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      Studio Tre models Bronx chocolate cafe on Puerto Rican general stores

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      This South Bronx cafe that serves a chocolate-focused menu is designed by Brooklyn-based Studio Tre to reflect the brand’s Caribbean roots.

      Bright colours, palm fronds, references to Spanish architecture and wallpaper made of advertisements feature in the second cafe location of the chocolate manufacturer Chocobar Cortés.
      Several design elements in the cafe nod to spaces in Viejo San Juan, including arched openings and chequerboard floorsChocobar Cortés is a fourth-generation family company that has been growing cacao and manufacturing chocolate since 1929, first in the Dominican Republic and then in Puerto Rico.
      In 2013, they opened their first cafe-restaurant in Viejo San Juan (Old San Juan) – Puerto Rico’s historic capital – where every dish or drink incorporates chocolate in some way.
      Studio Tre travelled to Puerto Rico at the project’s onset to learn about the Chocobar Cortés brandThe second location in The Bronx brings the concept to New York City and is modelled on the “colmadito” general stores found in Viejo San Juan as a nod to its origins.

      “The design embraces the warmth of the Caribbean and recognisable textures, colours and patterns of the Viejo San Juan neighbourhood of the first location,” said Studio Tre.
      The 1,600-square-foot (150-square-metre) space on Alexander Avenue features a variety of elements borrowed from the colmaditos, including chequerboard cement-tile flooring.
      Historic photos and a rotation of works by local artists are displayed on the wallsA trio of arches that form niches for the back bar and an opening to the bathrooms echo Spanish colonial architecture.
      These arches were painted in the brand’s signature yellow hue, matching the front of the cafe counter and together adding warmth and vibrancy to the space.
      Pale green-grey plaster was applied above wood wainscoting in the cafe”Retired chocolate bar moulds repurposed as design feature above the cafe counter,” said the Studio Tre team, who travelled to San Juan at the project’s onset to learn about the company and its values.
      Ogee wood panelling and bronze hardware on the bar were chosen as an homage to the large doors found across the old city.

      Fumihiko Sano Studio creates cedar-lined chocolate cafe in Kyoto

      On the cafe walls, pale green-grey plaster was applied above wood wainscoting, and a mix of historic photos and a rotation of works by local and Caribbean artists are displayed.
      The bathrooms are lined with a collage of brightly coloured cartoons and old advertisments, while radio jingles play over the speakers.
      Yellow counterfronts match the brand’s signature colour, while chocolate moulds are installed aboveThe cafe also hosts a series of events and cultural programming for the neighborhood’s queer community, creating a “spirit of acceptance and celebration”.
      “Imbuing this Caribbean spirit into the design, with also the vibrant and artistic spirit of the neighborhood in The Bronx, the interiors of the restaurant establish Chocobar Cortés as the joyful celebration of culture, chocolate, and community that it is,” said Studio Tre.
      The bathrooms are lined with a collage of old advertismentsChocolate shops and cafes are popular across the globe, and their interiors vary dramatically based on their context.
      Others around the world include one that occupies a century-old house in Kyoto and another in São Paulo where the production processes are put on show.
      The photography is by Grant Legan.

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      Alp Bozkurt creates “calming” interior for Brooklyn tattoo parlour

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      Arched niches provide stations for tattoo artists at Atelier Eva, located in a former Brooklyn hardware store transformed by designer Alp Bozkurt.

      The Atelier Eva Grand Street parlour is the second in Brooklyn run by tattoo artist Eva Karabuda, who is renowned for her detailed, micro-realism tattoos.
      Polycarbonate panels punctured by arched niches line the interior of Atelier Eva’s Grand Street studio”Created with an ambitious vision to reimagine tattoo culture following Eva’s own experiences feeling uncomfortable and unsafe as a woman in her early work environments, Atelier Eva offers a new kind of tattooing experience with the goal of providing an inclusive and welcoming environment for all people,” said the studio.
      While her first location on Havemeyer Street was designed in house, Karabudak turned to Alp Bozkurt for the Grand Street space – which at 3,000 square feet (280 square metres) is almost twice the size.
      The arches reveal details of the original building, which was formerly a hardware storeThe building dates back to 1895 and was originally constructed as a hardware store, occupying a single story space that extends 115 feet back from the street facade.

      Original features such as large roof trusses, skylights and brick walls were all restored and highlighted during the renovation work.
      A pink-concrete table used for tattoo consultations is shrouded by a sheer curtainThe trusses are painted black, drawing the eye up to the ceiling, while the remaining structural elements are whitewashed for a clean look.
      “A distilled material palette is deployed to create a warm and calming environment from otherwise industrial materials retaining the building’s original ethos,” said Bozkurt.
      In the main space, the arched niches provide areas for the tattoo artists to store their equipmentWrapping the perimeter of the interior are translucent polycarbonate panels that sit a few inches in front of the brickwork, unifying the sequence of spaces.
      All the way around, arches puncture the panels to frame original corbeling, and reveal other historic elements.
      A planter is positioned in the centre of the otherwise sparsely populated spaceIn the front of the studio, beside the floor-to-ceiling glass facade, one arch provides a backdrop for a seating area with boucle-covered chairs, and pendant lights by Apparatus above.
      Behind a pink-concrete reception counter is a consultation area, shrouded by a sheer curtain suspended from a curved metal track.

      Williamsburg tattoo parlour Atelier Eva is designed to feel like a spa

      “Visitors are offered glimpses of activity in the studio flooded by natural light while the artists and their clients maintain privacy,” Bozkurt said.
      The group of artists offering a range of tattoo styles and piercings work in the large space beyond, where each is allocated a station aligned with an arch.
      Pink concrete is also used for the reception counter and other furnitureFoldable padded tables for clients to lay on, stools for the artists and cabinets for storing equipment all tuck neatly into these niches when not in use.
      The open space – which also hosts creative gatherings and events – is sparsely populated, other than a central pink-concrete planter that matches the consultation table and the counter.
      The location on Grand Street is Atelier Eva’s second in BrooklynTogether, Bozkurt’s interventions create “a carefully choreographed sequence of experiences through varying degrees of transparency offered by various design elements”.
      Other tattoo parlours with unconventional interiors include a minimalist space in Kyiv with holes slashed through its walls, a stark monochromatic space in New York and a studio in Paris featuring curtains printed with Hieronymus Bosch paintings.
      The photography is by Atticus Radley.

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      Home Studios utilises reclaimed timber for Montauk restaurant renovation

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      Brooklyn-based Home Studios has renovated a bar and restaurant in Montauk, using materials like white-washed plaster, glazed tiles and reclaimed timber for a “deliberately minimal approach”.

      Formerly known as Bird on the Roof, the establishment reopened as The Bird earlier this year with refreshed interiors by Home Studios.
      The bar and restaurant areas at The Bird are connected through a cased openingThe space is run by the team behind the Daunt’s Albatross motel, located across the street, which Home Studios overhauled the previous year. The menu was created by chef Marcos Martinez Perez and a beverage programme by Sophia Depasquale.
      “[The clients’] intent was to celebrate the legacy of a 40-year-old adored Montauk establishment, imbuing a familial sense of warmth and hospitality threaded throughout the experience and the design,” said the team.
      Reclaimed timber clads the back bar, while white tiles cover the front of the counter”The aim of the space is to capture the spirit of old Montauk, providing a welcoming home-away-from-home for both visitors and locals to gather at any hour and any season.”

      Located in the town centre, the A-frame building that houses the restaurant has a white bird painted on the side of its roof – hence the original name.
      Red brick flooring is laid in a basketweave bond in the barThe interior is divided in two, with the bar area on one side and the restaurant on the other, connected through a cased opening.
      A muted colour palette across the spaces echoes that used at Daunt’s Albatross and is based on the natural coastal surroundings.
      A similar muted palette continues into the dining roomHome Studios describes it as “a spectrum of whites, warm grays, browns, faded yellows, rusts and ocean blues”.
      In the bar area, red bricks are laid in a basketweave pattern across the floor, and the russet hue is continued by the leather that covers the built-in seating and stool tops.
      Blue tapestries hang above wooden tables and chairsFlooring shifts to reclaimed timber in the dining area, where banquette cushions are upholstered in yellow fabric and the accompanying vintage chairs are all slightly different designs.
      “The restaurant includes a deliberately minimal approach to furniture, lighting and decor, which allows the materiality to shine on its own,” said Home Studios.
      Blue-grey glazed ceramic tiles surround the window and door framesBlue-grey glazed ceramic tiles surround the window and door frames, while thin white tiles wrap the front of the bar counter.
      The same white tiling is found in the bathroom, accessed via a powder-blue door, but with red grouting for a more contemporary twist.

      Home Studios refreshes Daunt’s Albatross motel in Montauk

      Both The Bird and Daunt’s Albatross are run by third-generation proprietor Leo Daunt and his sister Zoe, who grew up in the town and wanted to return both properties to their former glory while retaining their neighbourhood feel.
      “Open year round and transforming with the seasons, [The Bird] will proudly continue its legacy as a community staple – and true Montauk landmark,” said the team.
      Wooden dining chairs that accompany the two-top tables are all slightly different designsSituated at the eastern tip of Long Island, Montauk is a popular summer getaway for New Yorkers that offers a more affordable alternative to the Hamptons nearby.
      However, it’s not without its fair share of expansive beach houses, with a grey wood-clad home by Desciencelab and a residence topped with a swimming pool by Bates Masi as examples.
      Accessed via a powder-blue door, the bathroom features white tiles and red groutingHome Studios was founded by Oliver Haslegrave in 2009 and has since completed a variety of hospitality projects across the US.
      Most recently, it has carried out a revamp of a Nantucket bar and restaurant using maritime references and an Italian restaurant close to Harvard University filled with plush booths and banquettes.
      The photography is by Brian W Ferry.

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      Light and Air opens up Z House in Brooklyn to the outdoors

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      Local studio Light and Air has introduced a light-filled void at the centre of a Brooklyn townhouse as part of a major reconfiguration and extension project.

      The home in the leafy Clinton Hill neighbourhood was bought by a family of four with roots in India and required a complete gut renovation to open up the spaces to the outside.
      The overhaul of Z House involved a significant rear extension, comprising cube volumes clad in pale brick”They wanted a house that exhibited a strong connection to nature, featuring a more seamless integration between inside and out,” said Light and Air.
      The project involved extending the building one level vertically, bringing its total number of storeys to four, as well as pushing it out significantly at the back.
      The brick continues into the kitchen and dining area on the lower floorWhile the historic front facade was carefully restored, the rear elevation now presents as a contemporary stack of pale-brick cube volumes.

      The interior was completely reorganized to allow sightlines between the original spaces, the new extensions and the outdoors.
      Oak millwork in the kitchen continues through the minimal interiorsThe most dramatic change involved swapping the stacked staircase with a switchback configuration – a similar approach taken by the studio at another Brooklyn townhouse in 2018.
      This arrangement allows for improved visual connections between the levels and gave the project its name, Z House.
      Reconfiguring the house involved swapping the stacked staircase for a switchback arrangement from the parlour level to the top floorIn addition, an angled skylight was added above the staircase void, bringing in light all the way down to the parlour 40 feet (12 metres) below.
      “Filled by light and air, the stair’s drama is heightened by the placement of large windows punctuating the rear facade, allowing the vertical space to open to the exterior,” said the studio.
      A skylight over the staircase void brings light down into the homeOf the home’s four storeys, the lower levels are occupied by the public spaces including the kitchen, dining, living and media rooms.
      The top two levels are reserved for the children’s rooms and the primary suite respectively. The uppermost floor also accommodates a home office and provides access to a roof terrace created by the rear extension.

      Light and Air Architecture transforms Brooklyn row house with “switchback” staircase

      “This private, elevated, exterior space offers a unique domestic experience not typically found in most Brooklyn rowhouses,” Light and Air said.
      Interiors throughout are clean and minimal, with white walls and custom oak millwork, built-ins and furniture.
      The primary bedroom on the top floor features a custom oak bed and built-insThe pale brick of the rear facade is also expressed inside the double-height kitchen and dining area, which is open to the back patio.
      “Located above the garden level addition is a green roof that buffers sightlines from the parlor floor, creating the effect of a floating garden beyond,” said Light and Air.
      The historic street facade of the Clinton Hill townhouse was also restored as part of the renovationFounded by Anne Diebel in 2018, the studio has completed many staging and interior design projects across New York City.
      These include a Brooklyn apartment retrofitted with ample custom cabinetry and a spiral staircase and a Financial District loft where partitions were removed to create an open, inviting space.
      The photography is by Kevin Kunstadt.

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      Studio Becky Carter creates “distinctly New York” interiors for Cecchi’s restaurant

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      Brooklyn-based Studio Becky Carter has pulled varied references, from Bauhaus luncheonettes to comedic characters, for the interiors of a bistro in Manhattan’s West Village.

      Art deco dining rooms, 1960s Milanese architecture and “a distinctly New York feel” are all evoked at Cecchi’s, the first establishment from veteran restaurant maitre d’ Michael Cecchi-Azzolina.
      At the entrance to Cecchi’s, pistachio leather banquettes sit below a mural by Jean-Pierre VillafañeStudio Becky Carter was given creative control to produce an environment that felt distinctively New York, but also presented a departure from the typical bistros.
      “My style is retro-futurist, so I take strong cues from historic design narratives and process them through the lens of an imagined future society,” Carter told Dezeen. “When people enter Cecchi’s, I want them to feel like they’ve stepped into old-school, underground, NYC exclusivity, only this time everyone is invited.”
      Elements retained from the space’s previous iteration as Café Loup include a marble lectern used as a host standA starting point for the design was the whimsical murals of artist Jean-Pierre Villafañe, who was brought on early in the process to create scapes for the restaurant’s walls.

      His “transportational” depictions of lively party scenes helped to inform the colour palette for the rest of the space, a mix of reds, blues and tonal browns.
      Villafañe’s murals informed the colour palette for the restaurant’s interiorsSome of the dancing figures appear as historic European comedic characters, so Carter also looked to these for influences.
      The spheres placed within dividing screens, for example, are reminiscent of those found on a Pierrot costume, a figure in French pantomime theatre, while mosaic floor tiling at the entrance is adapted from Harlequin patterns.
      Large columns and louvred dividers break up the space into different yet visually connected areas”The beautifully finished spheres are just so tactile,” said Carter.”I can’t not touch them every time I’m in the restaurant.”
      The long, narrow space posed several challenges, such as the lack of natural light towards the rear and large structural columns that interrupted the flow.
      The mahogany bar top was also retained, while high-gloss burgundy lacquer was added to the frontCarter’s approach involved dividing up the restaurant into multiple areas, demarcated by the wood-wrapped columns, louvred dividers and built-in seating – all at different heights to allow visual connections across them.
      At the entrance, pistachio green leather banquettes occupy the bright window niches, then the mood shifts to darker and cosier as guests venture further inside.
      Soft lighting around the bar adds to the mood in the spaceSeveral elements from the space’s previous iteration as Café Loup were retained or refinished as part of the new design, including the mahogany bartop and the restored caned bistro chairs.
      The marble lectern that serves as the host stand and a chrome cash register were also saved, while 1970s Czech lighting was introduced overhead.

      GRT Architects references “vacation Italian” at New York bar and restaurant

      White tablecloths lend to the classic, old-school atmosphere, while contemporary details like custom wall sconces and the burgundy lacquered bar front add a more casual twist.
      “Michael envisioned the servers being able to pull up a chair and have a conversation about the menu in a convivial manner, and the style was to reflect this,” Carter said.
      A private dining room for parties is located at the back of the restaurantA private room for parties at the back features another Villafañe mural, as well as a rust-coloured ceiling and sci-fi lighting.
      Overall, Cecchi’s offers a fine-dining experience that still feels approachable, warm and not too serious.
      The private room features another Villafañe mural, as well as a rust-coloured ceiling and sci-fi lightingCarter founded her eponymous studio in 2016 and has completed a mix of residential and hospitality spaces on both coasts.
      Other recently completed restaurants in the US that feature retro-futurist interiors include 19 Town, a Chinese eatery in Los Angeles by Jialun Xiong, while new openings in the West Village include the worker-owned Donna designed by Michael Groth.
      The photography is by Joseph Kramm.

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      GRT Architects references “vacation Italian” at New York bar and restaurant

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      New York studio GRT Architects has designed a light and airy Italian restaurant and adjacent cocktail bar at the base of Thomas Heatherwick’s Lantern House in Manhattan.

      The new dining and drinking destinations face the corner of West 18th Street and 10th Avenue through the distinctive bay windows of the building, which straddles the popular High Line park in Chelsea.
      The bright and airy Cucina Alba was designed to transport diners to ItalyThe 3,000-square-foot (278 square metres), 90-cover Cucina Alba offers a full brunch and dinner menu, while Alba Accanto is half the size and serves cocktails and bites next door.
      Both are operated by Prince Street Hospitality, whose partner Cobi Levy collaborated with GRT Architects on the interiors of both spaces.
      Alternating yellow and white fabric panels are draped above the dining spaces”Cucina Alba and Alba Accanto are two distinct yet complementary spaces that instantly transport guests to Italy, capturing the polish of the north with the brightness of the south,” said the group.

      Cucina Alba is designed to embody a “vacation Italian” aesthetic, evoked by light terrazzo floors, tubular metal Knoll Cesca chairs, and pale oak millwork.
      Oak millwork, light-toned terrazzo flooring and tubular metal chairs all add to the ambienceAlternating yellow and white fabric panels were draped overhead, forming a parachute-esque ceiling that matches the striped awnings over the entrances.
      Thin metal chains hung from red railings act as space dividers, defining and partially enclosing a section of the dining area.
      Hints of coral red stand out against the pale colour paletteHigh-gloss, oxblood-coloured tables nestle into semicircular booths or line up along the bench that follows the windows.
      At the other end of the L-shaped space, the open-air kitchen is denoted by a colourful mural by artist Alex Proba that covers the end wall and part of the ceiling.
      A colourful mural by Alex Proba denotes the open kitchen areaIn the bay windows, an assortment of plants and random paraphernalia – from inflatables to plastic lemons and disco balls – are visible to passersby, while outdoor seating along 10th Avenue is offered under scallop-edged parasols that continue the white and yellow theme.
      Next door, Alba Accanto has a similar “Italian holiday bar” aesthetic, but with a slightly moodier ambience for evenings.

      GRT Architects uses “riot” of materials for Bad Roman restaurant in New York

      The bar counter is built from stacks of pale stone that form striations across the front, while the top and the bar back are made from continuous expanses of a single stone type.
      Arched niches behind the bar emanate a golden glow, and display glassware and liquor bottles alongside figurative sculptural vases that were custom-made in Italy.
      Next door, the Alba Accanto bar has stone detailsThe ceiling is covered in fabric that features thin ticking stripes, from which brass chandeliers with pale blue glass globes are suspended.
      At the back is a private dining room that can be booked for large parties of up to 45 guests, and the table configuration can be adapted depending on the event.
      The bar area features a striped fabric ceiling and a painting by Alex KatzBuilt-in bench seating wraps the perimeter, and patterned wallpaper and matching curtains are reflected in the glossy ceiling.
      In both spaces, works by renowned artists including Alex Katz and Ethan Cook were sourced with the help of art advisor Elizabeth Margulies, and hand-painted tableware from Puglia adds an authentic touch.
      Behind the bar is a private dining room that can accommodate up to 45 guests”The design of Alba Accanto is exuberant and maximalist in style, utilizing bright colors to reflect the vibrance of Italian coastal cities like Positano,” said Levy, “while the design of Cucina Alba is polished, contemporary, and warmly inviting with wood accents, embodying the soul of Milan.”
      “We wanted to capture the distinct atmosphere of each city, and with Accanto, we achieved that same sense of vitality but with a maximalist approach,” he added.
      Both Cucina Alba and Alba Accanto occupy the ground floor of Thomas Heatherwick’s Lantern House building in ChelseaGRT Architects has completed the interiors for two other Italian restaurants in New York City: the Michelin-starred Don Angie in the West Village, and the recently opened Bad Roman at Columbus Circle.
      Founded by Tal Schori and Rustam-Marc Mehta in 2014, the studio has amassed a portfolio that extends from Brooklyn townhouse renovations to ground-up builds in the Hudson Valley.
      The photography is by Peter Murdock.

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      Woods Bagot lines American Australian Association HQ with oak battens

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      The American Australian Association has opened a headquarters in New York City, with interiors by architecture firm Woods Bagot designed to offer flexible spaces for events.

      The 9,450-square-foot (878 square metres) space at 600 Third Avenue is the first location in the city for the American Australian Association (AAA), a non-profit organisation dedicated to strengthening ties and collaboration between Australia and the US.
      A large, flexible space allows the AAA to host a variety of events and activitiesClose to both the United Nations and the Australian Consulate-General, the headquarters is intended to promote Australian-American relations in NYC by hosting a variety of discussions, performances, exhibitions, networking receptions and more.
      Woods Bagot – which was founded in Adelaide and has offices globally – aimed at “melding the spirit of Australia with the corporate culture of New York” with the project, according to CEO, Nik Karalis. “It’s a stylish, welcoming environment created to bring people from both countries closer together,” he added.
      Moveable dual-purpose furniture created for the space includes a workstation that doubles as a barTo accommodate such varied activities, a large events space was left open to be as flexible as possible while incorporating movable dual-purpose furniture and fittings.

      A custom mobile island acts as both a work surface and a bar, and counters along the windows can also become serving areas for food and drinks.
      The ceiling structure was left exposed, while white oak battens wrap the columnsLocated on a high floor, the space benefits from sweeping views of the skyline through unobstructed expanses of glass.
      The ceiling structure was left exposed to maximise the height in the space, while columns were wrapped in vertical white oak batten system by wood cladding manufacturer Sculptform – for which Woods Bagot created an immersive showroom in Melbourne in 2001.

      Steam-bent timber tunnels through Melbourne showroom by Woods Bagot

      Similar battening lines the lobby and circulation spaces, with curved profiles creating sculptural frames around a golden bar back and over a pair of sliding doors with frosted glass panels.
      The AAA headquarters also houses offices for employees and a boardroom for private meetings.
      The white oak battens also line the lobby area, surrounding the doorway to the boardroomTo commemorate the opening of the space in June 2023, the organisation commissioned a custom artwork from the APY Art Centre Collective.
      The colourful painting was created by eight Indigenous women artists based in Adelaide and hangs in the bar area.
      Some of the battens feature curved profiles to create sculptural shapesWoods Bagot works on projects worldwide, and its current high-profile projects underway range from the Aboriginal Art and Cultures Centre in Adelaide to an extension of Seattle-Tacoma International Airport.
      Also in the US, principal Krista Ninivaggi recently completed the lobby design for the supertall Brooklyn Tower.
      The photography is by Adrian Gaut.

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      Michael Groth uses natural and recycled materials inside New York’s Donna restaurant

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      New York designer Michael Groth collaborated with a Moroccan artisan cooperative to create the wall hangings for this worker-owned bar and restaurant in the West Village.

      The opening of Donna’s new location on Cornelia Street follows the closure of its Williamsburg spot in December 2020 as a result of the coronavirus pandemic.
      Michael Groth has designed the new Donna outpost in New YorkServing a pan-Latin menu with Mediterranean influences and Filipino-inspired cocktails, the restaurant and bar is now a worker-owned cooperative, with original owner Leif Young Huckman acting as an advisor.
      To reflect this shift, Brooklyn-based Groth aimed to imbue the design of the new outpost with references to the previous location while nodding to Donna’s revised business model.
      Earth-toned limewash plaster was applied to the walls in geometric patternsHe drew influences from the constructivist art movements of Latin America in the 20th century and particularly the work of artists Sandu Darie, Pedro Alvarez and Lygia Clark.

      Donna is decorated with earth-toned limewash plaster, applied to the walls in geometric patterns that echo the brand’s visual identity.
      Groth created wall hangings in collaboration with artisan cooperative The AnouExposed brickwork is painted white, forming a plain backdrop for the circular wool wall hangings that Groth created in collaboration with Moroccan artisan cooperative The Anou.
      Together with wool floor rugs, these help to dampen the acoustics while lime plaster assists in regulating humidity, according to Groth.

      GRT Architects uses “riot” of materials for Bad Roman restaurant in New York

      The tables are crafted from reclaimed Douglas fir flooring and stained plywood was used to build the banquette seating that wraps the perimeter.
      Bar-back shelving and floors were repurposed from the unit’s previous tenant, while the bar tops were fabricated by Brooklyn Stone and Tile – another worker-owned cooperative.
      Tables are crafted from reclaimed Douglas fir”The use of any new materials was limited to those that are natural and biodegradable, keeping in mind the holistic effects of resource extraction, human health and equity, and circular material cycles,” the Donna team said.
      Pendants lights above the bar have shades made from mushroom mycelium, which according to the team presents “an environmentally holistic approach to material creation that poetically reflects Donna’s equitable business model”.
      The pendant lights above the bar feature mycelium shadesNew York City’s dining scene was upheaved during the pandemic, with many eating and drinking establishments forced to either adapt or shutter.
      As a result, sidewalk dining shelters sprung up across the city, as documented in these photographs by John Tymkiw.
      The photography is by Nicholas Ruiz.

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