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      Citrons et Huîtres oyster bar creates impression of “diving into an aquarium”

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      French interior designer Marion Mailaender has completed a seafood bar in Paris named Citrons et Huîtres, which features oyster-shaped door handles and a stainless steel counter informed by fishmongers.

      Mailaender, who specialises in creating spaces “with a great sense of humour”, designed the bar to resemble an elevated market stall, where guests can dine inside or take away platters of oysters and shellfish.
      Citrons et Huîtres is an oyster bar with coral-coloured stoolsCitrons et Huîtres has a raw steel facade informed by the storefronts of local fishmongers, which have floor-to-ceiling windows that open onto the streets of Paris.
      Guests enter the bar through a door with a bronze handle shaped like an oyster shell, while a matching neon sign is fixed on the facade above the bar’s name.
      The bar has door handles shaped like oyster shellsInside, the space has a vaulted ceiling that reaches more than four and a half metres in height, which is painted blue together with the walls to create the impression of “diving into an amazing aquarium”, the owners said.

      The walls are decorated with prints by Mailaender’s husband, the artist Thomas Mailaender, who used a cyanotype printing process dating back to 1842 to produce ethereal blue photographs of coastal scenes.
      An oyster-shaped neon sign decorates the facadeCountertops are rendered in stainless steel and finished with a “pearly sheen”, while coral-coloured stools line the bar.
      The bar serves local French oysters from Brittany, presented on stainless steel trays that complement the interior.
      “Like a market stall with its stainless steel seafood counter, Citrons et Huîtres invites guests to savour the most incredible oysters while sipping on a glass of white,” the bar’s owners explained.
      Walls and ceilings are painted in a moody shade of blueThe name Citrons et Huîtres was chosen to reference a still-life by French Impressionist painter Pierre-Auguste Renoir, who once had his studio in the same building that now houses the oyster bar.
      “At the height of his glory in 1900, Renoir created Citrons et Huîtres, a piece of art that celebrates the most beautiful shellfish, classified as a national heritage of French art,” said the owners.
      The bar serves local French oysters and mussels from BrittanyOther oyster bars with interiors informed by the food on offer include Vancouver’s ShuckShuck, which is traversed by a curving concrete counter, and Watchman’s in Atlanta with its “spare nautical” interiors.
      The photography is by Thomas Tissandier.

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      Keiji Ashizawa draws on “whiteness of tofu” for tactile Saga Hirakawaya restaurant

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      Japanese designer Keiji Ashizawa paid homage to the food on offer when designing the Saga Hirakawaya tofu restaurant, which hopes to revitalise a depopulated community in Japan.

      Located in the hot spring resort Takeo Onsen in Japan’s Saga prefecture, the curved restaurant was designed to blend in with the surrounding environment, including a historical tower gate.
      The Saga Hirakawaya restaurant is located next to a historical tower gate”Tofu, a food culture rooted in the region of Saga prefecture, is the main ingredient of this restaurant,” Ashizawa told Dezeen. “Since tofu is a simple food, we chose materials with a sense of simplicity such as wood, concrete and walls finished in plaster to bring out the texture in the materials.”
      “With a background of wishing to use local materials, wood was used for the entrance, windows and undersurface of eaves to match the wood from Ariake, a furniture brand based in Saga.”
      Volcanic ash was used for the plasterThe studio also used shirasu – a type of volcanic ash from Mount Sakurajima in Kyushu – as a plastering material for the building’s exterior walls.

      Saga Hirakawaya has a curved design forming a semi-open interior courtyard, which holds a foot bath with hot spring water that aims to encourage the restaurant’s customers to eat and stay outside the establishment for longer.
      Wooden furniture matches the pared-down interiorInside the 435-square-metre restaurant, the interior matches the exterior with pale grey walls that nod to the food on the menu.
      “As the ceiling and walls are curved, pale colours are used to extend the light beautifully in the restaurant, complemented by the use of grey colours on the walls and floors,” Ashizawa said. “It also signifies the whiteness of the tofu.”

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      The restaurant’s ground floor houses a shop selling tofu-based products and sweets, while the first floor is home to a restaurant serving onsen yudofu – a type of tofu made using hot spring water.
      An open atrium connects the shop and restaurant, which both feature large windows.
      The ground floor houses a shopCircular lamps made by local paper manufacturer Nao Washi hang over the tables while the wooden furniture was made by furniture brand Ariake, which manufactures in Saga prefecture.
      The decision to open the Saga Hirakawaya restaurant in Takeo Onsen was made by its owner, who was born and raised in the area and wanted to help revitalise the community, which has suffered from a population decline.
      Paper lamps hang over tables”Depopulation is inevitable in rural areas of Japan,” Ashizawa said. “But in order to revitalise a region, it is important to attract people to the area through tourism.”
      “The client decided to create a restaurant serving onsen yudofu, believing that the region’s unique culinary culture could be an incentive to visit the area for sightseeing.”
      A restaurant space is located on the first floor”We deeply sympathise with the client’s hope to make the most of the wonderful location in front of the historical tower gate of Takeo Onsen, an important cultural asset, and to combine it with the region’s unique food culture to attract tourists from both inside and outside of Japan, contributing to the revitalisation of the area,” he added.
      Other recent projects by Ashizawa include a Blue Bottle Coffee shop in Kobe and a mid-century-modern-informed residence in Tokyo.
      The photography is by Ben Richards.
      Project credits:
      Architect: Keiji Ashizawa DesignProject architect: Keiji Ashizawa, Kentaro Yamaguchi, Tsubasa FuruichiConstruction: Yamakami IncFurniture: Hirata Chair/LegnatecLighting: Saito Shomei/Nao Washi

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      Space Exploration Design gives Bar Americano in Brooklyn a time-worn feel

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      Distressed plaster, exposed brick and mahogany millwork at this cocktail bar in Greenpoint were chosen by Space Exploration Design to “give the impression that it’s always been there”.

      Bar Americano opened recently on the corner of a landmarked residential building on Franklin Avenue – a bustling yet not overrun thoroughfare in north Brooklyn.
      The U-shaped counter at Bar Americano provides seating on three sidesServing cocktails, aperitifs and small plates, the bar is designed with an intentionally worn-in appearance to integrate with the fabric of the neighbourhood.
      “The directive that the ownership team of Bar Americano gave to Space Exploration Design was to create a neighborhood bar that gives the impression that it’s always been there,” said the studio, run by designer Kevin Greenberg. “[We] chose a palette of mostly warm, neutral materials with natural finishes that will patina gracefully over time.”
      Mahogany millwork forms the back bar, which incorporates sconces decorated with abstract floral patternsThe bar itself is located in the centre of the space, with a U-shaped counter surrounded by wooden stools on three sides.

      Behind, a mahogany cabinet displays a wide range of liquor bottles, and a vintage clock is affixed near the top.
      Seating nooks are tucked into corners away from the standing roomAlso embedded into the millwork are a pair of gilded sconces decorated with abstract floral patterns, created by Blaser Finishing, which also completed the plasterwork across the walls.
      Tight tambour panels clad the front of the bar counter and the lower half of partitions, and fluted glass continues the same vertical accentuation above.

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      “To emphasise the simple, honest approach to the cocktails, Space Exploration employed a restrained detailing language throughout. A strong sense of verticality provides the perfect complement to Bar Americano’s delicate glassware,” the studio said.
      Cosy seating nooks with leather upholstery of different sizes are snuggled into corners and window bays, away from the standing room.
      A raised seating area is set against an exposed brick wallA larger area with two-top tables is raised a few steps up, set against an exposed brick wall.
      Decorative tin tiles covering the ceiling were painted matte white, while brass was chosen for lighting fixtures, coat hooks and other hardware details.
      Distressed plaster walls and tin ceiling tiles add to the bar’s worn-in appearanceBar Americano joins several design-forward food and drink spaces in Greenpoint, including the Sereneco restaurant informed by Usonian architecture and the plant-filled Vietnamese eatery Di An Di.
      Other cocktail bars in NYC that have recently opened include the Upstairs lounge at Public Records in Gowanus and the rooftop bar at the Moxy Lower East Side hotel.
      The photography is by Alice Gao.

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      Lucas y Hernández-Gil uses extreme colour blocking in Naked and Famous bar

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      Madrid-based studio Lucas y Hernández-Gil has used reflective materials, neon lighting and sunset colours to create intense interiors for a bar in Seville.

      Called Naked and Famous, the bar contains a series of rooms that explore extremely different moods, thanks to varying colours, materials and lighting conditions.
      The bar features three distinctively different roomsAccording to architect Cristina Domínguez Lucas, co-founder of Lucas y Hernández-Gil, the aim was create to a visual experience that echoes the taste sensations of the various cocktails on offer.
      “We hope to intensify the experience of cocktail drinking by achieving an atmosphere of saturated tones where visual perception establishes connections with the sense of taste,” she told Dezeen.
      The design aims to intensify the experience of drinking cocktailsNaked and Famous is the latest venture from the team behind the popular Seville restaurant Casaplata, which opened in the Spanish city in 2018.

      While the cocktail bar has a similarly contemporary feel, with industrial-style materials and bold forms, the design is much more immersive.
      The entrance lobby is framed by mirror surfacesYou arrive via a mirror-lined lobby, intended to play with your perception of space.
      From here, a tall arched doorway leads through to a room where everything is a vivid shade of pink.
      The central room is a vivid shade of pinkThere are two more spaces to discover.
      One is a softly lit room coloured in midnight blue, described by Lucas as a space of  “silence and shadows”.

      Pastel furnishings contrast against concrete walls in Seville’s Casaplata restaurant

      The other is a laboratory-inspired room featuring a cocktail bar framed by metallic surfaces. Argon-blue lighting gives the room a turquoise glow.
      “Here we find ourselves surrounded by metalised tones and reflections, just as in a great cocktail shaker,” said Lucas.
      Another of the rooms is coloured in a midnight-blue toneThe design takes inspiration from the light artworks of Dan Flavin and James Turrell, as well as the paintings of Milton Avery. The colour palette is based on the colours of the sky during sunset hours.
      The lighting effects are amplified by the combination of multi-textural and see-through materials, particularly the corrugated and perforated metal that forms internal walls, and the acoustic foam on the ceiling.
      The bar is designed with a laboratory feelThe rooms have been furnished with bespoke tables and chairs designed by Lucas y Hernández-Gil’s furniture studio, Kresta Design.
      Based on the forms of kitchen utensils, these designs feature cone shapes, splayed legs, high-gloss surfaces and velvet upholstery.
      Argon-blue lighting is reflected around the spaceLucas and partner Fernando Hernández-Gil Ruano founded their studio in 2007.
      Other completed projects include the La Hermandad de Villalba guesthouse and the Juana Limón cafe in Madrid.
      The photography is by Juan Delgado.

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      David Thulstrup decorates Ikoyi restaurant with copper walls and curved metal-mesh ceiling

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      Copenhagen-based designer David Thulstrup drew on spice-making processes when designing the interior of London’s Ikoyi restaurant, which features a variety of materials including copper and oak.

      The 150-square-metre restaurant, which has a menu based on seasonal British produce and spices from sub-Saharan west Africa, is located inside the brutalist 180 The Strand building in central London.
      Studio David Thulstrup has clad London’s Ikoyi restaurant in copper sheetsThulstrup completely renovated the interior, adding panels of a specially-designed metal-mesh weave that curve up from the restaurant’s windows and cover the ceiling. The ceiling design was informed by the process of spice production.
      “I was inspired by sifting spices and thought the mesh could both capture and reflect light coming from the outside, the street light in the evening and sunlight in the daytime, but also be respectful to the exterior,” Thulstrup told Dezeen. “The lights from inside the restaurant will be captured and ‘sifted’ towards the street.”
      Decorative metal mesh was used to cover the ceilingThulstrup also layered materials to create a restaurant interior that references the “boldness and intensity of the gastronomy” delivered by Ikoyi’s founders Jeremy Chan and Ire Hassan-Odukale.

      The restaurant walls were lined with oxidised copper sheets finished with beeswax, while the floors were covered in Gris de Catalan limestone that was flamed and brushed to develop a hammered surface.
      Ikoyi is located inside a brutalist buildingThe custom-built furniture and built-in joinery were made from British oak, while banquettes, chairs and wall panels were lined with ginger-coloured leather.
      “I always work with contrasts and I like honest juxtapositions of materials that activate your senses – the copper that is warm in colour but cold when you touch it, the warm natural ginger leather against the colder steel mesh and the rough Catalan limestone floor against the warm English brown oak,” Thulstrup said.
      The colour palette was kept warm and earthyThe earthy, rustic hues chosen by Thulstrup for the interior were informed both by the restaurant’s food and the building in which it is located.
      “Ikoyi is placed on the ground level of the beautiful and very active brutalist building 180 The Strand,” he said.

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      “The restaurant’s gastronomy plays an essential role in the palette as well,” he added. “It’s not an interpretation of a dish but an exchange in colour and tracing ingredients back to their natural form and colour.”
      On arrival, visitors to the restaurant are also greeted by a large copper-clad fridge that shows the produce served at Ikoyi, with slabs of meat and fresh fish hanging from meathooks.
      Large copper fridges showcase fresh produceThulstrup wanted the fridges to remind people of where their food is coming from.
      “[The idea was] that we know where a piece of fish comes from and that we are aware what a piece of meat looks like,” he said. “It traces the story back to when the animal was alive and underscores that we have to take good care of them and appreciate them.”
      “I thought it would be a modern interpretation and celebration of our awareness of food.”
      Wooden and leather-clad furniture was used for the interiorThulstrup founded his studio in 2009 and it is based in Copenhagen, Denmark. The studio works in architecture, design and interiors.
      Previous projects by the studio include an office in Borough Yards, London, and the revamp of a winery in California’s Sonoma County.
      The photography is by Irina Boersma.

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      Studio KO places female chefs “at the epicentre” of Moroccan restaurant Sahbi Sahbi

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      French architecture practice Studio KO has designed the restaurant interiors of Sahbi Sahbi using textures, tones and materials that celebrate Moroccan cuisine and female culinary practices.

      Sahbi Sahbi, which translates to soulmates in Darija – a form of Arabic spoken in Morocco, is located in the Guéliz neighbourhood of Marrakech.
      Top: An open kitchen is at the heart of Sahbi Sahbi. Above: the restaurant is in Marrakech”Sahbi Sahbi is a reinvented tribute to Moroccan craftsmanship,” Studio KO told Dezeen.
      “It is a symbiosis of modernity and tradition, of Japan wood tradition and details and Moroccan motifs and materials.”
      Studio KO wanted the restaurant to celebrate the female chefs who work thereThe eatery serves a menu of traditional Morrocan dishes made using recipes created by Dadas – female cooks in Morocco who orally handed down their trade through generations.

      Sahbi Sahibi’s focus on Dada cuisine influenced Studio KO to create an interior that places the female chefs at the centre of the space.
      Warm wood was used for the ceiling, walls and table and chairs”In Morocco, the kitchen is normally a secretive place, the hidden domain of the Dadas, women who hand down recipes from one generation to the next,” Studio KO said.
      “It is with precisely this intention, to share and transmit knowledge – an intention evident even in the layout of the restaurant – that guests are welcomed at Sahbi Sahbi,” added the brand.
      Rust-coloured paint and tableware is dotted throughoutIn the centre of the restaurant, the kitchen was intentionally left open so that diners can watch the chefs at work and get an insight into the culinary process.
      Horseshoe-shaped tables and seating wrap around an open stove integrated into a kitchen island counter where chefs prepare meals.
      “In conceiving this warm, convivial space, the designers inverted the archetype of Moroccan cuisine – its secretiveness – and instead placed the cooking at the epicentre of the restaurant’s activity,” said Studio KO.

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      Earthy colours and natural materials were used to complement the relaxed and friendly aesthetic of the restaurant.
      Wood was used to add warmth throughout. It covers the walls and ceiling and also forms the woven chairs and dining tables. These are illuminated with spherical pendant lights while brown leather upholsters the booth seating around the edge of the space.
      A traditional oven is located at the side of the spaceIn one corner, there is a large traditional oven where chefs can burn logs to bake bread or roast meat.
      Finer details include rust-coloured ceramic urns, clay pots and pans and orange-brown paint in an alcove above a sink.
      “The beauty is subtle: details, textures, the play of light and surfaces, natural tones and motifs that tell a story of traditional materials and knowledge, freely reinterpreted,” Studio KO explained.
      the interiors were designed as a tribute to Moroccan craftsmanshipStudio KO has previously worked on projects in Marrakech. In 2017 the studio revealed the Musée Yves Saint Laurent, a 4,000-square-metre museum building showcasing the work of the late fashion designer Yves Saint Laurent.
      Other notable buildings in the Moroccan capital city include Fobe House, a white house designed by Paris-based architecture studio Guilhem Eustache.
      The photography is by Pascal Montary.

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      Keiji Ashizawa adds Blue Bottle Coffee shop to Kobe department store

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      Japanese studio Keiji Ashizawa Design has created the interior of the Blue Bottle Coffee shop in Kobe’s Hankyu department store, taking advantage of its display windows to connect the cafe with the street outside.

      The 173-square-metre cafe, which shares the department store’s ground floor with a number of apparel brands, has five large display windows.
      To open the coffee shop up towards the street, designer Keiji Ashizawa turned one of the windows into a take-out counter.
      One display window was turned into a take-out counterThe remaining window niches were filled with blue built-in seating, creating a splash of colour among the wooden furniture.
      Inside the cafe, square-shaped and rectangular furniture nods to the graphic look of the facade and is contrasted by round tables and large circular ceiling lights.

      “The furniture is mainly made of domestic wood in collaboration with the Japanese furniture manufacturer Karimoku, who specializes in working with oak wood,” Ashizawa told Dezeen.
      Wooden furniture and terrazzo tabletops were used for the interiorThe studio also mixed in terrazzo amongst the wooden furniture to give the cafe a welcoming feel.
      “By placing a large terrazzo tabletop with fine textures created by mixing grounded glass into the material, it adds to the soft and welcoming atmosphere that identifies Blue Bottle Coffee and their hospitality,” Ashizawa said.

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      “It is also used for the low coffee table surrounded by the sofas, creating a sense of harmony and elegance throughout the space of the cafe,” he added.
      While the studio was unable to change the material of the existing rough concrete floor, the department store allowed it to create a discrete demarcation by polishing the floor underneath the central tables.
      Circular pendant lights were made from raw aluminiumLarge disc-shaped pendant lights add a sense of drama to the coffee shop’s pared-back design.
      “With the idea of creating a high ceiling within the space, the pendant lights were made from raw aluminum to complement the industrial structures,” Ashizawa said.
      “Six pendant lights are placed in the central space at equal distances in three zones, creating a sense of rhythm and spatial balance.”
      The concrete floor was polished in part of the cafeThe wooden furniture inside the Blue Bottle Coffe Hankyu cafe has mainly been kept in its natural colour, but Ashizawa added bright colour to some of the wood.
      “In the space with concrete structures, the yellow color was added to balance the combination of wood and concrete, and the blue color was placed as a contrast,” he said.
      “We also designed the space to fit in with the apparel brands that share the ground floor.”
      Shelves were painted a bright yellowAshizawa has previously created a number of cafes for the Blue Bottle Coffee company, including a Shanghai store decorated with traditional Chinese roof tiles and a Tokyo outpost with a volcanic-ash counter.
      The photography is by Tomooki Kengaku.
      Project credits:
      Architect: Keiji Ashizawa DesignProject architect: Keiji Ashizawa, Tomohiko Fujishita, Masaru KiotyaConstruction: TankDesign supervision: Miyachi Office/Kunihiko MiyachiLighting design: Aurora/Yoshiki IchikawaFurniture: Karimoku Case Study/Ichinomaki Laboratory by KarimokuMetal works: Super Robot

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      Renesa completes “grotto-like” interior for Tin Tin restaurant

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      Indian architecture and interiors studio Renesa has completed a restaurant in Chandigarh with curving walls, ceilings and countertops blanketed in mosaic tiles.

      Tin Tin is a pan-Asian dining venue with an experimental menu, which New Delhi-based Renesa was asked to reflect in its design for the restaurant’s interior.
      The Tin Tin restaurant features curved walls and countertopsThe studio aimed to create a rich and engaging experience for guests, unfolding gradually as they move around the space.
      This is achieved by breaking up Tin Tin’s floor plan with curved walls and built-in furnishings that combine to from various different seating nooks and zones.
      A gridded mosaic covers surfaces across the restaurant”Sweeping arches, contoured ceilings and a juxtaposition amidst solid and voided structures dot the layout,” Renesa said.

      “These conjure focal nodes and morphing vistas as one lets the eye take in the space, only to reveal that no two sights within the interior volume can be identical.”
      Renesa designed the restaurant interior to reflect Tin Tin’s experimental menuThe fluidity of the restaurant’s internal surfaces is accentuated by the mosaic tiles that are arranged into a rough grid pattern across its walls, floors and openings.
      The surfaces were cast on site using terrazzo combined with slices of Indian stone in shades of jade, umber brown, veined white and greige.
      Renesa says Tin Tin’s “minimalist grotto-like feel” is a result of this homogenous materiality, which took a team of stonemasons and plasterers more than six months to complete.

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      The built-in elements are complemented by a range of custom-made furniture featuring similar curvilinear silhouettes and a matching colour palette.
      The restaurant’s entrance flows into an open space containing a range of freestanding high tables and communal seating areas, offering an array of dining experiences.
      Custom-made furniture separates different dining zonesTin Tin also provides varying degrees of privacy, allowing it to be transformed from a fine dining space during the day to a lively lounge in the evening.
      A large terrace featuring the same decor as the internal dining space provides additional seating in the daytime, while at night the tabletops and bar areas are illuminated by spotlights from above to create an intimate atmosphere.
      The curved elements contrast with their gridded surface patternRenesa was founded in 2006 and is led by architect Sanjay Arora and his son Sanchit.
      Previous projects from the studio include an all-day cafe in New Delhi that juxtaposes terracotta and terrazzo surfaces, and a brick manufacturer’s showroom in the same city that is clad entirely in earthy-hued masonry.
      The photography is by Niveditaa Gupta.

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