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      Rawan Muqaddas designs Sloane Street Deli to be a “classic neighbourhood spot”

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      Green tiles and bentwood chairs feature inside this deli and restaurant in central London, which design studio Rawan Muqaddas has renovated to complement its local surroundings.

      Situated along an affluent street in Belgravia, Sloane Street Deli incorporates a barista bar, take-away-deli counter and an eatery that serves breakfast, lunch and dinner.
      Sloane Street Deli is situated in an affluent London neighbourhoodRawan Muqaddas, founder of eponymous design studio Rawan Muqaddas, aimed to create a comfortable place to dine that captured the spirit of the local neighbourhood.
      At the same time, she hoped to inject some of her own Middle Eastern flair into the restaurant to give it a homely atmosphere.
      Rawan Maqaan has renovated a deli into a vintage style eatery”The concept behind Sloane Street Deli was to build on a classic neighbourhood spot that’s also an extension of one’s home,” Muqaddas told Dezeen.

      “A spot where you can come in and spend five minutes or 50, in a space that is inviting, comfortable and warm, with the customer’s comfort at heart.”
      A curved serving counter is positioned at the deli’s entranceUpon entering the deli customers are greeted by a green-tiled deli counter serving baked goods and fresh pastries.
      It is clad in Arcaico tiles, a Japanese tile that Muqaddas wrapped one at a time around the curved counter.
      Rattan furnishing and bentwood chairs add to the deli’s retro feel”The focus was on the layering of textures and an earthy colour palette, the centre being the Japanese handmade single tiles,” Muqaddas explained.
      “As customer journey was key, I introduced the curvature around the counters, followed by the curvature of the banquette to optimise the flow of the customer.”
      Green tiles contrast terracotta-coloured seatsThe same tiles can be seen on the spice shelf and the adjacent barista counter where customers can purchase hot drinks. Here, a retro, cream-coloured coffee machine perches on another counter in front of large windows.
      Other vintage elements throughout the eatery which is mainly spread over the ground floor level, include cushioned diner-style booth seating, rattan furnishing, bentwood chairs and shiny brass accents.
      The kitchen, prep room and restrooms have been renovated in a similar fashion and are all located downstairs in the basement.

      Sella Concept avoids South American cliches in retro-themed London restaurant Piraña

      Muqaddas employed a mix of creamy green tones and earthy terracotta – colours that are often associated with Middle Eastern interiors to flesh out the rest of the space.
      Elsewhere, splashes of pale pink can be seen on the leather and fabric seats as well as on the awnings that hang outside.
      The space is framed by large windowsTo further tie the deli to the neighbourhood, the studio wanted to preserve as many elements of the original deli as possible, including the facade, interior walls and flooring.
      It refurbished some of the existing bistro tables and kept the original white mouldings and marble tabletops.
      The kitchen and customer restrooms are located downstairsRawan Muqaddas is not the only studio to give a modern eatery a retro look. Cafe Banacado, an all-day breakfast cafe in Stockholm by architecture studio ASKA has a colour palette of muted yellows, brown and cream hues.
      Parisian design studio Lizée-Hugot added low-slung lacquered seating and wooden panels to Abstinence, a Parisian eatery that recalls traditional French brasseries.
      Photography is by Kensington Leverne.

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      Caro Lundin launches understated co-working space ARC Club in south-east London

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      Architect Caro Lundin has opened the second branch of her affordable co-working chain ARC Club in London, which features a pared-back interior accented by colourful fixtures and furnishings.

      Set in the southeastern neighbourhood of Camberwell, the shared workspace was put together in just seven weeks and takes over a 223-square-metre commercial unit that previously sat empty for three years.
      The reception of ARC Club Camberwell doubles as a cafeThe latest ARC Club outpost follows in the footsteps of the company’s first location in Homerton, which opened a few months after the start of the pandemic.
      Much like its forebearer, it aims to provide a low-cost co-working space for hybrid workers, who don’t want to return to the office full-time but struggle to do their jobs effectively while working from home.
      Both spaces feature similarly simple interiors that prioritise functionality over frivolous decor.

      The collaborative work area features large group tablesLundin says this understated approach is key in a time when co-working is “a necessity and not a lifestyle accessory”.
      “Being Swedish, I’m very much in favour of the saying that good design and art should be available to everyone,” she explained. “Just because ARC Club is an affordable alternative doesn’t mean members should have to compromise on quality or design.”
      Furniture and artworks provide bursts of colourThe Camberwell co-working space is loosely divided into three different zones. Near the entrance, there’s a small cafe where members can drop in throughout the day to grab food and drinks.
      To the left is an area for collaborative work, complete with group desks and high counters that can accommodate two to three people and their laptops.
      The right side of the room is designated for more quiet, focused work. It features a plum-red seating banquette and a series of smaller tables for solo workers.

      ARC Club is a London co-working space for people wanting to escape working from home

      The different areas are separated by two boxy birch plywood volumes arranged into a rough T shape, with one containing meeting rooms and storage cupboards while the other houses six private booths where members can make video calls.
      The volume that sits towards the front of the plan delineates the cafe from the rest of the interior and is slightly shorter than the other in order to allow natural light to seep into the work areas at the rear.
      Otherwise, fixed partition walls and doors were omitted so that when office hours are over, ARC Club Camberwell is flexible enough to be used for other events.
      This area is dedicated to quiet workMost surfaces in the shared office are left raw or freshened up with a coat of white paint. But pops of colour are provided by the baby-pink booth doors and the orange-framed armchairs that are positioned around some of the tables.
      Vivid contemporary artworks loaned by local gallery Bosse & Baum help to liven up the walls.
      Baby-pink doors front the private phone boothsSeveral co-working spaces have opened in London in recent months to cater to locals who are opting to carry out their jobs remotely.
      Other examples include Paddington Works with its wellness-focused interiors and Bureau in Greenwich, which is designed to act as a “home for creatives”.
      The photography is by Andrew Meredith.
      Project credits:
      Architect: Caro Lundin of Studio Caro LundinContractor: Berry Interiors

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      Roz Barr designs co-working club Bureau in Greenwich Design District

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      Roz Barr Architects has designed a co-working members’ club for London’s new design district, featuring a bright red salon, stairs you can sit on, and a workspace that doubles as a dinner table.

      Bureau offers a range of co-working and social spaces designed specifically for those working in the creative industries.
      It occupies two buildings in the recently opened Greenwich Design District: the concrete-framed D1 designed by Architecture 00 and the ripple-facaded C3 designed by HNNA.
      The ground-floor restaurant functions as a meeting space. Photo is by Ruth WardArchitect Roz Barr and her London-based team designed a series of playful interiors for Bureau, hoping to create a distinct identity that extends across both buildings.
      The buildings’ raw structures are left exposed but contrasted by bold flashes of colour, so that spaces feel characterful but open to adaptation. Bureau describes them as “elegantly utilitarian”.

      “The brief we developed was about offering a home for creatives, which allowed them to bring their own identity to how they occupied the spaces,” said Barr.
      “A language of elements and materials form a rhythm between both buildings,” she told Dezeen.
      Members have access to shared facilities including meeting rooms and phone booths. Photo is by Ruth WardThe C3 spaces were the first to open, as part of the Greenwich Design District’s official launch in September.
      Occupying four floors, the offer here includes private studios, a mix of fixed and hot-desk workspaces, plus a range of shared facilities that include a restaurant, a lounge, meeting rooms and phone booths.
      The salon is a red-toned lounge that doubles as an events space. Photo is by Joe HowardThe recent addition of D1 broadens the variety of space available. Its five floors include both indoor and outdoor workspaces, plus flexible spaces that can be used for a variety of events and group activities.
      In both buildings, the ground floor is designed to offer spaces where members can come together and share ideas.
      C3’s all-red salon can host talks and film screenings, while the restaurant functions as a gathering space.
      A long table offers opportunities for group collaboration or dining events. Photo is by Alex UptonMeanwhile, D1’s ground floor contains a 14-metre-long table that can be used for group collaboration or dining events.
      D1 also includes a space known as the forum, a lounge that can also be used for presentations. A staircase-like furniture element made from recycled plastic creates casual tiered seating.

      London’s Design District officially opens to the public

      “We understood we were creating a place for the creative industries to work, meet and relax,” said Barr.
      “Bureau is the centre of design district, so it was seen as a place where members of the community would join and form a sort of collective.”
      Felt screens help to improve the acoustics. Photo is by Alex UptonMaterial finishes throughout the interiors would be more typically be found in industrial workshops than offices, emphasising the creative nature of Bureau’s members.
      Floors are either bare concrete or covered in colourful marmoleum, while wall finishes include cement boards and corrugated metal, and perforated metal screens function as space dividers.
      Perforated metal screens allow light to filter through. Photo is by Ruth WardThese details are softened by textiles and lighting. Recurring elements includes globe lighting pendants, floor-to-ceiling curtains and digitally printed carpets and rugs.
      “We used a palette of materials that worked across both buildings, using metal stud walls that were clad in perforated metal sheets, acoustic felt, and doors and tables clad in furniture linoleum,” said Barr.
      “This language offers a soft backdrop for users to personalise however they want.”
      The terraces of D1 allow for outdoor working. Photo is by Alex UptonBarr chose contemporary furniture designs to accompany the custom elements, with designs from the likes of Richard Lampert and Philippe Malouin.
      With so many external terraces in D1, Hay’s Palissade outdoor furniture, designed by Ronan and Erwan Bouroullec, features both inside and out.
      “As ever, flexibility is key,” added Barr. “For larger events, rugs can be rolled up and furniture moved out onto the terraces.”
      Bureau occupies two buildings in the Greenwich Design District. Photo is by Taran WilkhuGreenwich Design District is London’s first dedicated design district.
      It includes 16 new buildings, including a transparent bubble-shaped canteen designed by Selgacano and an entrance building by David Kohn Architects with the words “design district” spelled out on the roof.
      Created by developer Knight Dragon, the district offers workspace for up to 1,800 people and a range of specialist facilities.
      Bureau members have access to other facilities in the design district, including photography studios, post-production suites, a sound studio and a pottery workshop.
      Photography is by Alex Upton, Joe Howard, Ruth Ward and Taran Wilkhu.

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      Lore Group opens “grown-up” One Hundred Shoreditch hotel

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      Hospitality chain Lore Group has completed the One Hundred Shoreditch hotel in the building that formerly housed Ace Hotel’s London outpost.

      The rebranded hotel recently opened following a thorough refurbishment, which included the addition of new oriel windows on the building’s facade.
      New oriel windows were added to the building’s exteriorThe hotel was designed by Lore Group creative director Jacu Strauss, who aimed to build on the foundation of the Ace Hotel London Shoreditch.
      Designed by London-based Universal Design Studio, the Ace Hotel opened in 2013, but was shuttered in 2020 amid the coronavirus pandemic and never reopened.
      Wooden totems in the lobby were crafted by Jan Hedzel Studio”People were sentimental about what it was before and while we never wanted to drastically change that, we wanted to reflect the new, more grown-up Shoreditch,” Strauss told Dezeen.

      “And we hope that the energy that people loved in the former property is even more present now.”
      The lobby table from the Ace Hotel was kept and refinishedOne Hundred Shoreditch has 258 rooms as well as three bars, a coffee shop and a restaurant named Goddard & Gibbs, which has a giant yellow rock sculpture as its centrepiece.
      In the revamped lobby area, timber totem sculptures designed by Strauss and crafted by London-based Jan Hedzel Studio have been put in place, as well as a giant mirror.
      A large red paper sculpture is behind the lobby barIn the interest of reducing waste, Lore Group said it tried to keep materials from the old hotel where possible.
      The wooden floor in the entrance area remains the same, while a long wooden table has been refinished to give it a lighter tone, with the corners sanded into curves.

      Ace Hotel Shoreditch by Universal Design Studio

      Cork wall panelling has been dotted throughout, while the existing cork ceiling was replaced with an acoustically insulated combination of timber strips backed by black felt to soften the disco music prescribed by Strauss.
      An arrangement of giant scarlet paper flowers behind the counter distinguishes the lobby bar.
      What was previously a nightclub has been replaced with a lounge-style cocktail barOn the basement level, what was previously a nightclub has been replaced by a lounge-style cocktail bar named Seed Library.
      The bar’s design was informed by the films of director Stanley Kubrick with table lamps reminiscent of 1960s science fiction, juxtaposed with playful flourishes such as wooden wall panels fixed using metal racks taken from an office shelving unit.
      Pink tiles and terrazzo tabletops characterise the rooftop barIn the rooftop bar, powdery pink tiles matched with vivid pink terrazzo tabletops are intended to catch the sunlight, while green plants hang down from the ceiling in a concealed planter.
      Also on the top level is a multipurpose events space where a colourful second-hand parachute has been attached to the wall.
      A vintage parachute is fastened to the wall of the top floor events spaceStrauss sought to add intrigue to other communal spaces with artworks, including pieces painted in-situ personally by him inside the lifts and tapestries in the corridors.
      The rooms were designed to have a more laid back atmosphere with a mainly neutral palette.
      “When you enter the bedrooms you need to shift your energy,” explained Strauss. “The room should be a sanctuary – this is the place where you need calm.”
      The vivid hues of the rest of the hotel give way to a more neutral palette inside the roomsIn the bedrooms Berber carpets have been combined with a bed designed by Strauss with a shrunken base to create the illusion of floating.
      Large artworks adorn the walls to provide colour, with playful slinky-like vases are filled with eucalyptus to scent the rooms.
      Each oriel window has a unique furniture arrangementLore Group also operates Sea Containers, a hotel on London’s Southbank, as well as the Pulitzer in Amsterdam and the Riggs and Lyle hotels, both in Washington DC.
      Strauss led on the interiors for Sea Containers while a senior director at Tom Dixon’s Design Research Studio.
      The images are courtesy of Lore Group.

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      Lore Group creates seafood restaurant with “playful sense of nostalgia” within One Hundred Shoreditch hotel

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      Hospitality chain Lore Group has opened the Goddard & Gibbs seafood restaurant within the One Hundred Shoreditch hotel, which occupies the former Ace Hotel London Shoreditch building.

      Lore Group’s creative director Jacu Strauss designed the restaurant within the recently opened hotel on Shoreditch High Street, London, to evoke the seaside to be in keeping with its seafood menu.
      A yellow rock sculpture and sandy artworks give the restaurant a beachy feelA gigantic yellow sculpture, created from a sketch drawn by Strauss, stands on a table at the centre of the restaurant.
      “The sculpture is based on my memories of trips to the seaside as a child and making towers from piles of rocks on the beach,” Strauss said.
      “I wanted the space to have a playful sense of nostalgia to which our guests could relate.”

      The central sculpture is based on the designer’s childhood trips to the seasideContinuing the theme, wood-panelled walls of the restaurant were adorned with “sandscape” artworks made from sand that have been painted yellow and framed.
      Parasol-like pendant lights from Herman Miller hang from the ceiling, alongside pearly spherical bulbs.
      Angled mirrors run the perimeter of the restaurantAngled mirrors around the top of the wall panelling direct attention back onto the central sculpture.
      Another bright yellow boulder is stationed in the corner of the room, while seaweed-green banquettes are interspersed among the seating.
      The walls are clad in a strip-textured wood panellingThe tabletops are fashioned from black and white aggregate terrazzo, with hexagonal tiles making up the floor.
      At the entrance to the restaurant from the street, what was formerly a flower shop has been converted into a wine bar characterised by terracotta tiles.
      A wine bar area has been set up in the street entranceThe restaurant’s dishes are intended to reference the fishing villages and seaside towns of the British coastline, with a focus on ethically sourced ingredients.
      Goddard & Gibbs opened last week as part of the One Hundred Shoreditch hotel.
      Terrazzo table tops are used throughout the restaurantOne Hundred Shoreditch occupies the same building as Ace Hotel’s London outpost, which closed in 2020 having been initially shuttered as a result of the coronavirus pandemic.
      Lore Group also operates Sea Containers, a hotel on London’s Southbank with interiors designed by Tom Dixon, as well as the Pulitzer in Amsterdam and the Riggs and Lyle hotels, both in Washington DC.
      With One Hundred Shoreditch it hopes to mirror Shoreditch’s “new, grown-up feel while retaining the buzz and vibrance synonymous with the area”.
      Lore Group has opened the restaurant as part of its new One Hundred Shoreditch hotelOther recently opened hotels in London include Buckle Street Studios, designed by Grzywinksi+Pons and a Room2 outpost in Chiswick designed by Project Orange, which is claimed to be the world’s first whole-life net-zero hotel.
      The images are courtesy of One Hundred Shoreditch.

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      Rise Design Studio opts to “reuse and recycle” for Carousel restaurant interior

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      London restaurant Carousel has moved to a new venue but taken many of its old fixtures and fittings with it, thanks to an environmentally conscious approach from Rise Design Studio.

      Founded seven years ago by brothers Ollie and Ed Templeton, the restaurant has moved into three converted Georgian townhouses in Fitzrovia, with dining rooms on two floors.
      Rise Design Studio designed the original Carousel restaurant in Marylebone, so the architects decided to be as resourceful as possible when repeating the formula in a new location.
      Carousel occupies three converted Georgian townhouses in FitzroviaSeveral design elements from the original restaurant have been repurposed in the new location.
      These include the tall metal-clad entrance door, which can now be found at the entrance to one of the dining rooms, and a copper light window that is now installed internally rather than externally. A set of Spanish wall tiles were also carefully removed and now serve as floor tiles.

      These are combined with new colours and textures, from materials such as painted brickwork and terrazzo-style tiles.
      A guest kitchen and dining room is lit from above by a large skylight”Carousel 2.0 was an opportunity to create new spaces which didn’t exist in the original Carousel,” said Rise Design Studio director Imran Jahn. “But we also did not want to lose the feel of the original.”
      “We wanted to re-use and recycle,” he told Dezeen. “We wanted previous customers and returning guest chefs to be reminded of Carousel 1.0, so we proposed to retain finishes, fixtures and fittings and use them again here.”
      Wall tiles from the previous Carousel venue have been reused here as floor tilesThe new property gives the restaurant enough space for several dining rooms and kitchens plus, for the first time, a wine bar.
      On the ground floor, the bar sits in between an all-day dining room and a space for Carousel’s ever-changing roster of guest chefs. The former faces the street, while the latter is lit from above through a lightwell.
      The all-day dining room features painted brickwork and terrazzo-style tilesThere’s also a separate diner-style restaurant space intended for new dining concept launches, which is currently occupied by Goila Butter Chicken.
      Upstairs, a subdividing lounge/events space leads through to a private dining room.
      A wine and cocktail bar is sandwiched between the two ground-floor spaces”Ed and Ollie had scoped out a draft layout of the various zones they wanted to create before we were introduced to the project,” said Jahn. “They needed our design expertise in interiors to help bring it all together.”
      A consistent element throughout the interior is the use of industrial-style Crittall screens and doors, which are infilled with fluted glass.
      Concrete counters feature slatted wooden frontsSeveral rooms feature walls finished with a type of Nordic plaster that comes in different colours and creates a smooth, durable and multi-tonal surface. The guest kitchen is a mid-grey shade, while the private dining room is soft green.
      Other details include concrete counters with wooden slatted fronts, exposed steel structural beams and formica tables.
      An events space leads through to a private dining room”The overall tone of the proposals brings together the distinct spaces but allows them to sit happily in their individuality,” said Jahn.
      “The use of Crittall screens throughout and reeded glazing provides for continuity but also an air of mystery for the viewer wanting to find out more about the partially hidden spaces within.”
      A special type of plaster gives a multi-tonal quality to the wallsThe new Carousel location welcomed its first diners in November 2021. The all-day menu, prepared by Ollie, includes a range of small plates including beef tartare toast, confit pumpkin with burrata and sage, and grilled mackerel flatbread.
      “We’ve been dreaming about this move for a long time,” said Ed. “We loved being a part of the Marylebone community, but we genuinely couldn’t have imagined a more exciting neighbourhood, or a more fitting home, to be moving into.”
      Carousel offers an all-day menu and also hosts a roster of guest chefs”You’ll find all the best bits of the old Carousel in the new space, with some fun additions like the neighbourhood wine bar, where you’ll finally be able to experience the kind of food that Ollie likes to cook, in an easygoing all-day setting,” he added.
      Other recent restaurant openings in London include Kol, a Marylebone eatery with a Mexican menu, and Maido, a sushi restaurant in St John’s Wood.
      Photography is by Joe Okpako. Video is by Henry Woide.

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      Neil Dusheiko transforms London fashion showroom into light-filled home

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      Architect Neil Dusheiko has converted a showroom in west London into a bright, contemporary residence designed to meet the changing needs of its elderly owners.

      Nicknamed Danish Mews House for its minimalist Scandinavian furnishings, the home is tucked away in a quiet mews lane in the Lancaster Gate area.
      The mews house was once a showroom for the owner’s fashion companyAlthough in recent years the current owners repurposed the building as a showroom and warehouse for their clothing company, it was originally built as a Georgian coach house for storing horse-drawn carriages.
      Dusheiko’s primary concerns when converting the property into a home were bringing in more light, as well as making sure that the interior could support its inhabitants as they grow older.
      The main kitchen and sitting room are on the first floorFor this purpose, the house was fitted with a guest bedroom, kitchenette and toilet on the ground floor, which could ultimately be used by the inhabitants themselves in case their mobility becomes restricted.

      A lift was installed to provide easy access to the upper floors of the house, which can also be reached via a central staircase.
      Glazing in the stairwell brings light into the living spacesIn the stairwell, a newly installed skylight and a wall of gridded glazing on the first-floor landing allow sunlight to seep into the interior.
      Behind the glass partition lies a sitting room and a kitchen with oatmeal-coloured cabinetry as well as a small dining area.
      Light leaks in from a skylight at the top of the stairwell. Photo by Rachael SmithBoth here and throughout the rest of the home, several of the furnishings were sourced from well-known Danish design brands including Carl Hansen, Louis Poulsen and Montana.
      The second floor is illuminated by six new dormer windows and accommodates another two bedrooms plus their respective en-suite bathrooms.

      Neil Dusheiko creates home for his father-in-law featuring a wall of ceramics and glassware

      The principal bedroom is largely clad in wood, save for a section on the rear wall that is finished in chintzy floral wallpaper.
      Glazed doors with black metal frames run along one side of the room and can be slid open to access a sun terrace lined in Douglas fir battens.
      Floral wallpaper features in the principal bedroom. Photo by Rachael SmithThe space is decorated with a couple of folding director’s chairs and a built-in white-brick planter.
      Danish Mews House is one of several residential projects that Neil Dusheiko has completed in London.
      The room also has its own sun terrace. Photo by Rachael SmithPreviously, the architect created a home for his father-in-law in Stoke Newington, in which a striking wall of shelving is used to display ceramics and glassware.
      Dusheiko also overhauled a home in Hammersmith, introducing a curved brick extension and a cinema room.
      The photography is by Ståle Eriksen unless stated otherwise.
      Project credits:
      Architect: Neil Dusheiko ArchitectsStructural engineer: Price and MyersContractor: ABC LimitedQuantity surveyor: White and Lloyd

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      Alex Meitlis uses plaster and terrazzo to create pink tones in Ottolenghi Chelsea

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      London deli chain Ottolenghi has taken a new approach with its latest venue, styled by interior designer Alex Meitlis with a palette of warm pink and red hues.

      Ottolenghi Chelsea features bare plaster walls, pink terrazzo tiles, red upholstered seating and rattan seats.
      The look is a departure from the other Ottolenghi delis, where the design is typically more bright and minimal.
      Pink and red tones feature throughout Ottolenghi ChelseaMeitlis has been behind the design of all the other delis, as well as sister restaurants Nopi and Rovi, which all feature the food of Israeli chef Yotam Ottolenghi and business partners Noam Bar and Sami Tamimi.
      Here the idea was to make more of a statement, using colours that match the Ottolenghi tableware collection recently launched by Serax.

      In the same spirit, the shopfront and exterior signage bring in vibrant shades of yellow, blue and turquoise.
      Clay plaster walls are left exposed”I take my approach from looking very closely at Yotam’s approach to his food,” said Meitlis, who has studios both in London and Tel Aviv.
      “It’s about taking very basic ingredients but using them in a slightly different way.”
      Pink terrazzo features on the walls and floorsThe clay plaster on the walls was made using recycled bricks, which provide the warm terracotta colour.
      The multi-tonal character of this material is emphasised by curving walls that offer a play of light and shadow.

      Cristina Celestino uses plaster and terracotta for 28 Posti restaurant interior

      Meitlis worked with artist Ivo Bisignano – who also designed the tableware collection – to create the restaurant’s distinctive floor, where pink terrazzo alternates with white tiles to create a striped effect.
      The same terrazzo also features on wall surfaces at the front of the space and behind the deli counter.
      Upholstered banquettes have a graphic feel, with cylindrical cushionsThe upholstered banquettes bring a geometric element to the design, combining blocky seats with cylindrical cushions. The choice of red fabric allows these to become the most eye-catching elements in the space.
      They are paired with white circular tables and Mies van der Rohe-designed MR Chairs, which introduce more curves.
      Curves are integrated in the wallsOther elements include the familiar deli counter, where the cakes, pastries and salads create an appetising display.
      “We usually start from scratch; almost all elements of the design are made specifically,” Meitlis told Dezeen. “The only items we bought were the iconic Mies chairs.”
      “Once again, it’s about mirroring the brand’s attitude; all the food is made in the kitchen, with few elements pre-prepared.”
      The facade features shades of yellow, blue and turquoiseOttolenghi Chelsea opened in January 2022 and is located on Pavilion Road, in a converted Victorian stable building that is now home to various independent retail brands.
      Dishes for Ottolenghi delis and restaurants are developed at the brand’s test kitchen in Holloway, which was recently overhauled by Studiomama with pops of saffron yellow and raspberry red.

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