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      Fettle channels Soho’s “grittier” years at 1 Warwick members’ club

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      Interiors studio Fettle drew on the neo-baroque architecture of this Edwardian building in London’s Soho when converting it into a members’ club, as well as nodding to the area’s colourful history of the 1950s and 60s.

      Owned by Maslow’s, the group behind Fitzrovia club Mortimer House, 1 Warwick features mid-century furniture and lighting along with bespoke designs that reimagine the furniture of the period.
      Fettle has designed the 1 Warwick members’ club in LondonThe mix includes jaunty elements such as splayed-leg easy chairs and scallop-edged rattan lighting.
      “During this period of history, Soho was much grittier than we find it today, so we wanted to underplay the more elevated finishes that you would typically find in a members’ club,” Fettle’s director Andy Goodwin told Dezeen.
      “We have referenced the less polished nature of Soho in this period with raw plaster wall finishes and exposed brick.”

      The club has a rooftop restaurant called YasminFettle juxtaposes these references with some influences from the neo-baroque mansion itself, reworking its sense of assured comfort in a contemporary way with richly toned wood panelling and elaborate chandeliers.
      “We wanted to ensure that we referenced this period within the final design,” Goodwin said. “We simplified a traditional Edwardian baroque skirting and architrave style within the bespoke joinery that was designed for the ground and first floors.”
      “Typically, buildings of a similar age had common features, including bold geometric floor patterns within the entrances. And as such we reimagined a pattern from the period in the lobby of 1 Warwick.”
      Its wraparound roof terrace offers views across SohoWhile drawing on the history of the building and the area, Fettle worked hard to ensure that the club feels fresh, welcoming and contemporary.
      “We have mixed furniture, lighting and accessories from a variety of different eras and curated a space that feels relaxed and residential in its aesthetic,” he continued.
      “When designing furniture specifically for the project, we referenced more traditional designs, however. We looked at the details through a modern lens to make the space feel familiar yet contemporary.”

      Fettle designs apartment block The Gessner to resemble a hotel

      Set over six floors, the crowning glory of 1 Warwick is the rooftop bar and restaurant Yasmin with its wraparound roof terrace and views across Soho.
      Here, pink mohair-upholstered bar stools nestle against a wood-clad marble-topped bar while the menu is Middle Eastern, inspired by executive chef Tom Cenci’s time in Istanbul.
      Two lounge spaces – the Living Room and adjoining Den – are at the heart of the club, where Fettle used an earthy-toned palette, along with exposed brick walls and geometric patterned rugs to bring a sense of warmth to the interior.
      The club has several co-working areas”We wanted to let the existing architectural features be visible within the final design to create a more neutral backdrop, onto which we layered playful choices across the furniture and fittings,” said Goodwin.
      “We used deep, saturated, colourful fabrics for the upholstered pieces and we have looked to mix mohairs and velvets with more vibrant leathers and patterned fabrics to give an eclectic feel to the space,” said Goodwin.
      In the daytime, 1 Warwick offers spaces to suit different kinds of working styles, from private studies and rentable desks to the Pied-à-Terre – an open-plan workspace featuring long, library-style tables and comfortable lounge seating.
      Members can also work in private meeting roomsAt ground level, there’s the neighbourhood bistro and bar Nessa, open to all and offering a playful take on British classics while the more intimate, horseshoe-shaped bar serves up its own menu of small plates.
      With a colour palette of warm, autumnal tones and a material mix of exposed brick, wood panelling and marble-topped tables, the atmosphere here is welcoming and down-to-earth.
      The Nessa restaurant is set on the ground floor and open to the publicFounded in 2013, Fettle has a long history in hospitality design with previous projects including the Schwan Locke Hotel in Munich, which was conceived as an homage to early German modernism.
      Elsewhere in London, the studio was also responsible for designing The Gessner apartment block to resemble a hotel, complete with a cafe and co-working area.
      The photography is by Simon Brown.

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      Sukchulmok adds curved brick forms to rooftop of Parconido Bakery Cafe

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      Curved forms and arched openings feature in this cafe, which Seoul studio Sukchulmok has added to an existing building in South Korea’s Gyeonggi-do province.

      Named Parconido Bakery Cafe, the cafe is made from red bricks and features playful curved shapes and rounded walls designed to create an illusion-like effect.
      Parconido Bakery Cafe was designed by Sukchulmok”The space, created through one rule, was designed to give a sense of expansion and the experience of an optical illusion image,” lead architect Park Hyunhee told Dezeen.
      Arranged across three floors including a rooftop level, the cafe was designed by architecture studio Sukchulmok to resemble European public squares in reference to the client’s time spent in Italy.
      The studio topped the roof with curving brick volumes”The client who spent his youth living in Italy is a clothing businessman, opening the cafe as a business expansion to provide people with a space for peaceful rest,” said Park.

      “These two aspects naturally reminded me of the image of the European square, where people are huddled together talking on a sunny day between red brick buildings and stone pillars.”
      The design drew references from nostalgic memories of ItalyOn the rooftop level and terrace, the outdoor dining spaces are punctuated by clay brick columns with arched connections and walls with U-shaped openings.
      Built around steel frames that extend into curved forms above the brick walls, the curved elements are coated in bricks cut to two-thirds of their original thickness to lighten their weight.
      The walls and floors have curved edgesA long stainless steel table with a curved underside, along with circular stools and planting, is shaded by a removable canopy made from green, orange and white fabrics.
      Curved walls lined with white tiles join with the tiled floor and ceiling to create rooms with rounded forms on the interior levels of the cafe.
      The rooms are covered in small tiles of travertine limestone, selected for its use in the fountains of European squares.

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      Kitchens are built into recesses in the curved walls, while wooden elements, including wall panels and pipes that line a portion of the ceiling, add a feeling of warmth to the interior.
      Throughout the spaces, uniquely designed seating areas and bespoke circular furnishings provide spaces for dining.
      The interior was covered in different textural materialsComprising twelve different designs, the cafe’s set of furniture was designed to exhibit a variety of shapes, textures, and materials, including leftover finishing materials, wood, overlapping pipes, and concrete castings.
      “Although they have slightly different shapes and textures, the pieces of furniture are all in harmony with the space and show good synergy with space as an object,” said Park.
      The cafe’s curved edges all have a radius of 600 millimetresTo maintain a sense of uniformity, the studio based the design of each element, including the walls, columns and furniture, around a circle with a constant radius of 600 millimetres.
      “A radius of 600 millimetres was used as an act of connecting spaces that were not monotonous,” said Park. “It was simply based on the idea that the distance from the height of the door and window to the ceiling finish is 600 millimetres.”
      Furniture was specially designed for the interiorOther South Korean cafes recently featured on Dezeen include a bakery with a curved courtyard designed to act as an “artificial valley” and a Seoul cafe with a vertical farm.
      The photography is by Hong Seokgyu.

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      Studio North adds plywood barrel vaults to Business & Pleasure bar in Calgary

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      A barrel-vaulted ceiling covers this cosy cocktail bar in Calgary, Alberta which locally based Studio North designed as a contemporary take on a speakeasy.

      Business & Pleasure is tucked away between historic brick buildings on a back lane in the Canadian city’s Inglewood neighbourhood, just a few blocks from Studio North’s office space.
      A vaulted plywood ceiling contrasts with the black interior of the bar”The location and scale of the Business & Pleasure bar space immediately reference visions of the iconically intimate and secluded speakeasy from last century,” said lead designers Damon Hayes Couture and Hayden Pattullo.
      “However, this transformation sought to recreate the speakeasy’s quaint and classic qualities using contemporary methods of parametric design, digital fabrication, and material experimentation.”
      The fir plywood is CNC cut to allow it to bendHidden at the back of a cafe, Studio North’s take on prohibition-era drinking establishments features a dark interior, with many of the furniture pieces and surfaces in black.

      In contrast, fir plywood is shaped into barrel vaults of different widths that run the length of the narrow 350-square-foot (32.5-square-metre) space.
      Vaults of different widths run the length the ceilingThe material is kerfed to allow it to bend, forming a cut-out pattern that adds a translucent quality to the wood.
      “Like clouds, the geometry and pattern vary slightly throughout the room to create unique areas and experiences of moving through it,” said Studio North.
      Paper lanterns hang from the wood vaults, which are suspended from steel ribsThe vaults are suspended from a series of steel ribs, and some panels are held in place with magnets – a system that Studio North prototyped at 1:1 scale and built in-house.
      Parametric modelling and computer numerically controlled (CNC) cutting were used to produce the desired effect.

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      “The pattern of the ceiling kerfing changes using a parametric image map to add and subtract bridge tabs, creating more grid interruption around the seated areas,” the designers said.
      In places, the plywood extends down from the ceiling onto the walls, forming panels that touch the tabletops and shelving in recesses.
      A custom black barn door separates the bar from a cafe at the frontThe same material forms a custom barn door separating the cafe from the bar, which is painted black and allows guests a peek at the back space through the thin vertical gaps.
      Globe-shaped paper lanterns hand from the ceiling to bathe the space in a warm, ambient glow.
      The bar is designed to evoke speakeasies from a century agoArtworks and a selection of vintage items are displayed on the walls and shelves, connecting the contemporary interior to the heyday of speakeasies.
      Studio North is a design-build studio that more commonly works on residential projects, such as a laneway house in Calgary that the team outfitted with a dog nook and a fireman’s pole.
      The photography is by Hayden Pattullo and Damon Hayes Couture.

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      Space tourism informs design of Ichi Station sushi restaurant in Milan

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      Valencian design studio Masquespacio has completed a dine-in restaurant for takeaway sushi chain Ichi Station in Milan, with interiors designed to resemble a futuristic spaceship.

      Set in a historic building in the Brera district, the chain’s latest outpost builds on the same travel and transport concept established across its other outlets – including eight in Milan and another in Turin.
      Masquespacio has designed Ichi Station’s Brera outpostBut Masquespacio wanted to take this idea to the next level for the new restaurant by drawing on the visual language of sci-fi and space tourism.
      “We proposed approaching the travel concept as a trip to the future,” said Masquespacio co-founder Christophe Penasse.
      “When you enter Ichi, it’s like entering a capsule-like spaceship travelling through light, where you will disconnect from reality in order to get in touch with the food.”

      Customers can pick up orders at the takeaway counterMasquespacio completely redeveloped the layout of the 80-square-metre site – previously another restaurant – creating a central dining area along with a tunnel where diners can observe some of the sushi-making process.
      A pick-up bar close to the entrance was added to separate the circulation routes of take-away customers and diners.
      The dining area is housed in a cylindrical tunnelThe tunnel motif was developed as a way to express the idea of travel and make a reference to Japan without falling into cliches.
      “Some elements were incorporated to remind the customer of Japan, like the huge lighting circles, although we tried to avoid making typical references to Japan such as using wooden structures,” Penasse explained.

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      The tunnel motif also informed the circular and cylindrical details that pop up throughout the space across seat backs, bar stools and decorative elements such as the circular feature light in the main dining area.
      “The shapes and forms give the project the futuristic look that it needed,” the designer said.
      Diners can also watch sushi being prepared at the counterMasquespacio opted for a simple and restrained material palette that includes glass and micro-cement, which was used along with fully integrated tables and seating to create a seamless look reminiscent of a spaceship.
      The restaurant’s custom-made furniture brings in another reference to transport design tropes. “You can recognise it as a reinterpretation of the seating in a station and especially on a train,” Penasse explained.
      LED light panels are integrated into the walls, ceilings and table topsThe interior is finished in neutral shades of beige and off-white but is cast in different vivid colours thanks to the LED lighting system that is integrated into the walls, ceilings and even the table tops.
      The lights alternate between shades of blue, green, purple and peach at variable speeds and, according to Penasse, create a veritable “explosion of colour”.
      The toilets are finished in contrasting navy blueAlthough based in Spain, Masquespacio has completed a number of projects in Italy in recent years.
      Among them are two colour-block restaurants for fast-food chain Bun – a blue-and-green interior in Turin and a green-and-purple version in Milan.
      The photography is by Luis Beltran.

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      Sophía Betancur references nearby church for Pizzeria Della Madonna

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      A neighbouring church informed the layout and design of this pizzeria in Mexico City, in which architect Sophía Betancur placed the oven in full view.

      The Pizzeria Della Madonna is located next to the Parroquia de la Sagrada Familia, a church in the city’s Roma Norte neighbourhood built in 1910.
      A halo-like stainless steel frame is one of the many religious references at Pizzeria Della Madonna”The temple reflects a mixture of neo-Romanesque, neo-Gothic, and eclectic styles,” said Betancur, who is based in Mexico City. “The semicircular arches, Corinthian columns and wooden benches arranged throughout the nave are elements reinterpreted in the spatial proposal of the project.”
      Inside the 98-square-metre, L-shaped space, the pizza oven is placed in the crossing — directly visible from the restaurant’s glass doors.
      The distressed plaster walls of the restaurant are reminiscent of an old Italian churchIts sculptural rounded form is framed by a halo-like stainless steel structure suspended from the ceiling, providing a shelf on which hot pizzas can be placed.

      Curved lines following the oven’s shape are traced across the floor, as well as on the ceiling in the form of track lighting that extends through the space.
      The dining area is laid out like a nave, with seating on either side of a central pathwayThroughout the restaurant, distressed plaster walls create the effect of eating in an old Italian church.
      “The rustic finish on the walls reveals multiple layers of paint that reflect almost a century of history of the house, which in the past housed homes and different commercial and retail projects,” the architect said.
      The open kitchen features ceramic and terracotta tilesThe dining space at the front of the restaurant is laid out like a nave, with wooden bench seating and tables on each side and a path up the middle.
      “The concept is complemented by historical, pictorial research and the symbology of the Virgin Mary and Marian architecture in Europe, from which forms, colors, materials and spatial qualities are taken up,” said Betancur.

      Studio Wok designs cavernous pizza restaurant to recall rocky coves of Sardinia

      “In this way, the proposal turns out to be a tribute to Mexican neo-colonial style and Italian religious architecture and iconography.”
      Further seating is located in the perpendicular branch, or transcept, of the “L”, where a mirrored wall at the end makes the space appear larger.
      In a “transcept”, further seating is reflected in a mirrored wallIn the kitchen area, ceramic tiles cover the wall surfaces, while terracotta tiles of a similar size and shape the front of the service counter.
      “The blend of the open kitchen and bar with the dining room translates into a balanced combination of practical and utilitarian materials typical of industrial kitchens and warm materials that provide elegance and comfort,” Betancur said.
      The restaurant is located in Mexico City’s lively Roma Norte neighbourhoodServing one of the world’s most popular foods, pizza restaurants take many forms and styles across the globe, but many feature some reference to its home country.
      In New York, Büro Koray Duman drew on Neopolitan culture for the interiors of Simo, while at Dough Pizza in Perth, Ohlo Studio used materials that evoke the “rustic sophistication” of Italy.
      The photography is by Arturo Arrieta.
      Project credits:
      Architecture: Sofía BetancurDesign team: Cesar Ávila G y Sergio Bau.Engineers: Leonel NavaVisual identity: Faena StudioConstruction: Factor EficienciaWoodwork: Taller Nacional y Solana EstudioLighting: Martín Leal

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      Sofía Betancur references nearby church for Pizzeria Della Madonna

      by

      A neighbouring church informed the layout and design of this pizzeria in Mexico City, in which architect Sofía Betancur placed the oven in full view.

      The Pizzeria Della Madonna is located next to the Parroquia de la Sagrada Familia, a church in the city’s Roma Norte neighbourhood built in 1910.
      A halo-like stainless steel frame is one of the many religious references at Pizzeria Della Madonna”The temple reflects a mixture of neo-Romanesque, neo-Gothic, and eclectic styles,” said Betancur, who is based in Mexico City. “The semicircular arches, Corinthian columns and wooden benches arranged throughout the nave are elements reinterpreted in the spatial proposal of the project.”
      Inside the 98-square-metre, L-shaped space, the pizza oven is placed in the crossing — directly visible from the restaurant’s glass doors.
      The distressed plaster walls of the restaurant are reminiscent of an old Italian churchIts sculptural rounded form is framed by a halo-like stainless steel structure suspended from the ceiling, providing a shelf on which hot pizzas can be placed.

      Curved lines following the oven’s shape are traced across the floor, as well as on the ceiling in the form of track lighting that extends through the space.
      The dining area is laid out like a nave, with seating on either side of a central pathwayThroughout the restaurant, distressed plaster walls create the effect of eating in an old Italian church.
      “The rustic finish on the walls reveals multiple layers of paint that reflect almost a century of history of the house, which in the past housed homes and different commercial and retail projects,” the architect said.
      The open kitchen features ceramic and terracotta tilesThe dining space at the front of the restaurant is laid out like a nave, with wooden bench seating and tables on each side and a path up the middle.
      “The concept is complemented by historical, pictorial research and the symbology of the Virgin Mary and Marian architecture in Europe, from which forms, colors, materials and spatial qualities are taken up,” said Betancur.

      Studio Wok designs cavernous pizza restaurant to recall rocky coves of Sardinia

      “In this way, the proposal turns out to be a tribute to Mexican neo-colonial style and Italian religious architecture and iconography.”
      Further seating is located in the perpendicular branch, or transcept, of the “L”, where a mirrored wall at the end makes the space appear larger.
      In a “transcept”, further seating is reflected in a mirrored wallIn the kitchen area, ceramic tiles cover the wall surfaces, while terracotta tiles of a similar size and shape the front of the service counter.
      “The blend of the open kitchen and bar with the dining room translates into a balanced combination of practical and utilitarian materials typical of industrial kitchens and warm materials that provide elegance and comfort,” Betancur said.
      The restaurant is located in Mexico City’s lively Roma Norte neighbourhoodServing one of the world’s most popular foods, pizza restaurants take many forms and styles across the globe, but many feature some reference to its home country.
      In New York, Büro Koray Duman drew on Neopolitan culture for the interiors of Simo, while at Dough Pizza in Perth, Ohlo Studio used materials that evoke the “rustic sophistication” of Italy.
      The photography is by Arturo Arrieta.
      Project credits:
      Architecture: Sofía BetancurDesign team: Cesar Ávila G y Sergio Bau.Engineers: Leonel NavaVisual identity: Faena StudioConstruction: Factor EficienciaWoodwork: Taller Nacional y Solana EstudioLighting: Martín Leal

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      Plantea Estudio creates cosy cave-like room within bar Gota

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      A red “cave” hides behind the main dining space of this wine and small plates bar in Madrid designed by interiors studio Plantea Estudio.

      Located on the ground floor of a neoclassical building in Madrid’s buzzy Justicia neighbourhood, Plantea Estudio designed Gota to appear “dark, stony and secluded”.
      Gota sits on the ground floor of a neoclassical building in the Justicia neighbourhoodGuests ring a bell to enter the 70-square-metre bar, and are then welcomed into a dining room enclosed by thickset granite ashlar walls. While some of the walls were left exposed, others have been smoothly plastered over and washed with grey lime paint.
      The floor was overlaid with black volcanic stone tiles that the studio thought were suggestive of a “newly discovered terrain”.
      A counter in the first dining space is inbuilt with a record playerA bench seat runs down the left-hand side of the bar, accompanied by lustrous aluminium tables and square birchwood stools from Danish design brand Frama.

      Guests can alternatively perch on high stools at the peripheries of the room, where lies a slender stone ledge for drinks to be set down on.
      Shelving displays wine bottles, vinyls, and other objectsMore seating was created around a bespoke chestnut counter at the room’s centre; its surfacetop has an in-built turntable on which the Gota team plays a curated selection of music.
      Behind the counter is a storage wall where wine bottles, vintage vinyl records and other music-related paraphernalia are displayed.
      A cave-like dining room hides at the bar’s rearAn open doorway takes guests down a short corridor to a secondary cave-like dining space, which boasts a dramatic vaulted ceiling and craggy brick walls. It has been almost entirely painted red.
      “It’s relatively common to find this kind of vaulted brick space in the basements of old buildings in Madrid – this case was special because it’s on the ground floor with small openings to a garden,” the studio told Dezeen.

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      “It was perfect for a more quiet and private area of the bar,” it continued.
      “The red colour is an abstract reference to the brick of which the cave is really made, and also a reference to wine.”
      The space is arranged around a huge granite tableAt the room’s heart is a huge 10-centimetre-thick granite table that’s meant to look as if it has “been there forever”, surrounded by aluminium chairs also from Frama. Smaller birch tables and chairs custom-designed by the studio have been tucked into the rooms corners.
      To enhance the cosy, intimate feel of the bar, lighting has been kept to a minimum – there are a handful of candles, reclaimed sconces and an alabaster lamp by Spanish brand Santa & Cole.
      Red paint covers the space’s vaulted ceiling and brick wallsEstablished in 2008, Plantea Estudio is responsible for a number of hospitality projects in Madrid.
      Others include Hermosilla, a Mediterranean restaurant decked out in earthy tones, and Sala Equis, a multi-purpose entertainment space that occupies a former erotic cinema.
      The photography is by Salva López.

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      Elly Ward designs own restaurant Edit using salvaged terracotta tiles and reclaimed materials

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      Architect and restauranteur Elly Ward has opened the low-impact restaurant Edit in London, drawing inspiration from its vegan, minimal-waste menu to create an interior filled with reused and recycled materials.

      Ward collaborated with her husband Joe Morris of architecture studio Morris + Company on the project, which was designed using low-intervention methods.
      “It’s been designed to be as circular as possible, which is the whole philosophy of the restaurant,” she told Dezeen.
      The Edit restaurant features exposed brick wallsEdit is located in a former factory and warehouse building in east London and connected to the adjacent Morris + Company architecture office.
      Visitors to the restaurant can view the studio’s models through a large glass door, adding a decorative touch to the space.

      This door and a window into the office were two of the main changes Ward made to the existing space, which she has transformed using recycled and reclaimed materials.
      A window connects the interior with the adjacent architecture studioThe building’s brick walls – including a former exterior wall that still features old advertising text – were retained alongside the warehouse’s cast-iron columns and beams, forming the structural fabric of the 197-square-metre restaurant.
      Ward added lightweight screen partitions that slot between the existing structures, including a wall made from wood and recycled polycarbonate that divides the main dining area from a smaller private dining room.
      A polycarbonate screen with wood shelving divides the spaceA warm red floor, made from screed topped with a water-based resin, matches the floor in the architecture office next door and contrasts the textured brick wall that Ward and Morris painstakingly unveiled from underneath layers of paint.
      At the rear of the space, the duo clad a wall in salvaged maroon terracotta tiles, which merge into the bar counter. These were among the many recycled materials that Ward used for the project.
      “I call them my wonky tiles because they’re like the wonky fruit and wonky veg of the industry that gets thrown away because it’s not a perfect carrot,” she said.
      Elly Ward filled the restaurant with vintage furnitureThe architect also reused the copper from an existing bar in the restaurant, which now clads the sinks in the bathroom.
      “It’s all about diverting waste from waste streams,” Ward said.

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      “When you’re building something new, you have to get things,” she added. “If you can’t buy recycled or reclaimed, you have to look for renewable materials, things that would have otherwise gone to waste but you’ve made into something else.”
      “It’s almost a checklist of ‘how circular can you be?'”
      A red floor creates a warm atmosphereWard also sourced vintage Scandinavian school chairs to provide seating in the restaurant and complemented them with her grandparents’ wooden chairs and vintage Ercol seats.
      The accompanying tables have tops made by British company Foresso using waste wood chips set in a plant-based resin, creating an effect similar to wooden terrazzo and adding textural interest to the room.
      The tabletops are made from recycled wood and resinThe lighting in the space was handmade by British artist Peter Lanyon using wood salvaged from trees that were trimmed back in a local woodland in Devon. Pieces include a “chandelier” made from a piece of hazelwood with hanging lampshades made from cherrywood veneer.
      Throughout the restaurant, the colour palette adds a sense of warmth. While the main room has a red hue, Ward chose a calming green colour for the smaller private dining room.
      Lamps made from wood decorate the private dining room”We started with the red; it’s obviously such a strong colour,” Ward said. “I’m somebody who’s quite into colour and I’m not really afraid of it but I didn’t want it to be a ‘pop’ kind of place.”
      In the bathroom, the red hue is tempered by the decorative natural cork that clads the walls in both the main space and the toilet cubicles.
      “It’s all waterproof and actually really good for humid, damp environments and you can wipe it clean,” Ward said.
      Restaurant guests can admire architectural models while they eatTo Ward, there’s a connection between the food and architecture industries that she wanted to underline in Edit’s design.
      “I did a deep dive into the food industry and found out a lot of stuff about provenance and how a lot of the things we’re looking at in the architecture world about circularity and sustainability are kind of echoed in the food industry,” she said.
      “I wanted the design to match that philosophy.”
      Other vegan restaurants with decorative interiors include Humble Pizza by Child Studios in London and Sydney vegan cafe Gumbuya.
      The photography is by Jack Hobhouse.

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