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      Humbert & Poyet sets up Beefbar restaurant inside 16th-century Milanese chapel

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      Interior design duo Humbert & Poyet has delivered an opulent setting for the Milan outpost of high-end steakhouse Beefbar, taking over the former chapel of a 500-year-old seminary on Corso Venezia.

      The studio drew on the architecture of the historic building with its dramatic vaulted nave – recently restored as part of a seven-year renovation project led by architect Michele De Lucchi – while introducing elements of Milanese modernism.
      Beefbar Milano is set inside a converted chapel”We were inspired by the major figures of the Milanese style of the 1940s and 1960s and the timeless sophistication and modernism that their designs gave rise to,” said Humbert & Poyet.
      “We wanted guests to feel transported to a place that invokes the past, present and future, and experience the inimitable sensuality and relaxed nature of the Italian spirit.”
      Humbert & Poyet introduced dining chairs by Vico MagistrettiAs the restaurant is located in a historical site, Humbert & Poyet’s wanted to honour Milanese craftsmanship, using locally-produced materials including marble, terrazzo flooring and woodwork, all sourced from Milan and nearby Bergamo.

      “This also meant that we were able to reduce our carbon footprint by cutting down transportation distances, while also being able to showcase the beauty of the raw materials native to the region, as well as the intricate work of Italian artisans living in Milan,” the studio said.
      Dark red zellige tiles provide a subtle splash of colourPrimarily, the duo sought to balance the high vaulted ceilings of the former chapel with the comparatively small footprint of the space while finding a way to integrate the kitchen into the restaurant.
      “The decision to have the restaurant, bar and kitchen open onto one another was driven by our desire to create an environment where guests could truly savour moments of conviviality,” the studio said.
      “We also consciously aimed to preserve and showcase the inherent beauty of the original space, avoiding any partitioning that could potentially detract from its aesthetic while we decided to create a pavilion structure under the vault, which the kitchen could be placed beneath.”

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      Key to this fusing of the three main spaces is the terrazzo floor, which unites the restaurant, bar and kitchen.
      Its stylised wave pattern pays tribute to Italian architect Luigi Caccia Dominioni, who left “an indelible mark on post-war Italian design and Milanese modernism”, according to Humbert & Poyet.
      “His versatile approach to architecture and design allowed him to harmoniously blend historical and traditional elements with the modern urban environment,” the studio said. “This is precisely the essence we sought to capture in our design for the Beefbar Milan.”
      Benches are upholstered in opulent green velvetThe colours found within the terrazzo informed the palette of the whole space.
      Shades of green, black, white and burgundy repeat throughout the bar and restaurant, found across curving green couches, hand-made burgundy tiles and in the onyx marble that lines the meat display cases.
      “Our selection of colours is intricately tied to the terrazzo, which creates a cohesive and aesthetically pleasing environment that enhances the overall dining experience,” the studio said.
      Fluted walnut panelling nods to Milanese cafesJuxtaposing with the austere finish of the lofty vaulted ceiling, the lower section of the room is enveloped in fluted walnut panelling, which Humbert & Poyet chose as a nod to the “aesthetic codes of Milanese cafes”.
      Dark red zellige tiles add a touch of colour to the space while tactile velvet features on the green upholstered banquettes, providing a counterpoint to the hard surfaces.
      Positioned below Humbert & Poyet’s Asterios lights, tables topped with deep green Verdi Apli marble bring a sense of “refinement and sophistication” to the space, the studio said.
      The chapel’s dramatic vaulted nave remains a core feature of the space”The marble tables are a perfect complement to the sumptuous velvet seating benches, and the marble’s organic qualities create a sense of dynamism when paired with the Carimate dining chairs by the Italian designer Vico Magistretti,” said Humbert & Poyet.
      Beefbar Milano has been shortlisted in the restaurant and bar interior category of this year’s Dezeen Awards.
      Also in the running is a restaurant in a former mechanic’s workshop in Guadalajara and David Thulstrup’s interior for Ikoyi in London, which features copper walls and a curved metal-mesh ceiling.
      The photography is by Francis Amiand.

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      Restored historic paintings cover walls of converted Frescohallen restaurant

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      Swedish studio Claesson Koivisto Rune has converted a listed room in Norway into a restaurant, adding an angular mirrored bar and restoring the building’s historical frescoes.

      Designed to highlight the history of the building, Frescohallen restaurant was added to the former Norwegian Stock Exchange in Bergen, replacing a rundown food hall that previously occupied the space.
      Claesson Koivisto Rune has created the Frescohallen restaurantBuilt in 1862, the space features walls coated in large historic paintings that had become dirty and damaged.
      “The space hosted a dreadful and rundown kind of food court,” Claesson Koivisto Rune co-founder Eero Koivisto told Dezeen. “The frescoes were quite dirty and not looked after since decades.”
      It occupies a listed room in NorwayThe studio aimed to complete a sensitive renovation of the space, keeping the existing artworks at the centre of the room and restoring them to their original quality.

      “The ten giant frescoes describe the daily life and businesses of Norway at the time, and were completed in 1923 by the Norwegian artist Axel Revold,” said Koivisto. “The artworks are now restored and lit with state-of-the-art lighting.”
      The studio added a mirrored barAs well as showcasing the original artworks, the studio preserved the existing features of the room, including a rhythmic arrangement of olive green columns that extend through the space and branch into a groin-vaulted ceiling, which is decorated with red, green, and gold paintwork.
      The renovation involved a range of minimal changes, including the removal of modern elements that had been added to the facades and the addition of new signs and flooring.
      The building’s historical frescoes were restored”New interventions were required to touch lightly and be reversible,” the studio explained. “Apart from removing some later additions to the facades, the most significant addition was new lighting and signage.”
      Inside, the addition of a bar area marks the largest change to the space. Located at the centre of the room, the bar is finished with a mirrored coating designed to provide guests with wide views of the restaurant.
      A mezzanine-level dining area sits on top of the mirrored bar”Using mirrors allowed for the possibility to let all guests view the famous frescoes and the magnificent space,” said Koivisto.
      A mezzanine-level dining area features on top of the mirrored bar, acting as an elevated viewing area that offers a closer view of the surrounding artworks.
      Arched windows illuminate the dining areasAround the central bar, the studio divided the restaurant into a series of dining spaces separated by granite steps and changes in flooring.
      The spaces include dining areas dramatically lit by large, arched windows, as well as more private areas that have been recessed into nooks bordered on multiple sides by large paintings.
      A spotty carpet lines one dining areaStretching through one dining area is a large carpet, which is decorated with a pattern of large dots and was designed by Claesson Koivisto Rune to reflect the colours in the surrounding paintings.
      “The large dot pattern on the carpeting is inspired by coins – a nod to the building’s previous life,” the studio explained. “All the dots, in various blue hues, reference the frescoes. In fact, all colours introduced, including the furnishings, are referenced from the frescoes.”

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      The studio also designed a series of furniture for the space, including blue wooden chairs and ring-shaped, fabric-coated benches that wrap around the columns.
      To improve the acoustics in the restaurant, the studio added a strip of sound-absorbing panels at eye level. Nestled just below the paintings, the material is hidden by a continuous, dark-coloured curtain.
      Original olive green columns have been retained”In order to alter the original ‘cathedral-like’ character of the space and create an ambience suitable for a restaurant and bar, modern sound-absorbing material hidden behind a new, continuous curtain running along all the walls have been installed, with upholstered sofas directly beneath,” the studio explained.
      “Custom-designed, wall-to-wall carpeting also adds to the gentle ambience and improves the acoustics.”
      The mirrored bar was designed to provide guests with wide views of the restaurantFounded in 1995 by Koivisto with Mårten Claesson and Ola Rune, Claesson Koivisto Rune is an architecture and design studio based in Stockholm.
      Recent architectural projects completed by the studio include a Swedish home clad in red-painted planks of local pine and a boutique hotel that was converted from a 1920s bank building in Tokyo.
      The photography is by Sigurd Fandango.

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      Xokol restaurant by ODAmx and Rubén Valdez celebrates “collective ritual” of eating

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      Mexican architects ODAmx and Rubén Valdez have designed a restaurant with an ash-coloured interior inside a former mechanic’s workshop in Guadalajara.

      Now located in the Mexican city’s Santa Tere neighbourhood, Xokol began in 2017 within a small space that housed just four tables and room for 16 diners.
      Xokol occupies a former mechanic’s workshop that has been converted into a restaurantIn 2020, the restaurant relocated to this larger building, where the aim was to preserve as much of the intimacy and connection between the diners and chefs as possible.
      “Xokol is a restaurant in which the act of eating becomes a collective ritual,” said ODAmx and Rubén Valdez in a joint statement. “The architecture of the space acts a catalyst for the reinterpretation of Mexican culinary traditions and a communal dining experience in which the boundaries between diners, staff and food preparation are non-existent.”
      The interior is lined with dark grey stucco to create an intimate atmosphere, while corn cobs suspended above add the only colourThe restaurant’s interior has a minimalist, monastic quality thanks to the dark grey stucco covering the walls and ceiling, and the black clay comal ovens on full display in the open kitchen.

      “These muted tones foreground the naturally rich colour palettes of the dishes,” the architects said.
      The 15-metre-long dining table creates a communal setting for guests to share the experienceThe concrete workshop building’s exterior was left largely unchanged, aside from the layers of tall panels of steel added across the garage-door entrance to guide guests inside.
      A 15-metre-long oak table runs the length of the double-height interior, enabling 48 covers to be seated at once and share the experience.
      Traditional comal ovens made from black clay are on full display in the open kitchenSuspended above the table is an industrial pendant light that stretches its entice length, emitting a soft glow over the place settings.
      Over the centre of the dining area, a large skylight is covered by a metal grill from which hundreds of corn cobs hang – providing the only hint of colour in the otherwise monochrome restaurant, besides the dishes served.
      At the back, a grid of shelves hold glass jars for fermenting ingredientsThe kitchen runs alongside the table on the other side of the building, towards the back where a grid of shelves contains jars for fermenting ingredients.
      A staircase winds around a totemic stone sculpture by local artist José Dávila, up to a mezzanine level that overlooks the dining area.

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      All of the materials used for the project were sourced locally, and the dining table, pendant light and shelving were fabricated by Guadalajaran artisans.
      “Since its beginnings, Xokol has aimed to conserve and recover the Mazahua culinary traditions and share them with a broader public in a contemporary manner,” said the architects.
      The dark, minimalist interior has a monastic quality”The architectural project acts as an enabler for such goal where every design decision has been thought to achieve it,” they added.
      Xokol is shortlisted in the restaurant and bar interior category of Dezeen Awards 2023, along with a Toronto seafood restaurant by Omar Gandhi Architects, a vaulted brick brewery taproom in Poland by Projekt Praga and three more projects.
      A staircase up to a mezzanine level winds around a totemic sculpture by José DávilaGuadalajara, Mexico’s second-largest city, is a hotbed for architectural talent and has a thriving food scene.
      Other restaurants with impressive interiors in the city include Veneno, designed by Monteon Arquitectos Asociados to resemble an archeological site, and Hueso, which Cadena + Asociados lined with thousands of animal bones.
      The photography is by Rafael Palacios.
      Project credits:
      Architecture: ODAmx and Rubén ValdezCarpenter: Joselo MaderistaArtwork: José Dávila

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      Giampiero Tagliaferri lines Aspen coffee bar with green marble and faux fur

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      Milanese restaurant group Sant Ambroeus has opened a coffee bar in Aspen, Colorado, where Giampiero Tagliaferri Studio has filled the space with vintage Italian furniture.

      The Sant Ambroeus Coffee Bar Aspen draws references from the Alpine design found across the popular ski town, as well as the heritage of the brand, which was founded in Milan in 1939.
      A retro atmosphere in the coffee bar is created by faux fur, green marble and walnut wall panelsMilan-born, LA-based designer Giampiero Tagliaferri aimed to combine the two, creating a cosy and intimate space that nods to the glamour of midcentury Italian design.
      “As a Milanese myself, and a Sant Ambroeus regular, I felt an immediate connection to this project,” he said. “I hope the space will become a staple for Aspen locals and visitors; a refuge where one can go in the morning for an espresso and croissant, or stop by for a quick lunch or a delicious hot chocolate after a day on the slopes.”
      Designer Giampiero Tagliaferri drew references from Alpine interiors and midcentury Italian design for the interiorThe designer selected a variety of vintage pieces by famous Italian designers to populate the coffee bar.

      Le Bambole sofas by Mario Bellini are upholstered in dark green velvet, while 1950s curved plywood chairs by Carlo Ratti accompany the small cafe tables.

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      A series of 1970s wall sconces add to the nostalgic atmosphere in the space, which is exaggerated further by Mongolian lamb faux fur panels affixed to the walls between sections of mirror and walnut.
      Richly veined Verde Alpi marble also clads portions of the interior and forms the snaking bar countertop that’s fronted with grooved concrete.
      Vintage furniture pieces sourced for the space include green velvet Le Bambole sofas by Mario BelliniBuilt-in bench seating with yellow corduroy covers runs along one side of the cafe, following the dark flagstones that span the length of the narrow room.
      Additional seating is positioned in the window overlooking E Hyman Avenue, a block away from the Shigeru Ban-designed Aspen Art Museum.
      Additional seating is tucked below the window of the Sant Ambroeus location in AspenThe Aspen location joins several Sant Ambroeus outposts in New York City, including a spot in the expanded Sotheby’s auction house, as well as those in the Hamptons and Palm Beach.
      The photography is by Billal Baruk Taright.

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      Studio Tre models Bronx chocolate cafe on Puerto Rican general stores

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      This South Bronx cafe that serves a chocolate-focused menu is designed by Brooklyn-based Studio Tre to reflect the brand’s Caribbean roots.

      Bright colours, palm fronds, references to Spanish architecture and wallpaper made of advertisements feature in the second cafe location of the chocolate manufacturer Chocobar Cortés.
      Several design elements in the cafe nod to spaces in Viejo San Juan, including arched openings and chequerboard floorsChocobar Cortés is a fourth-generation family company that has been growing cacao and manufacturing chocolate since 1929, first in the Dominican Republic and then in Puerto Rico.
      In 2013, they opened their first cafe-restaurant in Viejo San Juan (Old San Juan) – Puerto Rico’s historic capital – where every dish or drink incorporates chocolate in some way.
      Studio Tre travelled to Puerto Rico at the project’s onset to learn about the Chocobar Cortés brandThe second location in The Bronx brings the concept to New York City and is modelled on the “colmadito” general stores found in Viejo San Juan as a nod to its origins.

      “The design embraces the warmth of the Caribbean and recognisable textures, colours and patterns of the Viejo San Juan neighbourhood of the first location,” said Studio Tre.
      The 1,600-square-foot (150-square-metre) space on Alexander Avenue features a variety of elements borrowed from the colmaditos, including chequerboard cement-tile flooring.
      Historic photos and a rotation of works by local artists are displayed on the wallsA trio of arches that form niches for the back bar and an opening to the bathrooms echo Spanish colonial architecture.
      These arches were painted in the brand’s signature yellow hue, matching the front of the cafe counter and together adding warmth and vibrancy to the space.
      Pale green-grey plaster was applied above wood wainscoting in the cafe”Retired chocolate bar moulds repurposed as design feature above the cafe counter,” said the Studio Tre team, who travelled to San Juan at the project’s onset to learn about the company and its values.
      Ogee wood panelling and bronze hardware on the bar were chosen as an homage to the large doors found across the old city.

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      On the cafe walls, pale green-grey plaster was applied above wood wainscoting, and a mix of historic photos and a rotation of works by local and Caribbean artists are displayed.
      The bathrooms are lined with a collage of brightly coloured cartoons and old advertisments, while radio jingles play over the speakers.
      Yellow counterfronts match the brand’s signature colour, while chocolate moulds are installed aboveThe cafe also hosts a series of events and cultural programming for the neighborhood’s queer community, creating a “spirit of acceptance and celebration”.
      “Imbuing this Caribbean spirit into the design, with also the vibrant and artistic spirit of the neighborhood in The Bronx, the interiors of the restaurant establish Chocobar Cortés as the joyful celebration of culture, chocolate, and community that it is,” said Studio Tre.
      The bathrooms are lined with a collage of old advertismentsChocolate shops and cafes are popular across the globe, and their interiors vary dramatically based on their context.
      Others around the world include one that occupies a century-old house in Kyoto and another in São Paulo where the production processes are put on show.
      The photography is by Grant Legan.

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      Projekt Praga creates bar with self-service beer fountain for 16th-century Tenczynek Brewery

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      Polish design studio Projekt Praga has overhauled the taproom of a centuries-old brewery outside Kraków to accommodate a new bar and restaurant, inserting bold contemporary elements into the historic brick-vaulted space.

      Tenczynek Brewery dates back to 1553, although parts of the building were destroyed during world war two and only reconstructed in 2014.
      The Taproom bar is set inside the 16th-century Tenczynek BreweryThe original taproom spans an area of 250 square metres, with a little under half of the space devoted to the bar and eatery. The remainder was allocated to the kitchen and the alembic, where spirits are distilled behind a glass partition.
      Projekt Praga opted for a minimal-intervention approach in order to respect the existing architecture and reduce the project’s environmental impact.
      Alembics for distilling spirits are on display behind a glass partitionThis included exposing the original brick walls from behind a layer of tiles, leaving them “raw” in a bid to minimise construction waste and emissions.

      The new elements were made from a palette of natural materials – including oak, ceramics, steel and glass – in collaboration with Polish artisans and craftspeople.
      Customers can pour their own drinks from a central fountain”In Tenczynek, we understood the importance of the local character of the brewery,” Projekt Praga co-founder Marcin Garbacki told Dezeen. “Here, the production of beer and vodka is carried out using traditional methods.”
      “The place has a unique atmosphere and energy that works well with individual craftsmanship,” he added. “The design elements are intricately tied to the brewery’s artisanal nature, seamlessly integrated into the existing space without attempting to transform it.”
      Glasses are displayed on red metal shelves nearbyThe principal focal point of The Taproom is a central self-service drinks fountain, set inside a column clad in handmade ceramic tiles by family-run workshop Ardea Arte.
      Their warm burgundy tone layers with the original brickwork and the rich reds used across shelving and table legs to create an intense and immersive atmosphere.

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      The dispenser allows visitors to pour themselves any desired amount of beer or vodka using 14 different taps.
      “Since this element defines the modus operandi of the venue – it’s a taproom – we decided to turn it into a centrally located mini-rotunda, the heart of the space,” Garbacki said.
      “It defines the logic of the space and facilitates accidental meetings of different users, serving as a social tool.”
      The bar’s solid oak furniture is by Artur CzajkaThe oak floor was designed to act much like a carpet to delineate space, stopping short of the walls at a distance of around ten centimetres in order to draw a clear distinction between old and new.
      At the same time, the flooring helps to ground several of the bar’s other oak elements, including the benches and tables by designer Artur Czajka.
      “Part of our intention was to make a bold gesture in the space, a single fundamental intervention that will encompass all the other changes made and serve as a canvas for them,” Garbacki said.
      Andrzej Bero and Piotr Linca handmade clay lamps for Tenczynek BreweryTo counter the narrow, elongated nature of the space, Projekt Praga made strategical use of mirrors and other reflective finishes both to illuminate and to extend the sense of space.
      “The reflecting mirrors placed in the arcades across from the windows add depth to the space and multiply the impressive brick arches,” the studio said.
      “Watched from a certain angle, they multiply natural light coming in through the windows, which is important as the natural light is quite restricted.”
      The building’s original vaulted bricks ceilings are left exposedHandmade clay lamps suspended low over the tables enhance the venue’s intimate atmosphere.
      Created in collaboration with ceramicists Andrzej Bero and Piotr Linca, they feature a colour palette that links to the original brick as well as to the new materials used on the project.
      By using a range of different shapes and sizes of lampshades, each table’s setup is subtly different.
      Red brick also features across the floors”The soft shapes of the smooth clay lamps are a bridge between the new interior decoration and the existing structure of the rough walls and arches,” Garbacki said.
      Tenczynek Brewery project has been shortlisted for this year’s Dezeen Award in the restaurant and bar interior category alongside a seafood eatery with a vaulted-wood interior and Ikoyi by David Thulstrup, which is decorated with copper walls and a curved metal-mesh ceiling.
      Projekt Praga, which was established by Marcin Garbacki and Karolina Tunajek in 2010,  previously converted another historic brewery in Poland into minimalist apartments.
      The photography is by ONI Studio.

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      Akram Fahmi gives Etch restaurant monochrome revamp to reflect two-ingredient dishes

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      Interior designer Akram Fahmi has revamped the Etch restaurant in Hove, East Sussex, creating black and white interiors to reflect its minimalist menu.

      Located in a space that was originally a bank, Etch was first renovated and opened as a restaurant in 2017.
      It has been reimagined by Fahmi, the founder of interiors studio London Design House, with an open kitchen and subterranean speakeasy bar.
      Two modern arches were added to complement the three period arches of the existing buildingFahmi chose the simple colour palette to echo the approach of the restaurant’s menu, where most of the dishes are comprised of just two ingredients.
      Wide-plank chalk-washed timber floors and white walls contrast black banquette seating and timber framing.

      “We identified, and tried to achieve, three key principles in the design; refinement, texture, and locality,” Fahmi told Dezeen.
      Black-framed windows stand in stark contrast to the white interior wallsRough quarry tiles, matte-finished stone and sinuous stretched-fabric lighting were chosen to reflect the textures of the nearby South Downs, the coastline and the urban landscape.
      “The balance in texture and tone is key to the guests’ journey through every space in the restaurant and bar,” Fahmi explained.
      The renovation involved merging two ground-floor units together and uniting a single space that is flooded by natural light from five arched windows.
      The lighting fixtures continue the monochrome themeThe studio kept three original Victorian arched windows on the corner and added two further full-height arches with modernised detailing to create a uniform facade.
      This was further united by painting the whole ground-floor facade charcoal grey.
      The subterranean speakeasy is decorated all in black with dramatic lighting”You want to feel as though the architecture and interiors that you journey through are as curated and elegant as the food in front of you,” Fahmi said.
      Internally, cast iron columns from the old bank were retained and suspended ceilings in the main spaces were stripped out to expose the original high ceilings.
      Stretched lampshades recall the nearby coastal landscapeFahmi worked with the local council to find solutions for extract routes and plans that would “retain and respect the fabric of the historic building as much as possible”.
      The studio used passive devices, such as tinting the glazing to reduce solar glare, to help control the internal temperature more efficiently.

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      New external planting troughs soften the austere facade and hard pavement. The studio chose plants, herbs and grasses that would be suitable for the local coastal environment.
      London Design House also worked with local craftspeople and suppliers on the project to reflect Etch’s ethos of sourcing its produce locally and seasonally.
      A speakeasy bar is underneath the restaurant”I wanted the restaurant to feel like an extension of the food and service we offer, which I would describe as British contemporary, but also minimalist  – mainly using two quality ingredients,” Etch’s chef and owner Steven Edwards told Dezeen.
      The monochrome palette “gives a slightly nordic minimalist feel that works completely with my food style,” he added.
      “I think the relationship between the food you eat and the setting you eat it in is really important. It’s not just about the food – although it’s hard for me to say that being a chef!”
      Other restaurant interiors recently featured on Dezeen include Studio Becky Carter’s “distinctly New York” interiors for Cecchi’s and Otherworlds’ transformation of a Goan villa into restaurant.
      The photography is by Justin de Souza and David Charbit.

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      Neon lighting illuminates Strip Joint Chicken by Amanda Hamilton

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      Canadian studio Amanda Hamilton Interior Design has used bold colour-blocking and neon lighting to give this Calgary chicken shop a “1990s meets Memphis” feel.

      Strip Joint Chicken in the city’s East Village neighbourhood is a fast-casual restaurant that serves “chicken fingers with a twist”.
      A dark entrance vestibule sets the tone for Strip Joint Chicken’s dining space beyondThe brand is fun, playful and cheeky, so the interiors of its 2,200-square-foot (204-square-metre) space needed to reflect this.
      Working with a return client, Amanda Hamilton Interior Design leant fully into the “offbeat” concept, creating an elevated interpretation of a seedy bar or nightclub that founder Amanda Hamilton described as “1990s meets Memphis”.
      A trio of colourful stripes is used to guide customers to the ordering area, and also spells out the brand’s name on the wall”At times subtle (and sometimes not so subtle) design elements take a nod (or a big ol’ bow) playing to the restaurant’s name,” said the designer. “In a market saturated with options for fast casual, standing out was key.”

      The main entrance vestibule is painted midnight blue and illuminated by vertical bands of neon lighting that connect wall-to-wall across the ceiling. This immersive passageway sets the tone for the main dining area, which is similarly lit with neon.
      Tangles of fluorescent-blue neon tubes are suspended above the service counterTangled fluorescent-blue tubes are positioned above the bar and service counter, while pink and yellow glow from LED strips within large colour-blocked arches that accommodate built-in seating for a row of dining tables.
      “Coloured lighting is used extensively to feature architectural details, enhance volumetric space, ground the bar and highlight seating areas,” Hamilton said.
      LED strips illuminate colour-blocked arched niches, which accommodate bench seatingPart of a larger retail space that was divided into four units, the chicken shop is accessible from both sides of the building.
      Therefore, close attention was paid to the flow of people through the space, and wayfinding tools were implemented to assist both dine-in and take-out customers.
      The arched niches provide space for dine-in guests to enjoy their chicken out the way of take-out customersA trio of thin, coloured stripes are inlaid across floors to guide hungry patrons to the ordering area.
      The same triple-line motif spells out the brand’s name in large letters across a wall, above a pink scallop-topped bench accompanied by small tables and terrazzo stools.

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      Custom-designed feathery wallpaper adorns the back of the central arch and inside the “tender neutral” bathrooms, which are tucked behind bright pink doors.
      For guests wishing to stay longer, a private dining area named the Hens Den is obscured from view by gauzy drapery.
      Custom feathery wallpaper adorns the bathroom interiorsThis monochromatic room features a brass pole in the centre of its dining table, around which a lazy susan for sharing food rotates.
      “As an extension of the space, the predominately custom furniture is equal parts playful and sculptural, creating a conversation-worthy addition to the space,” Hamilton said.
      Located behind bright pink doors, the bathrooms are designated as “tender neutral”The designer founded her eponymous studio in Calgary, where she’s based, and also operates a second location out of Vancouver.
      A trend for bright psychedelia in hospitality and entertainment spaces has been gaining pace recently, with other examples found in Seattle’s Supernova nightclub and the Resonant Head music venue in Oklahoma City.
      The photography is by Joel Klassen.

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