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      Frank Architecture creates intimate setting for Calgary's Lonely Mouth noodle bar

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      Canadian studio Frank Architecture has designed a Japanese restaurant in Calgary where wood panelling, low lighting and corduroy-upholstered chairs all contribute to a cosy atmosphere.

      The Lonely Mouth bar and restaurant is named in reference to the Japanese concept of kuchisabishii, which means “when you’re not hungry, but you eat because your mouth is lonely”.
      A screen of wooden dowels divides the bar and restaurants areas at Lonely MouthFound at the eastern end of Calgary’s 17 Avenue commercial strip, only a few blocks from Frank Architecture’s studio in the city, the bar serves udon made in-house and boasts an extensive sake selection.
      “Lonely Mouth is a place where tradition meets innovation,” said the team at Frank Architecture. “They offer a carefree and interactive dining experience, featuring a dynamic and playful menu with modern and energetic flavours.”
      Wood panelling lines the rooms above built-in banquette seatingFor the interiors, the designers chose a warm palette of green and brown tones, along with textured plaster and soft upholstery to create an intimate atmosphere.

      “Inspired by Japanese minimalism, the interior takes a ‘less is more’ approach,” the team said. “The design is very restrained.”
      A trio of spherical lights hang above the central row of tablesA screen of wooden dowels divides the bar and dining spaces, adding to the sense of intimacy. The restaurant’s noodle maker can be seen working in the bar area, allowing guests to watch their food being prepared.
      Shelving behind the bar, which displays the sake collection, was built using wood salvaged during the renovation of the space.
      Green and blue upholstery complements the warm wood tonesAlong the sides of the main dining area runs built-in seating with blue-fabric backs.
      Wood panelling above is decorated with works by local artists Rhys Douglas Farrell, and Harry Kiyooka, who died aged 94 earlier this month.

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      Wooden tables form rows beside the banquettes, with an additional line through the middle of the room.
      Diners at these central tables sit on chairs covered in brown velvet corduroy, while other seats are upholstered in green fabric.
      Sake is displayed on repurposed shelves behind the barA trio of spherical, paper pendant lamps cast a dim glow into the restaurant, assisted by spotlights, fringed table lamps and candles in setting the mood.
      “Light levels are dimmed and offer a soft, even glow to diners,” the team said.
      Textured plaster walls and fringed artworks are found near the entranceFrank Architecture was established in 2009 by principals Kelly Morrison, Kate Allen and Kristen Lien.
      Along with Calgary, the firm has an office in Banff and was longlisted for interior design studio of the year at the 2021 Dezeen Awards.
      The photography is by Chris Amat.

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      Floral installations decorate Atrium bar in Atlanta by Smith Hanes Studio

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      Handmade fluted ceramic tiles, pink blown-glass lighting and tropical patterned fabrics all feature in this Atlanta bar and restaurant by local architecture firm Smith Hanes Studio.

      Atrium opened earlier this year inside Ponce City Market, located in the city’s Old Fourth Ward neighborhood northeast of Downtown.
      Atrium is split into two main sections, one of which is called The ParlorThe mixed-use development contains a variety of restaurants and retailers, and occupies a converted, historic Sears building.
      Atrium’s interiors by Smith Hanes Studio combine rich tones of green, pink and gold to create spaces that feel simultaneously moody, whimsical and tropical.
      The Parlor features a long bar fronted with handmade ceramic tiles”The design was inspired by colorful French cafes and Art Deco buildings,” said studio founder Smith Hanes. “The lines, colours, shapes and patterns are fascinating, unafraid and daring.”

      The establishment is split over two main rooms: The Parlor and The Bistro.
      A mural of tropical ibis birds accompanies pink seating and a floral installation in the fireplaceThe Parlor accommodates a 1,200-square-foot (110-square-metre) cocktail lounge, where the front of the bar counter and a large column behind are clad in emerald green ceramic tiles handmade by local artisan Charlotte Smith.
      “Similar to the name Atrium, the tiles were inspired by Roman columns and architecture,” she said. “A translucent glaze was applied to accentuate dimension with the pooling of rich colour.”
      A casual lounge area separates The Parlor from The BistroLiquor is displayed in open cabinets with decorative rounded tops, also painted green to contrast the pink shade that covers the remaining walls, ceiling, ductwork and pipes.
      The terrazzo bar countertop, also flecked with pink, curves around to a seating area where banquettes tuck into each corner on either side of a fireplace that has a floral installation.
      The Bistro dining room also features a green and pink colour schemeA hand-painted wall mural by Savannah-based artist Kipper Millsap depicts a flock of ibis birds in flight and is lit by fringed sconces imported from Spain.
      “When I heard that Kipper was painting murals of these glossy ibis from South Africa, I designed a mossy landscape at the fireplace to abstractly house these cool birds,” said floral designer Skye Lind.
      Curtains patterned with tropical plants cover an entire wallFrom The Parlor, arched openings lead through to a bright lounge that is populated by soft, casual seating atop green and white floor tiles.
      More arches on the other side provide access into The Bistro — a dining area with mottled green walls and a striped diagonal pattern applied over its wood flooring.
      Pink banquettes sit atop wooden floors painted with diagonal stripesDusty-pink banquettes and deep-teal love seats surround dark wooden tables, which are also paired with matching chairs for smaller parties.
      Hand-blown pink glass sconces supported by brass arms cantilever over the tables, giving off a warm glow. Further lighting is provided by green cloche-shaped pendants with bronze undersides.

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      These are suspended from the 12-foot (3.7-metre) ceiling among an installation of vines and hanging plants, also by Lind, who founded local florist Pinker Times.
      “Thousands of pieces of florals and foliage are suspended in the air,” Lind said. “Composed like a piece of music, the art installation moves harmoniously around the room to celebrate the culinary experience at Atrium.”
      Tables are illuminated by the glow of pink blown-glass lightsThe verdant theme is also continued in patterns across floor-to-ceiling curtains that drape across the entire back wall.
      “The dining experience at Atrium is reminiscent of a garden party where you’re free to enjoy yourself among the unique natural beauty of each petal and branch,” said the team.
      Atrium is located in Ponce City Market, northeast of Downtown AtlantaSmith Hanes Studio was founded in Atlanta in 2004, then opened a New York office in 2020. Best known for its hospitality projects, the firm also collaborated with R&A on the Woodlark Hotel in Portland.
      Atlanta’s culinary scene has been on the rise for some time. In 2019, we rounded up five bars and restaurants with impressive interiors in the city, including a snug club by Workstead and a cocktail lounge by Tom Dixon.
      The photography is by Tim Lenz.

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      Preen designs Prime steakhouse for a casino in the Arizona desert

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      Designer Alexis Readinger of US studio Preen has incorporated earthy hues, wide arches and textured plaster into an Arizona eatery and bar that is part of a casino owned by a Native American community.

      The restaurant, Prime, is located on the top floor of an 11-storey tower at a casino and resort complex just south of Phoenix. The site, called Wild Horse Pass, is owned by the Gila River Indian Community.
      fThe restaurant features wide archesThe space was designed by Preen, a Los Angeles-based studio led by hospitality designer Alexis Readinger.
      Given that American casinos can often be ostentatious or kitschy, the design of Prime is meant to “challenge the traditional concept of a casino restaurant”.
      A “French aesthetic” permeates the spaceReadinger took cues from the surrounding landscape, which is dotted with cacti, shrubs and other vegetation found in the Sonoran Desert and the Estrella Mountains, located to the west of the site.

      “The design originates with the desert and is created intentionally to frame, to view and to honor the sacred land,” the designer said.
      The restaurant also exhibits a “stylised, lightly French aesthetic”, the designer added.
      Dining spaces are arranged around a central bar and loungeRectangular in plan, the eatery consists of multiple dining spaces that are arranged around a central bar and lounge.
      Rooms are divided by wide arches that reference those found at Arcosanti, an experimental, 1970s housing complex in the Arizona desert that was designed by architect Paolo Soleri.
      The bathroom features sink basins made of glazed lava stoneIn addition to the arches, the designer created a large, inverted pyramid that hovers over the main dining space. The pyramid is coated with textured “slagged plaster”.
      Throughout the restaurant, the team used earthy materials and colours.
      Preen added an inverted pyramid to the dining spaceIn the main room, seating areas are enclosed within half-walls made of rainbow limestone – a reference to “the desert moiré of sediment, horizon and time”, the designer said.
      Banquettes are wrapped in ultra suede in a reddish-orange hue. Chairs from Stellar Works are made of ash and oak.

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      Other elements include round tables with steel edges and mirrored tops, and globe-shaped pendants by John Barlow of Lightspeed.
      The globes have a finish that looks like a pockmarked moon, and are counter-weighted by long rods. “Another moment of time and suspension,” the designer said.
      Beyond the dining rooms, the restaurant has two waiting areas that are monochromatic. One is has an earthy red hue, while the other is a deep shade of green.
      The restaurant has two monochromatic waiting areasBoth spaces are fitted with leather chairs designed by Preen and built by the fabricator Jecco. Small, rounded tables are from Blu Dot.
      The bathroom features a vanity with a powder-coated countertop and sink basins made of glazed lava stone. Motion-activated faucets come down from the ceiling. Affixed to a wall are sconces from Rich Brilliant Willing.
      Outdoor terraces provide views of the surrounding landscapeThe eatery also has outdoor terraces where guests can take in the scenery. One setting features iroko wood furnishings and sculptural, built-in shelving that holds an array of candles.
      Other hospitality projects in Arizona include the Mountain Shadows resort, which features interiors by Mark Zeff that were inspired by desert mid-century modernism, and the Hotel Valley Ho, an iconic 1950s hotel that was brought up to date by architect Edward L Varney.
      The photography is by Brandon Barré.

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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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