with whom Bouroullec has worked for several years, the piece was designed to create a dialogue with the two stained-glass windows in the apse, which are the chapel’s only surviving decorative element.
    “More than a mirror, more than an object, it is a light source without physical substance, as if a round hole had been made in the wall to reveal daylight, unpredictable and constantly changing,” said Bethenod.
    Steel candleholders are also integrated into a wall-mounted consoleBrittany is home to some of the world’s oldest standing architecture. Other projects making use of the region’s historic buildings include this conversion of a 17th-century barn into a printmaker’s studio.
    The first new church to be built in Brittany in the 21st century was completed by Portuguese architect Álvaro Siza Vieira in 2018, featuring a sculptural composition of intersecting concrete forms.
    The photography is by Claire Lavabre courtesy of Studio Bouroullec.

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    Fettle revamps San Carlo restaurant with interiors informed by Milanese villas and gardens

    Architecture and design studio Fettle has unveiled the refurbished interior of the San Carlo restaurant in Liverpool, UK, which was informed by northern Italy’s coastline.

    Located in Liverpool’s city centre, Fettle’s refurbishment was designed to reinvigorate the restaurant and offer a “spectacularly opulent and contemporary take on traditional Italian dining”, the studio said.
    The lighting was chosen to create an overall softnessDuring the redevelopment, Fettle stripped the building back to its existing shell and redesigned each element, from the walls to the flooring.
    The 280-square-metre restaurant also contains a feature bar and a private dining room named The Rosa Room and Wine Sellar, which is located on the lower ground floor.
    The restaurant’s furniture was informed by Milanese villas and gardensSan Carlo’s colour palette takes cues from the hues of the northern Italian coastline and includes greens, blues and pinks.

    Fettle adorned the space with contrasting materials, including timber, brass and marble, which were softened by patterned upholstery made from mohair and leather.
    San Carlo’s colour palette takes cues from Italy’s coastlineThe furniture was designed specifically for the project and was informed by the furniture found in grand Milanese villas and gardens.
    This included fluted oak bar stools with green leather seats and brass bases, marble and timber tables, curved-legged dining chairs and velvet leather seating.
    Fettle aimed to create a space that had an “alluring ambience and timeless sophistication”.”The restaurant offers a spectacularly opulent and contemporary take on traditional Italian dining with elegant interiors inspired by Grand Milanese villas and gardens,” the studio said.
    The lighting was chosen to add a sense of softness to the interior, and includes a mixture of bespoke-designed statement chandeliers, pendant fillings and wall and table lamps to give the space an “intimate glow”.
    The lighting intends to give the space an “intimate glow”.The floor was equipped with colourful terrazzo in a mix of cream, orange and green tones, while the walls were clad in high gloss timber panelling.
    According to the architects, its colour is similar to that of luxury Italian sports cars and the water taxis of Venice.
    The restaurant was also equipped with antiqued mirrored panels that aim to add to the glamour of the space.

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    Three eclectic abstract murals by Los Angeles-based artist Jessalyn Brooks are positioned opposite the bar and on the rear wall of the restaurant.
    “We’re excited to unveil the transformation of San Carlo Liverpool,” said the managing director of San Carlo, Marcello Distefano. “The new design is representative of the evolution of San Carlo, a journey we began in 1992.”
    Antiqued mirrored panels decorate the restaurantFettle was founded by designers Tom Parker and Andy Goodwin and specialises in hospitality design and interior architecture.
    Previous projects include the restoration of an art deco hotel in Santa Monica, California, and the conversion of a members’ club for 1 Warwick members’ club in Soho, London.
    Other interior projects recently featured on Dezeen include the transformation of a three-story home into a restaurant in Bogotá that uses natural materials and a travelling gallery by multidisciplinary designer Vanessa Heepen, which includes vintage furniture pieces.

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    Eclectic Warsaw apartment interior designed as “elaborate puzzle”

    Walnut burl and terrazzo accents are combined with chunky statement furniture in this apartment in Warsaw, which Polish studio Mistovia has renovated for an art director and her pet dachshund.

    Located in the city’s Praga Północ neighbourhood, the 45-square-metre flat is set within a 1950s estate designed by Polish architects Jerzy Gieysztor and Jerzy Kumelowski.
    The Warsaw apartment was renovated by MistoviaMistovia devised an eclectic material and colour palette when updating the interior, which the studio describes as an “elaborate puzzle” of contrasting patterns.
    “The apartment is based on several dominant ‘cubes’,” said Mistovia founder Marcin Czopek. “Each of them has a different function, accentuated by various patterns through the use of veneer or colour.”
    Panels of swirly grey wood veneer feature in the living spaceThe living room is defined by a wall panelled in swirly grey wood veneer– originally designed by Memphis Group founder Ettore Sottsass for Alpi in the 1980s – while the bathroom is obscured behind a wall of glass blocks.

    The kitchen is now connected to the lounge to create one open-plan space, filled with statement pieces including a misshapen vase and the molten-looking Plopp stool by Polish designer Oskar Zieta, set against the backdrop of floor-to-ceiling walnut-burl cabinets.
    A tortoiseshell cabinet defines the bathroomTerrazzo was used to form chunky black-and-white legs for the kitchen’s window-side breakfast bar as well as an entire burnt-orange table in the dining area.
    “A muted base – bright, uniform micro cement flooring and walls with a delicate texture – allowed for the use of geometric forms, rich in interesting structures and bold patterns,” Czopek said.

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    Designed for an art director and her dog, the apartment features a similarly striking bathroom.
    Here, gridded monochrome tiles and glass-brick walls are paired with a statement standalone sink, featuring squat cobalt-blue legs that support a tortoiseshell cabinet crowned by a triptych mirror.
    The single bedroom includes purple and marble accentsA purple wardrobe complements the rectilinear marble headboard in the apartment’s singular bedroom, adding to the boxy geometry of the home.
    Also in Warsaw, Polish studio Projekt Praga incorporated mid-century elements and pops of colour into a dumpling restaurant while local firm Noke Architects referenced the high waters of Venice in a bar complete with sea-green floors and skirting tiles.
    The photography is by Oni Studio. 

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    Mattaforma considers “plants as clients” for Public Records outdoor space

    Local design studio Mattaforma has created a plant nursery and community space for Public Records, a music venue and restaurant space in Brooklyn.

    The Nursery at Public Records sits in an outdoor space adjacent to the Gowanus institution’s other programming, a vegan cafe, club and listening lounge. It serves as a nursery for plants and as an outdoor music venue.
    Public Records expanded its programming to an adjacent empty lot, adding a DJ booth and plantsThe team at Public Records wanted to turn the adjacent, empty lot into a functioning space.
    To do so while limiting new construction, the team took advantage of several storage units already on the site, positioning them as both separators and inhabitable spaces for both humans and plants.
    Mattaforma created a system of wooden trusses to shelter the plants and equipment”The brief was an over winter nursery for their garden plant collection, as well as a community space that people could enjoy and learn about plants,” Mattaforma co-founder Lindsey Wilkstrom told Dezeen.

    “With this in mind, we focused first on designing a space that relied solely on passive heating in the winter, treating the plants as our clients first, then adapting a plant-oriented space towards humans as our secondary clients.”
    The trusses are lined with polycarbonate panelsTo house the plants, Mattaforma installed wooden pratt trusses lined with polycarbonate panels.
    The trusses were made on-site out of Microllam R laminated-veneer lumber (LVL), a manufactured wood that combines micro-layers of different kinds of woods like fir and larch.
    The space is meant to hold plants year-roundAccording to Wilkstrom, the material was chosen for its durability and also its manufacturer, Weyerhaeuser.
    “[It’s] the first American timber company to call for regenerative forest stewardship over 100 years ago and who still maintains today some of the highest ethical standards in their replanting initiatives, meeting SFI certification and transparency in their evolving ESG performance metrics,” said Wilkstrom of the company.
    Vents were included in the trusses to allow for passive cooling during the summer months. The trusses also extend out over the sound system and DJ booth to celebrate the DJ booth “like an altar”.

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    Public Records also created the sound system for The Nursery, working with audio engineer Devon Ojas and manufacturer NNNN to develop a custom system that includes two blue-green and black speakers.
    In addition, the team brought in engineering firm Arup to advise on the acoustics of the space and New York-based Cactus Store to supply additional vegetation for the site.
    Besides the plants within the containers, trees and a grove of bamboo were installed around the concrete dance floor.
    Sustainable timber was used for the trusses”The Nursery is intended to be an ecological/urban intervention that serves to bring people and plants together, in reaction to the challenge of re-imagining an asphalt parking lot,” said Public Records, which was founded by Shane Davis and Francis Harris and has existed on the north end of Brooklyn’s Gowanus Canal since 2017.
    The once-industrial areas of Brooklyn have seen a variety of art and culture institutions moving in past years. Recently, a derelict powerplant, once known for its graffiti culture, was renovated by Swiss architecture studio Herzog & de Meuron into an arts centre.
    Elsewhere in the borough, Ennead Architects and Rockwell Group converted a 19th-century train warehouse into a headquarters for a charitable organisation.
    The photography is by Adrianna Glaviano.

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    Luchetti Krelle brings laid-back luxury to social spaces of Manly Pacific hotel

    Spicy shades of turmeric, cinnamon and ginger feature alongside mosaic tiles and hand-painted murals in the public spaces of this hotel in Sydney, following a makeover from local studio Luchetti Krelle.

    The renovation encompassed Manly Pacific’s lobby as well as its 55 North bar and a few neighbouring lounge areas, all located on the hotel’s ground floor, which opens directly onto Manly Beach.
    Luchetti Krelle has overhauled the lobby of Sydney’s Manly Pacific hotelIn the reception area, Luchetti Krelle created an intimate lounge setting to bring a sense of warmth and welcome into the otherwise vast white space while creating a link to the more richly decorated drinking spaces beyond.
    Tactile sofas and clubby armchairs are clustered around a chequerboard table looking onto a fireplace that mixes tile and timber in a mid-century-influenced design.
    Latticed screens create a loose separation between Manly Pacific’s reception and the adjoining bar area, which introduces a richer palette of colours and materials to forge a sense of laid-back luxury.

    The studio also renovated the adjoining bar”A loose luxury defines our approach to the reappointment of the bar and neighbouring lounge areas,” Luchetti Krelle said.
    “Layered textures, spiced tonal triggers and punchy patterns were selected to energise the drinking spaces with a graceful attitude that prioritised home comfort.”
    55 North is centred on an impressive island bar that curves outwards into the room to create a sense of welcome.
    Crazy paving in autumnal hues defines the bar areaThe bar’s outlines are mirrored by the lines of the bulkhead ceiling above, creating a shape reminiscent of a clamshell that draws the eye across the room and brings a cosy intimacy to the bar area.
    “Hospitality design is about making people feel welcome, relaxed and confident so less noticeable elements drove our process,” the studio said.
    “We lowered the bar’s original height so smaller guests didn’t feel intimidated by its stature, adding custom leather swivel stools with curved returns to encourage lengthier sittings.”
    Lattice screens help to loosely divide the spaceThe client had originally requested a new bar closer to the lobby. But Luchetti Krelle chose instead to improve the existing design to conserve waste and save valuable build time.
    “As with all hospitality projects, there is an added pressure to complete the build and installation within deadline, given commercial pressures to open for business,” the studio said.
    “So we saved time finding creative solutions to transform existing elements, avoiding demolition and the waste of materials.”
    A series of lounge spaces lead off the barOpening off the main bar area is a series of lounges.
    Through the careful use of curves, arches and latticed screens, Luchetti Krelle designed these spaces to flow from one to another with a clear sense of continuity, while each area maintains its own distinct character and sense of purpose.
    “We created adjoining rooms to encourage hotel guests to treat the space like an extension of their home during the day,” the studio said.

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    On the beach side, a sunroom takes its cues from the vista with striped and patterned upholstery in a palette of cooling blues that tether the space to the seascape beyond.
    To the rear of the bar, a former gaming room has become an expansive cocktail lounge, where arches frame three intimate booths and the eye is led across the room by an underwater scene, painted onto Venetian plaster by local mural studio Steady Hand Studio.
    Cool blue tones connect the sunroom to Manly Pacific’s beachside settingTiles are the protagonist material of this project, defining each area.
    “Intricate autumnal crazy paving lures eyes through latticed screens that lightly separate the lobby and bar,” said Luchetti Krelle.
    “Waves of fanned pearl-hued marble mosaics accentuate the rear lounge’s sophistication. Within the front sun lounge, tessellated Indian green and Carrara marble mosaic arrangements mimic the effect of a rug.”
    The sunroom opens straight onto Manly BeachTimber, too, plays a large part in the design, used across walls, ceilings, arches and booths – particularly in the bar.
    “It was important to use varied timber species, including Blackbutt and walnut, to add textural depth and warm shades,” the studio said.
    A variety of plaster finishes introduce another level of texture while helping to convey a sense of history and permanence, according to Luchetti Krelle.
    A hand-painted mural dominates the cocktail lounge in the rearThese include the teal plaster applied to the bulkhead surround of the main bar, which features a glossy underside to bring a sense of lightness to the structure.
    And in the ocean-side lounge, the pale sand shade of the fireplace wall cools the space during summer, reflecting the sunlight.
    Seating booths are enveloped in cosy archesThe Manly Pacific is among a number of hospitality projects that Luchetti Krelle has completed in Sydney over the last two years.
    Among them is a bar set inside a former butcher shop as well as the restaurant RAFI, characterised by vivid abstract paintings and patterned floors.
    The photography is by Tom Ferguson.

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    FOG Architecture adds playful tailoring motifs to Xiaozhuo boutique in Shanghai

    Chinese architecture studio FOG Architecture has completed a shop for local fashion boutique Xiaozhuo on Julu Road in central Shanghai that features oversized buttons and zippers.

    The 300-square-metre shop features tactile surfaces and playful motifs that reference the process of tailoring.
    The fashion boutique is located in central ShanghaiFOG Architecture used a glazed facade to open up the front of the shop, allowing plenty of natural daylight into the space while blurring the line between the interiors and the street to create a transitional waiting area.
    Beams from an original building on the site were kept and painted red. These support a roof installation comprised of a series of puffy pillows, arranged next to one another and covered in a canvas-like material to create a soft texture.
    A pavilion-like facade was designed to blur the interior and exterior”The result is an exterior of the shop that looks like a ‘small pavilion’,” explained FOG Architecture. “The red columns, the flat roof resembling overlapping tiles, and the antique style stone seats all contribute to this spatial image.”

    “Retail display is the project’s preset function but the pavilion-like exterior challenges it and adds the possibility for leisure, entertainment and social,” the studio added.
    “The front space not only serves as the connection between the shop and the street, but also creates an experimental space that allows contrasting events happen.”
    The entrance of the shop features a grid wallThe entrance of the shop also features a symmetrical gridded wall. Its design was informed by a skylight in the site’s original building, and creates a light-and-shadow effect that adds animation to the wall.
    Square tiles were selected as the main material of the floor and wall in the waiting area, while graphic striplights were installed between the gaps in the ceiling to match the straight lines of the gridded wall.
    Tailoring elements were used as furnishing throughout the shopFollowing the waiting area visitors enter the main area of the shop, where product display and fitting area are arranged on the west side. Packaging, inventory and other supporting functions are located on the east side.
    FOG Architecture decided to use the tools and accessories commonly used in tailoring as the main design narrative of the shop, in response to the fashion brand’s identity.

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    These include red seams, oversized buttons and zipper motifs, and sinuous metallic clothing racks designed to look like sewing thread that add a sense of fun and surprise to the off-white backdrop.
    “The waiting area and the product display area are in sharp contrast in terms of palette, material, shape, and scale — stone versus fabric, light grey versus off-white, straight lines versus curved surfaces — allowing the former to become a transitional area of functions and styles, connecting the interiors to the exteriors, while guiding customer behaviours by shifting views and texture,” the studio said.
    The fitting rooms at the centre of the shop are wrapped in canvas-like materialThe newly polished interior wall is wrapped in a material that resembles a mix of linen and leather and was created by mixing canvas, plush fabric and texture paint.
    The curved outline of the canvas-clad fitting rooms serves as the visual centrepiece of the space.
    Sinuous metallic clothing racks resemble sowing threadAccording to the studio, all finishing materials in the shop were sourced from the fashion brand’s leftover materials from its production line.
    FOG Architecture was founded by Zheng Yu and Zhan Di and has offices in London, Shanghai and Chongqing.
    Previously the studio has completed flagship stores for ToSummer in Beijing and Shanghai, as well as Super Seed’s Hangzhou store featuring kinetic display.
    The photography is by INSPACE.
    Project credits:
    Design team: Zou Dejing, Huang Yingzi, Wang Shengqi, Zhunag Shaokai, Zheng Yu, Zhan DiLighting design: Liben Design, Zhang XuConstruction: Shanghai Guqin Construction Engineering Decoration Co., Ltd.Furnishing: Dongguan Lianwei Furniture Co., Ltd.Structure consultant: Tao Xinwei

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    Forma is a nomadic design gallery popping up around Berlin

    Contemporary German furniture designs are displayed alongside vintage pieces at this travelling gallery that multidisciplinary designer Vanessa Heepen has launched in Berlin.

    Rather than having a permanent home, Forma will take over different locations across the German capital.
    Forma’s first exhibition was held in a building next to the Spree riverThe gallery’s inaugural exhibition, titled The Room I Walk the Line, was recently on show on the ground floor of a mixed-use building in Friedrichshain, nestled in between fragments of the Berlin Wall on the banks of the river Spree.
    “To be honest, the area is not where I would typically choose to open a gallery,” Heepen told Dezeen. “But when I first saw a picture of it on a real estate website, I was deeply touched by its huge windows, red columns and by the water, of course.”
    It featured German designers including Nazara Lázaro (left) and Studio Kuhlmann (top right)A trained interior designer, Heepen largely left the space in its found state but worked with her team to create a simple mahogany bar counter and storage unit for the gallery.

    She also asked “soft architecture” studio Curetain to create a white latex screen for the corner of the gallery.
    As part of the exhibition, this served as the backdrop for a tall white spectator shelf by Stuttgart-based Freia Achenbach, along with a graphic white stool by local designer Nazara Lázaro.
    This wiggly coat stand was mong the vintage pieces featuredOther pieces in the exhibition included a pigmented concrete chair by Carsten in der Elst and hanging metallic stars by Studio Kuhlmann, both from Cologne, as well as a translucent shelf by Berlin’s Lotto Studio.
    Forma also sourced a number of vintage pieces from Moho – a 20th-century furniture showroom in Prenzlauer Berg – among them an embossed metal cabinet and a wriggly coat stand.

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    One of Heepen’s main motivations for founding the gallery was to carve out a space for showcasing design-led furnishings in Berlin, which she says is something of a rarity in the German capital.
    “It is a discursive topic, and people have always been unsure about the success of it,” she explained. “After Forma’s first edition, I am glad to say it was hugely successful”.
    Contemporary design pieces included a translucent shelf by Lotto StudioThe designer is currently on the hunt for Forma’s next location and will let the new setting inform her selection of furnishings.
    “I’m always open to something new that occurs within the process,” she said. “I hold on to my vision, but I am also open to taking a detour.”
    Also featured was a pigmented concrete chair by Carsten in der ElsElsewhere in Berlin, Swiss architecture firm Herzog & de Meuron is currently constructing a major new museum for modern art.
    The building’s design came under fire at the end of last year, when it was discovered its complex air conditioning system would result in the venue using four times as much energy as a nearby museum from the 1800s.
    The photography is by Matthias Leidinger. 
    The Room I Walk the Line was on show at Mühlenstrasse 63 in Berlin from 15 June to 15 July 2023. For more exhibitions, events and talk in architecture and design, visit Dezeen Events Guide.

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    Lorenzo Botero and Martín Mendoza convert Bogotá residence into brick-lined restaurant

    Local architecture studio Lorenzo Botero Arquitectos and interior designer Martín Mendoza used a palette of natural materials to transform a three-storey house into a restaurant in Bogotá.

    Located in the city’s Zona del Nogal, a popular shopping destination, Ideal Restaurant takes cues from the materiality of the deserts of the southern United States and the north of Mexico.
    Architect and interior designer Lorenzo Botero and Martín Mendoza turned a three-storey residence in Bogotá into a restaurantThe building was a three-storey residence that had undergone a series of previous renovations, which made it difficult to integrate a full kitchen and dining spaces.
    “It was a challenge,” said Botero, “But in architecture, it is about making trade-offs that are solved with the design once the program is clear.”
    The space was informed by the deserts of the southern United States and the north of MexicoThe studios used wood, copper, terracotta, linen and stone to create a warm atmosphere throughout the restaurant, which includes a covered outdoor seating area.

    The second-floor dining area is the “tour de force” of the project and includes an eclectic mixture of curved wooden and terracotta tables from Colombian furniture companies Carmworks and 902 Showroom and wooden chairs and benches from Vrokka.
    Vertical brick made of river sand was used to clad much of the interior”The project was very architectural and I did not want to superimpose things that were unnecessary,” said Mendoza.
    “I knew that the interior design had to work in favour of the architecture and the concept; hence the colour palette and natural materials⎯wood, vegetable fibres, terracotta, leather, jute and linens⎯and to contrast are the details in bronze and copper”.
    The second-floor space was divided by a sloping wine rack extending from the ceiling, as well as a wide stone bench tucked into a corner. The bench extends the length of the back wall to become the hearth of a metallic fireplace.
    The second-floor dining room is furnished with wooden tables and chairsA curved wall above the fireplace conceals the flue and further added dimension to the dining room, which looks out over the street through a wall of wood-framed windows.
    Lorenzo Botero Arquitectos wrapped much of the space in a thin brick made of sandstone, placed vertically to “lengthen” the walls of the space.

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    Walls, floors, and windowsills were wrapped in the material, as well as the base of a large shared sink in the bathroom.
    Horizontal bands made of metal were embedded throughout the rows of bricks to reflect the earthy-red tone.
    A series of windows are framed in woodMetallic lighting fixtures and lamps from Mendoza’s brand mm&co and others made in collaboration with La Bestial also reflect the restaurant’s natural palette.
    They include circular metallic wall sconces and cylindrical pendants affixed to the restaurant’s ceiling, as well as the wall sconces topped with wicker lampshades.
    Metallic light fixtures and hardware reflect the earthen tones of the interiorThe outdoor seating area has the same linen-covered chairs and wooden tables as the second-floor dining room.
    Large clay pots line the walls and hold herbaceous plants such as lavender and rosemary.
    The restaurant is currently open and serves modern American fare.
    Other Colombian eateries featured on Dezeen include a bakery and cafe by Studio Cadena with jagged, triangular windows and a hotel with a lobby and cafe covered in plants in Medellín.
    The photography is by Mónica Barreneche Olivares.

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