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      Blue Bottle Coffee Qiantan references greenhouses and Shanghai’s brick architecture

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      Architect Keiji Ashizawa has created a Blue Bottle Coffee shop in Shanghai’s Qiantan area with a glazed facade and interiors in a hue that nods to the city’s brick buildings.

      Located next to a park in the recently developed Qiantan area, Ashizawa designed the oval-shaped cafe to reference its immediate surroundings.
      His studio removed the floor slabs from the first floor of the building, creating a double-height space with an atrium-like feeling for the ground floor of the cafe that would have a connection to the surrounding park.
      Blue Bottle Coffee Qiantan is located in a newly developed area”In rainy Shanghai, we wanted to provide a place where people could enjoy the park even on rainy days,” Ashizawa told Dezeen.
      “Also, looking at the overall plan of the park, I thought that a rich interior space was required,” he continued.

      “The result is seen as a greenhouse, like those found in botanical gardens. I thought that adding a new story to the park would increase its enjoyment.”
      It features a double-height space and a central staircaseFrom the ground floor, a long stairway leads down to the cafe’s basement level, which houses the main coffee counter.
      The staircase in Blue Bottle Coffee Qiantan was designed to reference the colour of soil and have a cave-like feeling.
      “We decided to create a cave-like space for visitors to appreciate the long stairway down to the basement, creating an experience that is like crawling through the earth in the park,” the studio said.
      A coffee counter in the basement has a colour reminiscent of bricksIt also evokes the colour of red bricks, which are commonly used for Shanghai architecture. The same hue was used for the coffee counter and for a tall central wall.
      “Shanghai’s brick architecture in the old city is a strong contrast to the architecture of modern Shanghai, and it leaves a very strong impression on the eye,” Ashizawa said.

      Traditional Chinese roof tiles decorate the interior of Blue Bottle Coffee shop in Shanghai

      “We wanted to preserve some of Shanghai’s image in this newly developed location and architecture,” he added.
      “At the same time, since the cafe is located in a park, I wanted to create a sense of unity by using the image of earth in the architecture.”
      Keiji Ashizawa used wooden furniture throughout the spaceOn the ground floor, pale-wood stools are gathered around circular grey tables.
      Downstairs, Ashizawa clad the walls in greige microcement and added wooden chairs, tables and counters.
      The walls are clad in microcementLarge trees decorate both the basement and the ground floor, adding to the cafe’s botanical atmosphere.
      “The goal was to create a connection between the outside and the inside, with a natural form similar to that of the outdoor trees,” Ashizawa said.
      Large indoor trees connect the cafe with the park outsideWooden benches also offer visitors the option to drink their coffee outside in the park.
      Ashizawa has designed numerous other Blue Bottle Coffee shops, including one in a Kobu department store and another Shanghai outpost that was decorated with Chinese roof tiles.
      The photography is by Jonathan Leijonhufvud.
      Project credits: 
      Architect: Keiji Ashizawa DesignProject architect: Keiji Ashizawa / Chaoyen WuLighting Design: Aurora / Yoshiki IchikawaLandscape Design: Hashiuchi Garden Design / Hashiuchi Tomoya

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      Kelly Wearstler designs Los Angeles bar to feel “like it has been there for ages”

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      Interior designer Kelly Wearstler paired clay plaster walls with Moroccan cement tiles at this eclectic cocktail bar in the Downtown LA Proper hotel.

      Named after Mexico’s national flower, the Dahlia bar features a blushing interior that was designed to echo the rest of the hotel – also created by Wearstler.
      The designer looked to the same Spanish, Mexican and Moroccan influences that define the wider Downtown LA Proper, such as terracotta Roman clay plaster walls and ceilings when conceptualising the bar.
      Dahlia is a cocktail lounge within the Downtown LA Proper hotel”The warm, earthy tones of the lounge are in concert with the larger hotel while striking their own note entirely,” said Wearstler.
      “Dahlia feels like it has been there for ages,” added the designer, who has been named as a judge for the inaugural Dezeen Awards China.

      Moroccan cement tiles clad the barVisitors enter the bar through yellow-tinged stained glass doors that were custom-made for the venue by Los Angeles’ historic Judson Studios, which claims to be the oldest family-run stained glass company in America.
      Seating was created from a mix of built-in reddish banquettes and low-slung curved armchairs that hug circular timber tables, while a geometric chandelier draped in light-filtering silk was suspended overhead.

      Kelly Wearstler renovates swimming pool for suite in Downtown LA Proper Hotel

      In one corner, an embossed and low-slung black cabinet supports two squat table lamps that look like oversized green olives.
      Wearstler adorned the clay plaster walls with a mishmash of vintage and contemporary textural artwork, which was finished in ceramic and sand. Various local artists were included in the mix.
      Kelly Wearstler imbued the venue with her signature eclectic styleDefined by “saturated hues and dramatic lighting,” the cocktail lounge also features a bar clad with lilac-hued Moroccan cement tiles and woven crimson rugs.
      “This is the kind of space where you can entirely lose track of time,” said the designer.
      Known for her distinctively eclectic style, Wearstler has created interiors for various other destinations that are part of the Proper Hotel Group. The designer scoured vintage shops to source the furniture that decorates the living room-style lobby of a Santa Monica branch while an Austin location features a sculptural oak staircase that doubles as a plinth for Wearstler’s own glazed earthenware pots and vases.
      The images are courtesy of Kelly Wearstler.

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

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      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.

      Fettle returns The Georgian hotel in Santa Monica to its 1930s “glory”

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

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

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      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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      Tate Modern’s Corner cafe revamped to be less “Herzog & de Meuron-y”

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      Architecture studio Holland Harvey has overhauled the ground-floor cafe at the Tate Modern in London so it doubles as the gallery’s first late-night bar.

      Tucked away in the museum’s northwest corner, the interior of the Corner cafe was originally designed in 2000 when Herzog & de Meuron created a home for the UK’s national collection of modern art inside the disused power station on the Southbank.
      Corner is a new cafe and bar at the Tate ModenSince then, the Tate had made no changes to the space until Holland Harvey was brought on board to refresh the interior at the start of 2022.
      “It was quite a cold space,” the studio’s co-founder Richard Holland told Dezeen. “All very Herzog & de Meuron-y.”
      “They’re amazing at what they do in so many ways,” he continued. “But this was not their best food and beverage space.”

      A grey stone bar forms the centrepiece of the roomHolland Harvey stripped back many of the cafe’s hard, reflective finishes, sanding away the black gloss paint on the floors to reveal the parquet underneath and removing the mirrored glass that Herzog & de Meuron had used to enclose the building’s original riveted columns.
      Fluorescent lights were replaced with more muted spots by London studio There’s Light, while the dropped ceiling above the bar was rounded off and covered in foam insulation to soften the interior – both visually and acoustically.
      Otherwise, many of the cafe’s core elements including the servicing as well as the kitchen and toilets remained largely untouched to prevent excessive waste and maintain the integrity of the building.
      “You don’t really want to mess around with the servicing because 12 feet above your head is a Picasso,” Holland said. “So it was pretty light touch.”
      The cafe backs onto the Tate’s Turbine Hall. Photo by Edward BishopThe biggest intervention came in the form of a newly added riverside entrance, allowing passersby to stroll straight into Corner rather than having to take the long way through the gallery.
      At the other end of the open-plan room, a door leads directly into Tate’s famous Turbine Hall, effectively linking it with the public spaces of the Southbank.
      Stone seating banquettes double as impromptu climbing frames”The Turbine Hall is one of the most successful public spaces in London,” Holland said. “It’s one of the few indoor places you can go, where people happily sit down on the floor in the middle of the day.”
      “And obviously, the Southbank is an amazing public offering as well,” he continued. “So this felt like an opportunity to connect the two, which led a lot of the thinking around the design.”
      With the idea of extending the public realm, many of the newly added pieces are robust and fixed in place, much like street furniture. Among them are the double-sided Vicenza Stone banquettes, which can also serve as impromptu climbing frames for young children.

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      Holland Harvey created a number of other seating areas throughout Corner to suit different accessibility needs, with a focus on supporting local manufacturers and small businesses while reducing waste wherever possible.
      Corner’s long sharing tables and benches were made by marginalised young people from west London as part of a carpentry apprenticeship programme run by social enterprise Goldfinger, using trees that were felled by local authorities to stop the spread of ash dieback.
      “Every table has the coordinates of where the tree has felled on it, so there’s a provenance to the furniture,” Holland said.
      The chairs were taken from Tate’s own storage and refinishedThe chairs, meanwhile, were salvaged from the gallery’s own storage before being refinished and reupholstered, while the smaller tables were made by Brighton company Spared using waste coffee grounds from Tate’s other cafes.
      These were baked at a low temperature to remove any moisture before being mixed with oyster shells and a water-based gypsum binder.
      Although the resulting pieces aren’t fully circular since they can’t be recycled, Holland hopes they tell a story about the value that can be found in waste.
      Waste coffee grounds from the gallery’s other cafes were turned into table tops”We’re by no means saying that it’s an exemplar project in that sense,” he explained. “We were just trying to find opportunities to tell stories through all the different elements rather than just going to the large corporate suppliers.”
      “And that’s really our wider impact: people realising that there’s a different way to procure a table. Imagine if all of Tate’s furniture moving forward is made by Goldfinger,” he continued.
      The cafe also has high counter seating for remote workingIn the evenings, the space can be transitioned into a bar and events space by switching to warmer, higher-contrast lighting, while a section of the central banquette can be turned into a raised DJ booth by pressing a button that is hidden under the cushions.
      “This place can get quite wild in the evening,” Holland said.
      Timber shelves are used to display productsThe last significant amendment to the Tate Modern building was Herzog & de Meuron’s Switch House extension, which opened to the public in 2016.
      The building contains a gift shop designed by Amsterdam studio UXUS, alongside various galleries and a viewing level on the top floor, which is currently closed to the public after Tate lost a high-profile privacy lawsuit brought by the inhabitants of a neighbouring residential tower.
      The photography is by Jack Hobhouse unless otherwise stated.

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      Bursts of colour punctuate minimal interiors at Lackawanna Café in Jersey City

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      Local studios Inaba Williams Architecture and Kyle May have created a cafe in New Jersey oriented around massive structural columns and bright, colourful elements.

      Called Lackawanna Café, the project occupies the ground floor and mezzanine of a mid-rise apartment building in Jersey City designed by Fogarty Finger Architecture.
      Inaba Williams Architecture and Kyle May have designed a cafe in Jersey CityInaba Williams led the interior design of the project, creating the floor plan and cladding the large structural columns in glass-fibre reinforced concrete (GFRC), while Kyle May fabricated the colourful millwork elements spread throughout the space.
      Many details of the envelope were left in their “raw” conditions in order to create a strong contrast with new elements including glossy cladding on the 22-foot-tall structural columns and the colourful millwork.
      Colourful millwork punctuate the spaceInaba and May took advantage of the expansive windows, using light as a guide for the placement, colouration and material of the colourful millwork installed by May.

      “The salient feature of the envelope is the double-height storefront window wall, which lets in generous amounts of indirect daylight,” said Inaba Williams principal Jeffrey Inaba.
      “This accentuates the finishes of the details – the GFRC columns’ semigloss undulating surface, the countertop and table’s matte seamless surfaces, the pastry case’s translucent gradient exterior, and the shelves’ translucent texture.”
      GRFC clads the structural columnsFor the display case, the team chose an expressive red Valchromat that contrasts the white, grey and wood tones of the space and complements the blue of the built-in display case, which is illuminated from above.
      The lighting in the case and the “prismatic” undersides of the shelving was designed to “reveal the silhouettes of the objects on display”.
      A bright red pastry case contrasts the blue shelving and service counterNext to the shelving is a white refrigerated display, a nine-foot-tall curved structure made from bent wood that houses additional products for sale at the cafe.
      Surfaces feature more toned-down colours. Tucked under the mezzanine, the service counter is 24 feet long and was painted with a light matte blue. A large “butter-colored” table occupies the middle of the space, sitting on top of the polished concrete flooring.
      A large communal table sits in the middle of the dining roomInaba said that the primary goal for the cafe was to create a community hub and that the mezzanine space will be used as a gallery.
      Because of the expansive light from the storefront windows, the team only needed to include three additional fixtures, which Inaba said reduced the lighting energy load for the cafe.

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      Inaba and May have worked on other projects in the area, including an office in Brooklyn.
      “Kyle and I share similar interests in art and industrial design,” said Inaba. “We both admire the know-how of making, and the technical nitty-gritty of fabricating.”
      “Working together, we’re able to dream up objects, figure out smart ways to produce them, and have people experience them arranged together in a space,” he continued.
      Much of the envelope was left exposedOther projects recently completed in New Jersey include Rubenstein Commons at Princeton by Steven Holl Architects.
      The photography is by Naho Kubota.
      Project credits:
      Creative direction, interior architecture: Inaba Williams – Jeffrey Inaba, Darien Williams, Nabila Morales PerezFabrication and millwork: Kyle May, architect – Kyle May, John Diven, Cameron KurselMEP engineer: Roger Tan Engineering – Roger Tan

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      Marcante-Testa blends “unique characteristics of Venetian identity” for Ca’ Select bar and distillery

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      Italian studio Marcante-Testa has turned an industrial building in Venice into the canal-side Ca’ Select bar, visitor centre and production facility.

      Set alongside a small canal in the Cannareggio district of Venice, the bar and distillery belong to the company behind Select Aperitivo – the main ingredient of a Venetian Spritz.
      Ca’ Select bar is located on a canal in Venice”The history of Select is closely tied to that of Venice, where the brand was founded in 1920,” said Marcante-Testa.
      “Starting from this awareness, the mother company Gruppo Montenegro commissioned the architects Andrea Marcante and Adelaide Testa to formulate a reinterpretation of the unique characteristics of Venetian identity, reviving one aspect of the city’s past.”
      The space includes a Select Aperitivo barMarcante-Testa led the conversion of the former metal workshop into a bar and events space, spanning 690 square metres. Throughout the bar and production spaces, glass and ceramic details were chosen to highlight traditional Venetian crafts.

      The elongated space was split linearly into three zones, with the bar placed at the front of the building so it can be accessed from the canal by a corridor clad in white and red Zellige tiles made by Mosaic Factory.
      The bar is wrapped in blue wavy glassAt the centre of the space is a freestanding bar wrapped in blue wavy glass “in the Murano tradition”, created by the Wonderglass company to recall the waves of the nearby lagoon.
      The space features three handmade mosaics made from tiles fired in the historic Fornace Orsoni and informed by the sketches of Spanish designer Mariano Fortuny, who was a long-term resident of Venice.

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      Venetian seminato terrazzo flooring with red glass and blue sodalite marble inlays was used to unify the spaces, running from the entrance through the bar to the production area.
      Separated from the bar by a large curtain is a seating area furnished with steel-framed sofas alongside armchairs upholstered in reds and pinks as a nod to the aperitivo’s colour. This area will also be used as an events space.
      An events space is located next to the barThe event space has views through a red-tinted glass wall to the production facility at the rear of the building.
      Here, the maceration of the herbs and spices used to make the distinctive aperitivo takes place.
      The distillery is separated from the public areas by a glass wallThe final space in Select Aperitivo’s building is nestled above the entrance corridor. Accessed by steps to the side of the entrance is a small visitor centre with exhibits curated by Turin-based Studio Fludd.
      It contains seating and exhibits that aim to tell the story of the aperitivo brand, which was established in 1920.
      An exhibition space is located above the entranceSelect Aperitivo hopes that the bar and visitor centre will continue to reinforce the brand’s historic links to the city.
      “Ca’ Select represents a fundamental step in our multi-year plan to consolidate the brand and aims to strengthen the link with the city of origin,” said Marco Ferrari, CEO of Gruppo Montenegro, which owns the brand.
      “It is no coincidence that we have decided to bring the heart of Select’s production here, to enhance the local culture starting with the valuable architectural elements that enrich the space.”
      The building also houses a Select Aperitivo production facilityOther recently completed bars that have been featured on Dezeen include a brewery in a former Copenhagen slaughterhouse and a bar in Calgary topped with plywood barrel vaults.
      Project credits:
      Architectural project: Marcante-TestaInterior design project: Marcante-TestaProject and content management: Mindthegap StudioPlants and facilities design: Pgs Ingegneria – Studio AssociatoContent of the exhibition design: Studio FluddProduction coordination and executive production: Epica filmVisual identity project: Studio FluddBuilding works director: Valter Camagna, Andrea marcanteLocal architect: Stefano RomagnaProject manager: Roberta MiniciSafety manager and coordinator: Sebastiano CibienBuilding construction: Steelwood EngineeringPlant engineering work: Gruppo Frassati, Vem SistemiSet-up arrangements: Steelwood Rngineering, Gruppo Frassati, Amap, WonderglassLight design: Marcante-Testa with FlosDecorative lighting supplier: FortunyTechnical lighting supplier: FlosSystem integrator: Acuson, Red Group

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