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      DooSooGoBang restaurant in South Korea references Buddhist practices

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      The ascetic lifestyle and diets of Korean Buddist monks influenced the interiors that Limtaehee Design Studio has created for DooSooGoBang restaurant in the city of Suwon, South Korea.DooSooGoBang, which is shortlisted in the restaurant interior category of this year’s Dezeen Awards, is located east of Suwon in the district of Yeongtong-gu and serves Korean temple food.
      The cuisine originated 1,700 years ago in Korea’s early Buddhist temples and sees organic, seasonal meals prepared without the use of onions, garlic, chives, leeks and spring onions.

      The main dining hall of DooSooGoBang restaurant
      Monks and nuns typically avoid these five ingredients as they’re said to disrupt harmonious spiritual practice, instead relying on elements such as mushroom powders and fermented soybean pastes for flavour.

      These practices came to be a key point of reference for Limtaehee Design Studio, which wanted the interiors of the restaurant to evoke the same “humbleness” as a Korean Buddhist temple and the dishes developed there.

      A platform at the back of the room is used for traditional Korean-style dining, where guests sit on floor cushions
      The restaurant has been divided into three areas – the first is a spacious hall-style room which will act as the main dining room, finished with black-tile flooring and walls washed with pale grey plaster.
      Cabinets around the room openly display ceramic ornaments.

      Various Associates designs Voisin Organique restaurant to resemble a gloomy valley

      Towards the rear of the room is a platform where diners can eat seated on floor cushions, in traditional Korean style. Additional bench seats and wooden dining tables have also been scattered throughout the room.

      Shutters look through to the second dining area
      Wooden shutters lead through to the restaurant’s second area, which is meant to have a more intimate ambience.
      “Contrary to a rather public image of the main hall, this area offers a feeling that you are away from the city and meditating in a temple in the mountains,” explained the studio.
      The focal point of the room is the timber-inlaid dining table, which has a stream of water trickling down from its side into a rough stone bowl that sits on the floor.

      The room is arranged around a communal table inlaid with timber
      Diners must take off their shoes before entering the third area of the restaurant, which has been entirely lined in white hanji – a type of Korean paper handmade from the inner bark of a mulberry tree.
      Limtaehee Design Studio likens this area to a sarangbang, a room in a traditional Korean home sometimes used for leisure activities or to entertain visitors.
      “We prepared this room imagining [head chef] Jung Kwan sharing conversation with guests, or relaxing herself,” the studio added.

      The restaurant’s third dining area is lined with hanji paper
      Limtaehee Design Studio is based in Seoul. Its DooSooGoBang project will compete in this year’s Dezeen Awards against projects such as Tori Tori by Esware Studio, an eatery in Mexico that takes design cues from the armour of a samurai warrior.
      Also in the running is Voisin Organique by Various Associates, a restaurant in China with shadowy rooms and soaring ceilings intended to make diners feel like they’re wandering through a mountain valley.
      Photography is by Youngchae Park.

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      Ritz & Ghougassian uses bricks and Australian wood inside Melbourne's Prior cafe

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      The rustic materiality of this Melbourne cafe designed by architecture studio Ritz & Ghougassian is meant to reflect the fuss-free dishes on the menu.Prior is situated along the lively high street of Melbourne’s Thornbury suburb, taking over a building that once served as an industrial printing house.

      Prior cafe occupies a building that was once a printing house
      When Ritz & Ghougassian were brought on board to develop the interiors of the cafe, it stripped back any decorative elements left behind from the old fit-out, only preserving the brick walls and eight-metre-high truss ceiling.

      “It was clear to us that we had to honour the original space by proposing an intervention that sat apart from the original framework of the building,” the studio’s co-founder, Jean-Paul Ghougassian, told Dezeen.

      Bricks cover the cafe’s floor and the base of the service bar
      The space now features just a handful of elements made from unfussy materials that reflect the simple “paddock-to-plate” ethos that Prior applies to its menu.
      Bricks run across the floor and form the base of the service bar that lies on one side of the room.

      Concrete and terrazzo furniture feature in Ritz&Ghougassian’s minimal cafe interior

      Apricot-hued concrete forms the upper half of the bar and the chunky ledge that runs around its outer side, providing a place for customers to rest beverages or snacks.
      The hot drinks menu is presented on a mirrored panel behind the bar. It stands beside a single shelf that displays a curated selection of wine or bags of coffee which are available to buy.

      Apricot-hued concrete forms the top of the service bar
      “Honest, elegant and refined flavours informed the built environment; by taking a reductive approach to the design both in materiality and form ultimately allowed the food to be the hero,” Ghougassian explained.
      “Rather than simply creating a slick new eatery, there’s a warmth and richness to the space, celebrating the unevenness and rough textures of the walls and floors.”

      Seating throughout the cafe is crafted from Australian Blackbutt wood
      Customers can alternatively dine at the black-steel counters that have been built into the cafe’s front windows or along the seating banquette that runs along the far side of the room, upholstered in chestnut-brown leather.
      The banquette faces onto a row of dining tables which, along with the cafe’s bench-style seats and stools, have been crafted from Australian Blackbutt wood.
      “Like much of our work, using materials that are locally sourced and manufactured is important to us – this brings about an authenticity and specificity to the design that isn’t easily replicated,” added Ghougassian.

      There’s also a brown-leather seating banquette
      At the centre of the floor plan is a box filled with timber logs and a wood burner that the studio hopes will serve as a comforting focal point of the cafe, especially during the chilly winter months.
      Surrounding walls and the ceiling were freshened up with a coat of white paint.

      A wood burner sits at the centre of the cafe
      Ritz & Ghougassian was founded in 2016 by Jean-Paul Ghougassian and Gilad Ritz. Prior isn’t the only cafe that the studio has designed in its home city of Melbourne – back in 2018 it completed Bentwood, which boasts brick-red interiors.
      In 2017, the studio also created Penta, a minimal cafe that features concrete, terrazzo and silver-metal surfaces.
      Photography is by Tom Ross.

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      Atelier XY covers cocktail bar in Shanghai with over 1,000 insects

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      Preserved tarantulas and beetles decorate the shadowy rooms inside this bar in Shanghai, China designed by local studio Atelier XY.Atelier XY designed the bar, which is called J Boroski, to reflect its owners’ interest in insects.
      It’s located in Shanghai French Concession – a region of the city that was occupied and governed by the French state from 1849 up until 1943. Over the last few decades the area has been redeveloped, and it’s now host to a number of eateries, boutiques and quaint music venues.

      Top image: beetles cover the surfaces of the bar. Above: a glass-brick wall runs down the back of the room
      To enter the bar, visitors walk through an assuming door and up through a dark stairwell.

      “It acts as a transition between the noisy exterior and the quiet interior. Once the reception is reached, the unique character of this place slowly reveals itself,” explained the studio.

      Behind the partition are dimly lit lounge areas
      The main bar area inside is dominated by a 12-metre-long counter where up to eight mixologists can stand and rustle up cocktail orders.
      Amber-hued lights illuminate drink bottles on display, fostering a sense of warmth.

      Office AIO’s Bar Lotus in Shanghai turns from daytime cafe into evening cocktail bar

      A gridded teak-wood framework covers the wall directly behind the counter and extends up to cover half the bar’s ceiling. Every square opening in the grid is centred by a beetle – in total there are 1,254.

      Dark leather furniture features throughout the bar
      Along the rear of the bar is a glass brick wall, through the centre of which runs a series of see-through blocks that contain 42 preserved Thai Black tarantulas.
      It has also been inbuilt with a couple of black-iron drawers – when pulled out, further taxidermy insect specimens are revealed. These can also double-up as small ledges where standing visitors in the bar can rest their drinks.

      Preserved spiders are set inside the glass-brick wall
      The wall separates the bar from a couple of dim lounge areas dressed with comfy armchairs upholstered in dark, umber-coloured leather.
      A small amount of light is offered by a handful of tealight candles in glass tumblers.

      The bar includes a lab-style space where guests can watch cocktails being made
      There is also what the studio describes as a “chamber room”, which lies behind a heavy glass-brick door. Inside there’s a laboratory-style space where visitors will be invited to watch mixologists experiment with making drinks, using extravagant tools like centrifuges or rotary distillation machines.
      The dark colour palette of the bar seeps through into the bathroom, which is completely clad in glazed, oxblood-coloured tiles. It’s centred by a lengthy wooden sink.

      Oxblood-coloured tiles cover the bar’s bathroom
      Atelier XY is based in Shanghai and was established in 2018 by Qi Xiaofeng and Wang Yuyang.
      Its J. Boroski project is shortlisted in the bar interior category of this year’s Dezeen Awards. It will go up against spaces such as The Berkeley Bar & Terrace by Bryan O’Sullivan Studio, which features ornate plasterwork friezes, walnut wall panelling and a blush-pink snug where guests can retire with their drinks.
      Photography is courtesy of Schran Images and Hu Yanyun.
      Project credits:
      Design: Atelier XYTeam: Qi Xiaofeng, Wang Yuyang, Chen XiProduct design: Notion Common, Atelier XYLighting: Zenko lighting design

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      Outdoor dining on New York City streets becomes permanent

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      New York City mayor Bill de Blasio has made the Open Restaurants Program, which allows restaurants in the city to extend seating onto streets, sidewalks and public spaces, permanent following the coronavirus pandemic.First temporarily initiated in June to allow restaurants to continue doing business while adhering to social distancing restrictions, the programme will now be a year-round fixture, De Blasio announced on 25 September.
      The Open Restaurants Program, which has seen outdoor dining spaces pop up across the city, will boost the capacity of restaurants as they open indoor dining at 50 per cent capacity as New York gradually reopens after the coronavirus lockdown.
      Restaurants allowed to heat outdoor spaces and build tents
      Under the scheme, eateries are allowed to extend seating onto sidewalks and roadways, or onto adjacent outdoor spaces with their neighbours’ consent. Establishments must follow a list of requirements for an Open Restaurant design, which include a clear path on the pavement, a maximum distance from the curb and a required height of enclosing barriers.
      De Blasio’s extension will also introduce guidelines for restaurants to heat outdoor areas during the colder winter months, which will be released by the end of September.

      David Rockwell unveils kit to build restaurants on streets following pandemic

      These regulations will allow the installation of electrical heaters on both sidewalks and roadways, and propane and natural gas heaters only on pavements. Propane will require a permit from New York City Fire Department.
      Restaurants will also be able to build tents, ranging from partial to full enclosures, in order to keep diners warm.
      Outdoor seating enables safe dining amid pandemic
      Food establishments will have to apply online for permission to become an Open Restaurant. Three or more restaurants on a street that is closed to traffic can also apply together to expand outdoors in another option known as Open Streets: Restaurants.
      Following the city lockdown, more than 10,300 restaurants citywide reopened with activities outdoors over summer, according to the New York Times, allowing them to stay afloat amid the coronavirus pandemic.
      A number of architects and designers also came up with creative ways for restaurants to allow safe dining post-Covid-19. In May, ahead of New York’s outdoor dining programme, designer David Rockwell created a kit of parts to turn the city’s streets into outdoor restaurants with socially distanced dining.
      His firm, Rockwell Group, later built a pro-bono DineOut NYC project (pictured top) comprising 120 seats for restaurants on Mott Street in Chinatown.
      Arts centre Mediamatic also developed a socially distanced dining experience in Amsterdam where guests sit in their own greenhouse and hosts wear face shields.
      Photograph of DineOut NYC is by Emily Andrews for Rockwell Group.

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      Blue Bottle Coffee cafe in Yokohama spotlights natural materials

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      Oak chairs sit amongst paper yarn-wrapped columns within this Blue Bottle Coffee cafe in Yokohama, Japan created by Keiji Ashizawa Design and Norm Architects.The Blue Bottle Coffee cafe occupies a glass-front building in Yokohama’s bustling business district, Minatomirai, and looks out across a leafy public park.
      This setting became a key point of reference for Tokyo-based studio Keiji Ashizawa Design, which has exclusively decked out the interiors of the cafe with natural materials.

      Top image: Paper yarn wraps around the cafe’s columns. Above: A curved bar is at the centre of the floor plan
      “We have aimed to create an atmosphere which welcomes the local community by mainly using wood, inspired by the park located by the Blue Bottle Coffee Minatomirai,” said the studio’s eponymous founder, Keiji Ashizawa.

      “The building acts as the main character of the park and provides a feeling of kindness with the natural materials in the industrial-looking landscape.”

      A local park inspired the natural material palette of the cafe
      The open floor plan of the cafe is dominated by a huge half-moon service bar, behind which staff prepare drink orders. Its base is clad with slats of light-hued timber, while its countertop is made from flecked grey stone.
      Pale timber has additionally been used for the cafe’s flooring and its circular tables. Timber also forms smaller decorative elements like the menu board and a couple of oversized, ring-shaped lights that have been suspended from the ceiling.

      Norm Architects designed the seating throughout the cafe
      A series of white, spherical pendant lamps that hang above the cafe’s high counter provide extra light as evening falls.

      Keiji Ashizawa Design and Norm Architects pare back Tokyo apartments

      In keeping with the natural material palette, braided paper yarn has been wound around the lower half of the grey support columns that run along the periphery of the room.

      Some of the chairs are upholstered in creamy leather
      Keiji Ashizawa Design asked long-term collaborators, Copenhagen-based practice Norm Architects, to devise a range of seating for the project.
      The practice designed three chair models made from Japanese oak wood: a traditional cafe-style chair, a tall bar stool and a slightly more formal dining chair that’s partially upholstered in creamy leather – its low, curving backrest is meant to draw subtle reference to the cafe’s architecture.

      The frames of the chairs are made from Japanese oak
      All of the pieces were produced by Karimoku Case Study, the sister brand of Japanese manufacturer Karimoku which collaborates with architects across the world to design furnishings.
      Norm Architects and Keiji Ashizawa Design had first worked with Karimoku Case Study back in 2019 on the launch of its inaugural Kinuta collection.

      The facade of the cafe is made from glass
      “For us, there couldn’t be a better partner to team up with than Karimoku,” explained Frederik Werner, partner at Norm Architects.
      “They uphold a unique quality and approach to the manufacturing of wooden furniture, maintaining a focus on the craftsmanship combined with the latest robotics, making sure that their philosophy of ‘high-tech, high-touch’ is truly embedded in each furniture piece leaving the factory.”

      Customers can spill out onto an outdoor seating area
      This is one of several Blue Bottle Coffee cafes in Japan, with others located in Tokyo, Kyoto and Kobe.
      The coffee brand was founded by James Freeman in 2002, starting out as a small roastery in Oakland, California before growing into a network of cafes across the US and Asia.
      Last year saw Blue Bottle Coffee open its first branch in South Korea, which was designed by Schemata Architects. The cafe is situated in the artsy neighbourhood of Seongsu and features sparse interiors dotted with timber furniture and red-brick display plinths.
      Photography is by Tomooki Kengaku.
      Project credits:
      Design: Keiji Ashizawa & Norm ArchitectsConstruction: #TankFurniture: Karimoku Case Study

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      Four Pillars Laboratory in Sydney is a “sanctuary” for gin enthusiasts

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      Juniper berry-blue furniture sits against blackened walls inside this cosy bar, laboratory and store that design studio YSG has created in Sydney for gin brand Four Pillars. Four Pillars Laboratory occupies a two-storey corner building in Sydney’s buzzing Surry Hills neighbourhood. It was originally built in 1939 as premises for a tea company, but has
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      Maison François brasserie in London takes cues from Ricardo Bofill's architecture

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      Soaring arches reminiscent of those seen in Ricardo Bofill’s La Fabrica feature in this decadent restaurant in St James, London designed by creative director John Whelan.Whelan – who leads artist collective The Guild of Saint Luke – told Dezeen that, prior to his intervention, Maison François simply looked like “one giant concrete cube”.
      The materiality of the space immediately encouraged Whelan to base his interiors scheme around La Fabrica – an abandoned cement factory just outside of Barcelona that Spanish architect Ricardo Bofill transformed into offices for his practice in 1973.

      The interiors of the restaurant are inspired by Ricardo Bofill’s La Fabrica
      “I always try and find a creative route that respects the DNA of the building, and this felt appropriate,” said Whelan.

      “Furthermore, the client wanted to reference historic brasseries but create a contemporary version – also reflected in the food.”

      Arched recesses have been made in the restaurant’s terracotta walls
      The exterior of Bofill’s La Fabrica is notably punctuated with soaring arched windows. These have been reinterpreted inside Maison François, which boasts terracotta-coloured stucco walls inset with shallow arch-shaped recesses.
      “La Fabrica is probably the greatest home that I will probably never visit, and so the arches were a sort of ‘homage’ to that wonderful creation,” explained Whelan.

      Tubular chandeliers hang from the restaurant’s ceiling
      Walnut has been used to craft the restaurant’s seating banquettes – their latticed backs are inspired by the pews in Germany’s modernist Maria Heimsuchung church, which Whelan came across in a photography series by Robert Goetzfried.
      Chairs have been upholstered in creamy linen to match the colour of the lacquered-wood dining tables. Tubular chandeliers have also been suspended from the ceiling, which has been finished with a faux-cement patina.

      The seating banquettes are crafted from walnut wood
      Mahogany has been used to craft a latticed hood above the open kitchen, where dishes that draw upon traditional French cuisine will be prepared.
      Food will be served by both chefs and waiters, an attempt by the restaurant to diffuse the typical boundaries between front and back-of-house operations.
      “Maison François will be everything a brasserie should be – welcoming, fun and hospitable, with classic dishes made with the best seasonal produce we can get our hands on – whilst also ripping up the rulebook when it comes to service,” said the restaurant’s founder, François O’Neill.

      A huge clock sits above the restaurant’s open kitchen
      At the centre of the hood is a huge clock that Whelan had made bespoke from patinated nickel and bronze.
      Weighing half a ton, the grills on the side of the clock are meant to subtly mirror those that feature on the front of vintage Rolls Royce cars, often seen outside the restaurant on the affluent streets of St James.

      John Whelan adorns Paris’ Nolinski restaurant with art-deco details

      “The clock is a classic of historic brasserie design, and can be found around the world from Bouillon Julien in Paris to Fischer’s in London,” added Whelan.
      “We wanted to have this iconic focal point but with our own style.”

      Underneath the restaurant is a wine bar called Frank’s
      Stairs lead down to Maison François’ adjoining wine bar, called Frank’s. This space is intended to have a slightly more industrial feel, so has been completed with exposed white-brick walls, polished concrete flooring and black-leather seating.
      Bofill’s La Fabrica is referenced again at this level but this time in the form of arched mirror wall panels.

      White-brick walls give the wine bar a more industrial look
      John Whelan established The Guild of Saint Luke in 2017, working with artists, artisans and architects to restore and revive historic French brasseries.
      Earlier this year Whelan overhauled Parisian eatery Nolinski, filling its interiors with art deco-inspired details like gold-leaf “sunburst” columns.
      Photography is by Oskar Proctor.

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      O shop in Chengdu is a lifestyle store by day and a bar by night

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      A series of mirrored panels obscure the cocktail bar that lies inside this shop-cum-cafe in Chengdu, China created by design studio Office AIO.The shop, which is unusually called O, was named by its owner and the co-founder of Office AIO, Tim Kwan.

      Taking the first letter from the word “object”, Kwan and the shop owner felt that O was the “perfect shape representing eternity – it has no beginning nor end, no direction nor a right way round”.

      The looping shape of the letter O also nods to the shifting function of the 68-square-metre shop: by day it’s a cafe that sells and showcases a curated selection of lifestyle items and designer furnishings, while at night it turns into a bar.

      Down one side of the shop runs a lengthy sandstone counter where the cafe’s coffee machine is kept. Just in front is a long wooden table where the barista can prepare drink orders.
      The base of the counter has been in-built with a fireplace, which can be switched on as night falls to evoke a cosier mood within the store.

      On the other side of the store is a silver-metal shelf where products are displayed and a row of fold-down seats upholstered in tan leather.

      Chengdu cafe features interiors inspired by Wes Anderson’s The Grand Budapest Hotel

      The rear of the store appears to be lined with mirrored panels, but these can be drawn back to reveal the night-time drinks bar. Liquor bottles line the inner side of the panels.

      Surfaces throughout the rest of shop O have otherwise been kept simple. A patchy band of exposed concrete runs around the lower half of the walls, but off-white paint has been applied to the upper half.
      Interest is added by a handful of potted plants and a sequence of arched screens that have been suspended just beneath the ceiling.

      The last screen has been fitted with an LED strip light that can be adjusted to imbue the space with different colours.
      “[The screens] bring a sense of character to the store without occupying any footprint,” explained the studio.
      “We hope that this space will encourage quality ideas, objects, and people to interact and exchange, and ultimately reach a wholesome experience that is objectively desirable,” it concluded.

      O by Office AIO is longlisted in the small retail interior category of this year’s Dezeen Awards.
      It isn’t the first day-to-night venue that the studio has created – two years ago it completed Bar Lotus in Shanghai, which boasts emerald-coloured walls and rippling rose-gold ceilings. The project won the restaurant and bar interior category of the 2019 Dezeen Awards, when judges commended its mix of contemporary and traditional references.
      Photography is courtesy of WEN Studio.
      Project credits:
      Designed by: Tim Kwan/Office AIOConstruction: Sichuan ChuFeng Architectural Decoration

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