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

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

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

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

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

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      Rockwell Group takes maximalist approach to Japanese design at Katsuya NYC restaurant

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      Elements of traditional Japanese architecture and design are combined and given a contemporary spin by New York studio Rockwell Group at this sushi restaurant in Manhattan.

      Katsuya is the latest restaurant of its name by chef Katsuya Uechi, following locations in Los Angeles, Miami and the Bahamas all serving sushi with a Californian twist.
      Katsuya serves Californian-influenced Japanese cuisine by chef Katsuya Uechi. This and top photos by Nikolas KoenigFor its interior, Rockwell Group looked to a variety of Japanese aesthetic traditions, and blended them together to create a theatrical experience.
      “The interior dining rooms take a maximalist approach to Japanese aesthetics, an entertaining departure from the contemporary minimalist vogue,” said the team.
      A long red-lacquered communal table occupies the centre of the dining room. Photo by Nikolas KoenigThe restaurant totals 6,890 square feet (640 square metres) and seats up to 305 diners. Guests enter past the sushi bar and lounge, which is set up for casual diners to enjoy light bites in view of the kitchen.

      In the main dining area, the space is divided into three sections by a pair arched openings and a series of translucent glass screens subtly printed with images of wagasa – Japanese umbrellas.
      Translucent screens divide up the hall-like spaceThe archways, shaped to reference torii and pagoda architecture, are trimmed with red lacquer and inlaid with square wooden tiles.
      Screens are suspended from a black powder-coated metal framework, reminiscent of kumiki wood joinery.
      Secluded banquettes are positioned towards the back. Photo by Emily AndrewsDominated by red, the central space has a long communal table, plus several two-tops and a trio of secluded banquettes towards the back.
      Small to medium-sized parties are accommodated in the section to the right, where the red tones are swapped for warm creams and the wagasa patterns appear again on the wallpaper.
      Several traditional Japanese wagara motifs decorate the wallsMore banquette niches are framed by curved ceilings, and decorated with other traditional wagara motifs and imagery of performers with fans.
      The final indoor dining area includes a variety of table sizes, as well as a robata grill – a specialty that the chef is “renowned for pioneering in the West” according to the team.
      A private dining room seats 10. Photo by Nikolas KoenigConcentric pendant lights by Allied Maker spotlight individual tables and booths throughout the restaurant.
      Meanwhile, the red-lacquered communal table is “illuminated by a custom chandelier with a lazily undulating form that appears like waves rendered in ink”.

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      A private dining room at the end of the hall-like restaurant features red-leather-backed chairs around a circular wooden table, which seats 10.
      In the warmer months, a terrace influenced by autumnal Japanese gardens will provide space for 98 guests outdoors.
      Screens are subtly printed with images of wagasa – Japanese umbrellasKatsuya opened in March 2022 as one of two full-service restaurants inside the Citizens food hall, located within the Manhattan West development between Hudson Yards and Penn Station.
      Rockwell Group was also responsible for the interior design of Citizens, as well as the other fine-dining option Casa Dani, which serves Andalusian cuisine in a setting to match.
      Allied Maker’s Concentric pendant lights are hung throughout the restaurantThe firm was founded by architect and designer David Rockwell in 1984, and is best known for hospitality projects, and production design for theatre and events.
      Its studios have recently collaborated with fellow designers Joyce Wang on the first Equinox Hotel, Yabu Pushelberg for the Moxy Chelsea hotel and Diller Scofidio + Renfro to build 15 Hudson Yards and The Shed – all in New York City.
      The photography is courtesy of Katsuya, unless stated otherwise.

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      Cara Mela by Casa Antillón is a dual-colour pastry shop in Madrid

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      Two rooms – one white and one green – make up this striking colour-block pastry shop that architecture and interiors studio Casa Antillón has completed in Madrid.

      The layout of Cara Mela naturally lends itself to having distinctly different coloured rooms, according to local studio Casa Antillón.
      Cara Mela’s first room is finished completely in white”From the beginning, we had a vision of a spatial cascade of rooms separated by colour-contrasted openings on the walls,” the studio told Dezeen.
      “It was very suitable with the architecture of the existing building, since the floor goes down from the entrance to the back of the shop.”
      A stainless steel unit accommodates different functional elementsUpon entering the pastry shop, which is located in Madrid’s Chamberi neighbourhood, customers are welcomed into an all-white room.

      The space is dominated by an angular stainless steel unit, incorporating a high counter where customers can stand and eat, a handwashing station and a glass display case that shows off Cara Mela’s sweet treats.
      The back room features sea-green surfacesThis front room narrows slightly before opening up to reveal a seating area at the back of the shop. Casa Antillón nicknamed the two spaces after the different phases of a heartbeat – systole and diastole.
      “Systole and diastole are the heart’s movements of contraction and expansion,” explained the studio. “For us, it refers to this spatial game where one space contracts and drags the visitor in, while the other expands letting the same visitor relax in the lounge.”

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      The rear room was finished entirely in a rich sea-green hue save for the steps leading down into the space, which are clad in white tiles to create the impression of the front room “spilling” into the back of the shop.
      Dotted throughout the space are a few wriggly-edged tables balanced on slim metal legs, which are also sea green.
      Furniture and fixtures have wriggly edgesRight at the back of the room is a small window that looks through to the kitchen. Its ledge and inner frame are coated in a glossy, bright-red paint reminiscent of caramelised apples – one of the most popular offerings on Cara Mela’s menu.
      The same shade of red was also applied to the shop’s front door.
      A red window offers views of the staff kitchenFounded in 2019, Casa Antillón is led by architects Marta Ochoa, Ismael López, Emmanuel Álvarez and Yosi Negrín.
      Cara Mela isn’t the first project the studio has completed in its hometown of Madrid. Elsewhere in the Spanish capital, the studio has designed Mood, a trendy hair salon with a galvanised steel facade.
      The photography is by Imagen Subliminal.

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      Snarkitecture designs Manifest “self-care” club in Washington DC

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      Design studio Snarkitecture incorporated tiled walls and arches into a club in the US capital that offers a barbershop, a coffee bar, a boutique and a speakeasy.

      Open to the public, the Manifest club occupies a slender, four-story building in Washington DC’s Adams Morgan neighbourhood.
      Manifest is entered through a courtyard lined with wooden wallsMeant to put “a sophisticated spin on self-care”, the club was conceived by the entrepreneur KJ Hughes, along with his partners Brian Merritt and Susan Morgan.
      The aim was to create a distinctive location where people could get a haircut or beard trim, grab an espresso, buy upscale streetwear and enjoy a cocktail.
      Tiled walls and arches were incorporated into the clubThe owners turned to New York’s Snarkitecture to design the project.

      “When we set out to design Manifest, it needed to be a new kind of barbershop, inviting to all people,” said Alex Mustonen, a firm partner.
      Snarkitecture added a barbershop to the project”Simultaneously, we wanted to create a sanctuary, a community space, an institution, a one-of-a-kind experience that still feels like home,” he said.
      Set back from the street, the Manifest building is entered through a courtyard lined with wooden walls.
      The studio used a largely restrained palette of materialsThe outdoor space is adorned with pockets of greenery and curved concrete benches. At the base of the benches are illuminated reveals made of LED strips with an acrylic diffuser.
      Inside, walls are clad in white tiles, and the floor is covered in large-format cement squares. For the millwork, the team used white oak with a natural finish.
      White oak was used for the millworkThe barbershop – which encompasses four stations and an area for washing hair – is fitted with chairs wrapped in buttery leather. The coffee bar features a counter with a fluted wooden base and a terrazzo top.
      In the retail zone, clothing by brands such as Engineered Garments and Homme Pliseé is displayed within arched, wooden niches. The store also sells apparel from Manifest’s own line, Of US.
      Chairs wrapped in leather feature in the barbershopStretching across the ceiling are wooden beams with embedded LED strips – a design element that contributes to the interplay of straight and curved lines in the space.
      “Unifying details throughout the space include archways – which are meant to represent the sloughing off of the old and moving into a new phase of life – while linear elements symbolise a sense of community and connection,” the designers said.

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      A “secret staircase” leads up to the speakeasy, which seats up to 30 guests. In contrast with the lower-level space, the bar has a moody atmosphere.
      Walls are sheathed in a custom green plaster, and floors are finished with dark-stained oak. Seating areas are adorned with green velvet banquettes and leather chairs from Nikari.
      The speakeasy has a moody atmosphereOverhead are arched forms that help create a sense of intimacy while also drawing a visual connection to the arches in the lower level. The arches are finished with mosaic green tile and safety glass with wire mesh.
      Throughout the club, Snarkitecture aspired to create an environment that was both comfortable and stimulating.
      Walls are sheathed in a custom green plaster”Every single element was designed to create a welcoming, intimate atmosphere that will invoke conversation and appeal to all the senses,” the team said.
      Later this spring, Manifest will expand to include a rentable apartment with a retractable glass roof and a terrace.
      Throughout the club, the atmosphere was designed to be both comfortable and stimulatingThis is not the first project in Washington DC by Snarkitecture. In 2018, the firm created a Fun House installation in the National Building Museum’s great hall that featured a white gabled house and a kidney-shaped ball pit.
      Other projects by the studio include a shop for streetwear brand Kith within a Parisian mansion, and an installation in a Manhattan gallery that consisted of 168 white spherical orbs that changed colours when touched.
      The photography is by Michael Grant.

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      Theatrical curtains drape around Dame bar by Bergman & Co

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      A “rather fabulous” fictitious muse influenced the design of this richly decorated bar and restaurant in Melbourne by local interiors studio Bergman & Co.

      Dame recently opened in the IM Pei-designed Collins Place, a mixed-use complex in the East End of the city.
      Dame is located in IM Pei’s Collins Place complexThe concrete development was completed in 1981, so Bergman & Co looked to this decade for inspiration when devising a concept for the bar’s interior.
      “The narrative of Dame is centred around a fictitious 1980s muse; a powerful, well connected and rather fabulous woman,” said the team, led by director Wendy Bergman.
      A curvaceous pink marble bar counter sits in the centre of the spaceThe fictional character’s power and femininity are reflected in elements like the curved bar counter, made from blush-toned marble.

      Her portrait, painted by local Melbourne artist Stacey Rees, hangs behind the bar to tie the concept together.
      Blush curtains provide a backdrop for communal diningPale pink curtains divide the space from the building lobby and are draped dramatically to create an entryway.
      Diners are presented with multiple seating options around the restaurant’s glazed periphery.
      Glass block table legs nod to the building’s gridded architectureCommunal tables feature dark wooden tops and glass block supports, nodding to the gridded architecture of the setting.
      Above, pendant lights created in collaboration with Melbourne design studio Please Please Please are delicately suspended like pieces of jewellery.

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      Banquette seating wrapped in dark textured fabric creates cosy booths, while more casual round tables are paired with wicker-backed chairs.
      “A sumptuous banquette setting finished in rich, earthen tones creates a subtle sense of nostalgia, warming the building’s otherwise restrained palette of architectural finishes,” said Bergman & Co.
      Upholstery for banquettes was chosen to create a “sense of nostalgia””Quilted upholstery and 1980s-inspired furniture complete the aesthetic tableau, offering an elevated, all-day dining space,” the studio added.
      Glossy red table lamps and pendants are also scattered through the space, uniting a palette that feels rich and warm against the building’s grey terrazzo flooring.
      Pink marble tables are accompanied by wicker-backed chairsPink marble is similarly used at Melbourne’s Pentolina restaurant, designed by Biasol.
      Other dining and drinking establishments with notable interiors around Australia’s second-largest city include Studio Esteta’s Via Porta and Three Blue Ducks by Pattern.
      The photography is by Eve Wilson.

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

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

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

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

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      Masquespacio puts colourful spin on traditional Italian restaurant concept

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      Colourful marble accents and looming arches characterise this restaurant by Spanish studio Masquespacio, which takes cues from traditional Italian eateries.

      Called Piada, the restaurant sells Italian flatbreads and is the second of its kind to be designed by Masquespacio in the French city of Lyon.
      Piada is a restaurant in LyonThe interiors of the latest Piada blends retro design elements borrowed from traditional Italian restaurants, such as marble and gold finishes, with colours and materials that were chosen to echo the eatery’s healthy food menu.
      “First, we investigated ancient Italian restaurants and bars to bring the traditional concept into the design,” Masquespacio co-founder Christophe Penasse told Dezeen.
      Masquespacio took cues from traditional Italian eateries”Then, we sought elements that could represent a sort of healthy aspect, which at the same time have a splashy and young colour concept that represents the brand’s identity,” he added.

      A garland of lush plants and flowers is suspended above the entrance to the two-storey restaurant, under which floor-to-ceiling arched windows were designed to draw visitors in from the street.
      Bold blocks of colour define the spaceInside, guests are met with a collection of booth-like tables that offer a mixture of built-in seating, including banquette benches and rounded wooden stools.
      This area is defined by a bold palette of sugary pastel colours, ranging from pale lilac seat cushions to mint-green walls.

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      Piada’s external arch motif is also continued in its interiors, where curved alcoves have been outlined with columns of bulbous sconce lights that resemble oversized Hollywood-style mirrors.
      “We used five elements to represent the traditional Italian bar and restaurant – arches, light bulbs with gold finishes, marble and mirrored menus,” explained Penasse.
      Piada’s design is also influenced by its healthy food menuIn a nod to Piada’s healthy food concept, Masquespacio added clusters of plants that spill out of backlit rounded nooks behind the seating areas both upstairs and downstairs.
      The studio also incorporated stucco on the walls and tiles with a handmade effect to create a more organic feel to the restaurant interior. All of Piada’s furniture was custom-made by Masquespacio to match the restaurant’s eclectic themes.
      The restaurant is the second of its kind in the French cityFounded in 2010 by Penasse and Ana Milena Hernández Palacios, the Spanish studio has completed a number of other interior projects with designs rooted in bright colour.
      These include a playful burger joint in Turin, multi-hued student housing in Bilbao and a colour-clashing phone repair shop in Valencia.
      The photography is by Gregory Abbate.

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      Studio Nor scatters chunky stucco walls throughout Qinhuangdao hotpot restaurant

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      Thickset stucco walls hide unsightly structural panels inside this branch of restaurant chain Jin Sheng Long, which Studio Nor has designed in Qinhuangdao, China.

      Jin Sheng Long is a historic eatery known for serving hotpots and baodu – a traditional tripe dish. Since opening its first outpost in Beijing in the late 19th century, the restaurant has expanded into a chain with a number of outlets nationwide.
      Structural panels found throughout Jin Sheng Long are now enclosed by stucco wallsIts latest outpost in the port city of Qinhuangdao occupies a trio of former retail units on the ground floor of a residential tower.
      As a result, the interior is plagued by a number of awkwardly placed structural panels, which Chinese practice Studio Nor chose to retain and turn into key design features by encasing them within chunkier stucco-coated walls.
      The walls demarcate cosy dining nooksThese walls now form a labyrinth of cosy dining nooks that diners can explore, mimicking what Studio Nor describes as the “intricate and meandering” arrangement of stalls in a Chinese food market.

      Even the restaurant’s wooden tables and benches were chosen to resemble the furniture found in these markets.
      The restaurant’s tables and chairs resemble those found in a food market”We got inspiration from Jin Sheng Long’s history,” the studio said.
      “Back in the late Qing Dynasty, the founder of the restaurant started his business by setting up street stalls in Beijing’s famous old Dong’an Market – a then-popular destination full of dazzling attractions and bustling with life and activities.”
      The structural panels located in the centre of the room also serve a decorative function, with their enclosing walls set at unexpected angles and finished with curved niches for displaying bonsai trees, vases and other ornaments.

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      A bar is located towards the rear of Jin Sheng Long’s Qinhuangdao restaurant, in the only part of the room that is uninterrupted by structural panels.
      This area is anchored by an eight-metre-long counter, which is raised up on a stage-like brick plinth to highlight the theatricality of the drinks preparation process.
      Walls at the centre of the restaurant feature curved nichesStudio Nor expanded the restaurant’s windows to bring in more natural light and lined their inner frames with copper in a nod to the traditional cookware used to serve hotpot.
      Artificial lighting, on the other hand, was kept to a minimum in a bid to draw attention to the few illuminated areas that pop up throughout the interior.
      A brick plinth raises up the bar counterElsewhere in Qinhuangdao, BLUE Architecture Studio found another clever way of concealing unattractive structural elements when designing the Zolaism cafe.
      Here, the studio disguised the building’s support columns as huge craggy boulders.
      The photography is by Songkai Liu.
      Project credits:
      Architecture firm: Studio NORLead architects: Boyuan Jiang, Jingwen WangDesign team: Zhongyuan Liu, Wenxuan Xu, Yiming Lu, Shuo YangLighting consultant: Chloe ZhangConstruction team: QX GroupConstruction documents consultant: Shanghai C-Yuspace Design

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