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    Sullivan’s Fish Camp designed so “guests can’t be sure if it’s 1982 or 2024”

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    South Carolina-based studios SDCO and Basic Projects have overhauled a seaside restaurant in Charleston with a nostalgic design that extends across everything from interiors to memorabilia.

    Contemporary details feature throughout the redesigned Sullivan’s Fish Camp, but are interwoven with retro elements to create an aesthetic that respects the restaurant’s long history.
    Sullivan’s Fish Camp is a family-owned diner that first opened in 1988Located on Sullivan’s Island, at the entrance to Charleston Harbor, the family-owned diner has been serving cold beers and seafood to locals and beachgoers for over 35 years.
    Amy Pastre and Courtney Rowson of brand strategy studio SDCO worked closely with Kate and Ben Towill of interiors studio Basic Projects to bring a cohesive visual identity throughout.
    Large hand-painted letters boldly spell out the restaurant’s nameBold typography, cartoon-style illustrations, vintage art and furniture, and playful messaging all feature in the reimagined restaurant experience.

    “The design intent was to create a world that conjures the delight and affection that generations of beachgoers had for the original, family-owned restaurant,” said Pastre and Rowson.
    “Some details feel modern, some nostalgic. Experienced together, guests can’t be sure if it’s 1982 or 2024.”
    The graphic design identity includes drawings of the building’s exteriorOn the outside, Sullivan’s Fish Camp is spelt out in large hand-painted letters across a projecting red roof canopy, identifying the restaurant as a local landmark.
    Other graphic-design identifiers include drawings of the building’s exterior and two hand-drawn characters: a “cheery flounder” and Captain Sully, a “salty sea captain-meets-fish”.
    Both vintage and contemporary artworks cover the wallsThe restaurant’s interior walls are covered in artworks that continue the seaside and maritime themes, from a stitched portrait of a fisherman to a lobster painting by local artist Katherine Dunlap.
    Commissioned works include fish illustrations by “Carolina legend” Duane Raver, whose work also features on the placemats, and a large sculpture of a marlin fish.

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    “It was important to preserve what felt inherently right for the story and space,” said Pastre and Rowson.
    “We wanted to pay homage to seaside fish camps while bringing modernity to the brand and experience,” they said. “No corner was left untouched.”
    Artworks include a stitched portrait of a fishermanThe designers commissioned a local joiner to build furniture elements, including tables, seating banquettes, and a counter that frames the merchandise display and walk-up ice cream window.
    Basic Projects sourced many of the other furniture and lighting elements from antique markets, as well as from Ebay and Etsy. A stained glass pendant lamp is one of the most striking finds.
    “My background is in film set design, so I loved every bit of the sourcing,” said Kate Towill.
    A counter frames the merchandise display and a walk-up ice cream windowDurability was an important consideration; heavy rain and high tides can cause the restaurant to flood, while beachgoers bring plenty of sand in on their feet.
    “We welcome sandy and salty beachgoers,” said Towill.
    “The floors are VCT (vinyl composition tiles) and all the wood is pressure-treated and sealed with marine-grade sealer.”
    Illustrations by “Carolina legend” Duane Raver feature on the placematsSDCO designed an extensive range of merchandise, including key chains, hats, tote bags, sweatshirts, T-shirts, bottle openers and bumper stickers.
    Custom design also extends to the tableware.
    Cups are emblazoned with the Sullivan’s Fish Camp branding, while plates feature scalloped seashell illustrations that reference the border of the original 1988 menu.
    T-shirts feature Captain Sully, a “salty sea captain-meets-fish””The result is a feel-good space that quite literally takes you on a journey through food, drink, design, nostalgia and souvenirs that create indelible memories,” added Pastre and Rowson.
    Sullivan’s Fish Camp is the latest in a series of notable design projects in Charleston, a town that has seen an influx of creatives over the past decade.
    Others include boutique hotel Post House, also designed by Basic Projects, and the newly opened International African American Museum, designed by Pei Cobb Freed & Partners and Moody Nolan.

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      Rudy Guénaire draws on American modernism for Matsuri restaurant interior

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      French designer Rudy Guénaire has created the interiors of Japanese restaurant Matsuri in Paris, combining wooden furniture covered in lacquer with pastel-coloured domes informed by Frank Lloyd Wright.

      Located in Paris’ 16th arrondissement, the 200-square-metre restaurant was given a full redesign by Guénaire.
      As the menu focuses on “Japanese sushi from a Californian angle”, Guénaire drew on Japonisme – the Western fascination with Japanese design – for its interior.
      Matsuri is located in Paris’ 16th arrondissement”I drew on everything that has marked me from these two countries that I adore,” Guénaire, who runs Nightflight Studio, told Dezeen.
      “From Japan, I took this idea that fascinates me, which is that the Japanese frame everything,” he added.

      “As if everything had to be an island, firmly delimited by something that protects it and makes it unique.”
      Rudy Guénaire referenced American modernist design for the interiorThe American influence comes across in the shapes used to decorate the interior, which features colourful ceiling domes that are lit from the inside.
      “From California, I took these incredible obliques that make me melt,” Guénaire said. “The kind you find in Frank Lloyd Wright or John Lautner’s work.”
      “A slant that recalls the Native American tent, the primordial shelter,” he added.
      “American modernists loved Japan and sometimes, they’d never even been there. It’s this Japonism that I wanted to prolong.”
      The restaurant features Japanese postersAt the centre of Matsuri is the kaiten – conveyor belt – on which the sushi comes out. The designer used wood throughout the restaurant and covered it in lacquer for this centrepiece.
      “The kaiten is covered in high-gloss lacquer, reminiscent of the beautiful lacquer worshipped by the Chinese and then the Japanese,” he said.
      “I used wood throughout because in Japan, everything is made of wood, that’s just the way it is and has to be!”
      The central kaiten was covered in glossy lacquerPastel-hued domes decorate the ceiling above the kaiten, creating soft lighting and adding a touch of colour to the mainly white and wood interior.
      “For the ceiling, I think I got the idea from the amazing ceiling of Frank Lloyd Wright’s Penfield House,” Guénaire said.
      “I used industrial skydomes that I turned upside down and lit from the inside.”

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      The colour was toned down to create the right atmosphere for the restaurant.
      “We set up a sophisticated lighting system with very subtle colour control,” Guénaire added.
      “I chose cheerful, very American colour bases, and then, we subtly desaturated them to approach the Japanese aesthetic where nothing is ever garish.”
      Guénaire added pastel-coloured domes to the ceilingGuénaire also designed chairs for Matsuri that draw on those found in traditional Izakayas – Japanese pubs – though he says the original ones don’t correspond to his memories of them.
      “While searching for photos of Izakaya, I never found this chair shape,” the designer said.
      “Yet, as I recall, it’s exactly this chair that I’ve seen everywhere. All small and cute,” he added.
      “Maybe that’s what Japonism is all about. You invent a lot when you think you’re bringing back memories.”
      The designer created chairs that reference Izakaya furnitureThe interior of Matsuri, which is part of a restaurant chain founded in 1986 by a French-Japanese couple, is also decorated with old posters brought back from Japan.
      “We always have friends coming back from Japan. We asked them for a little help!” Guénaire said.
      Other Japanese restaurants on Dezeen include a sushi restaurant and sake bar with oxblood tiles and the Aragawa steakhouse selling “UK’s most expensive steak”.
      The photography is by Ludovic Balay.

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      Quincoces-Dragò & Partners creates “relaxed, seductive ambience” for Mayfair restaurant

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      Architecture studio Quincoces-Dragò & Partners has unveiled The Dover restaurant in Mayfair, London, which was informed by art deco design.

      The first solo venture from Martin Kuczmarski, formerly group COO at Soho House, the restaurant was designed to be “unpretentiously elegant” and have a “relaxed, seductive ambience”.
      The long, narrow restaurant was made up of a series of dimly-lit spaces that were designed to be gradually unveiled.
      The interiors feature extensive panelling in American walnutEntering from the street, the fully glazed reception area is separated from the restaurant with a dramatic velvet curtain in deep burgundy.
      On parting the curtain, a long central corridor leads – across a black and white marble chequered floor – past a bar on one side, and open-plan and banquette seating on the other.

      The chequered runway continues between the bathrooms and private dining booths, before ascending a few steps into an intimate wood-panelled dining room “reminiscent of a bygone era of fine dining”.
      Curved dining booths feature Murano glass chandeliers”The space itself is challenging – long and narrow with a major corridor connecting the main areas, which is where we ended up creating the most intimate booths of the whole restaurant,” David Lopez Quincoces and Fanny Bauer Grung of Quinconces-Dragò & Partners told Dezeen.
      The three private dining booths, in curved dark wood panelling, each feature a Murano glass chandelier by Venini.
      Curved wood panelling is used in the dining roomKuczmarski described the spaces of The Dover as “a buzzy bar, intimate dining booths, and then the main dining room”.
      “The shape of the space has become part of the customer journey,” he added.
      Kuczmarski worked closely with Milan-based Quincoces-Dragò & Partners on the design, aiming for a “contemporary art deco vibe” achieved through dim lights, curved American walnut panelling, contrasting textures and the chequered floor.
      Lighting fixtures are a mix of modern and art decoWood panelling is the main element in the restaurant, which the designers said “creates intimacy whilst nodding to tradition”.
      The curved panelling for the dining booths is echoed in curved corners and ceilings of the main dining room, which is a fully panelled space.

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      Velvet upholstery was chosen, in part, to manage the acoustics – a “fundamental aspect when designing the space”, Quincoces and Grung explained.
      The black and white chequerboard floor was made from nero marquinia and calacatta marble, which are both characterised by a veined appearance, softening the solid colour.
      Brass accents feature throughoutBrass lamp stands, with shades reminiscent of wood veneer, line the bar.
      The design of the interiors is “simple and straightforward when looking at it plainly, but rich with many details as you discover it piece by piece” said the designers.
      “The secret to good design is detail, detail, and more detail – and above all proportions!”
      Three private dining booths make up one area of the spaceRelief from the comprehensive wood-panelling comes in the form of red lacquered display cabinets.
      Wall lights with art deco glass sconces and a curved corrugated perspex panel in the dining room further break up the wood panelling.
      A curved corrugated perspex panel breaks up the wood panellingThe panel traverses from wall into ceiling in the dining room and functions as a “non-window” to prevent the space from feeling confined in wood panelling.
      With Kuczmarski, Quincoces-Dragò & Partners worked to create “an atmosphere that is welcoming – one that, as Martin says, ‘makes you feel good at first glance'”.
      The central corridor leads past the bar through to private booths and dining room beyond”The spirit of art deco – which is serious but playful, lush while elegant – inspired us tremendously when Martin spoke to us of his idea for The Dover,” Quincoces and Grung explained.
      Other Mayfair restaurants recently featured on Dezeen include Tutto Bene’s “sombre elegance” for the interiors of Nightingale and Japanese steakhouse Aragawa’s London outpost, featuring Rosendale Design’s paper pendant lights.
      Photography is by Matt Russell, courtesy of The Dover

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      Neuhäusl Hunal coverts interwar cinema into “morning to night” dining venue

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      A neutral colour palette unites the restaurant, bar and shop within a former interwar cinema and 19th century stables in Prague, which has been converted by local studio Neuhäusl Hunal.

      Named Alma, after the cinema that used to occupy the site, the 800-square-metre space was renovated by Neuhäusl Hunal.
      Understated lighting accentuates the original features of the cafe spaceThe ground floor was converted into a restaurant alongside a cafe, wine bar, wine shop and garden area, while the basement level contains a bar – which doubles as a nightclub – a function hall, a fermentation room and a room dedicated to wine tasting.
      A colour palette dominated by sober, earthy tones was used to instil a laid-back yet refined atmosphere, which is the hallmark of all of operator Kro’s locations. As well as uniting various functions and purposes, the design scheme ties various architectural styles together, as the site contains a myriad of structures from a range of time periods.
      A wine shop is found on the ground floor”The Alma project is housed in three buildings – the many-times-rebuilt classicistic house and the former stables in the courtyard date back to the 19th century,” Neuhäusl Hunal told Dezeen.

      “The Alma cinema – which houses the restaurant today – was completed in 1924.”
      “There was no significant interior work to react to – except, of course, for the original historic structures and vaults, which we wanted to let shine,” the studio continued.
      The restaurant has both wooden and metallic furnishingsRepeated elements found throughout the interiors include unobtrusive lighting fixtures, which serve to provide task and ambient lighting as well as to highlight the space’s original features, and tiled walls, which gradually darken from a light beige in the cafe to a dark tone in the subterranean bar.
      In contrast with the overall muted interiors, graphic designer Jan Horčík created a bold wayfinding system characterised by chunky uppercase lettering displayed on illuminated light boxes.

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      “The sober interior is complemented by funky lightboxes, which illuminate it with their novel colours, formulations and graphic design,” said the studio.
      “Alma works from morning to night: the day starts in the cafe, lunch and dinner can be sorted out in the restaurant, and then move on to the wine bar for a drink – this naturally corresponds to their designed character, colour, and atmosphere,” it continued.
      “Logically, we treat brand-new constructions and historic ones differently – an interesting problem arises in the transitions between these spaces.”
      The bar has an intimate atmosphere thanks to its vaulted ceilingNeuhäusl Hunal has completed a number of projects in the Prague, including an apartment for a sculptor that doubles as a workshop.
      Other recent adaptive reuse projects published on Dezeen include a guesthouse in Transylvania that used to be a church and a city hall inside a former maritime structure in the Netherlands.
      The photography is by Radek Úlehla.
      Project credits:
      Client: Alma PragueBuilding contractor: AversProject documentation: LZ atelierGraphic design: Jan HorčíkArt blacksmith: Peter Demek (DEMO Works)Lighting supplier: BulbCeramic tiling supplier: KeraservisGastro: Kitchen PlanPlants: Pokojovky

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      Omar Aqeel brings “sensory fantasy” to NYC bar Only Love Strangers

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      Cobalt blue surfaces line this bar and restaurant in Manhattan’s Lower East Side, designed by Brooklyn-based Studio Omar Aqeel as a “retro-futuristic oasis”.

      On the corner of East Houston and Allen streets, Only Love Strangers is a two-level cocktail lounge, restaurant and live-music venue that draws influences from 1960s and 70s surrealism.
      Guests arriving at Only Love Strangers are greeted at a cantilevered host stand within a limewashed spaceStudio Omar Aqeel blended references ranging from Stanley Kubrick’s 2001: A Space Odyssey movie and Eileen Gray’s E-1027 villa to the sculptures of Alexander Calder for the interiors.
      “A site of sensory fantasy – especially for discerning creatives – Only Love Strangers boasts a unique aesthetic that encourages endless discovery,” said the team.
      An arched opening leads into a bar area lined floor to ceiling with cobalt blue tilesGuests who enter the 6,300-square-foot (585-square-metre) space are greeted at a cantilevered, brushed-aluminium host stand.

      Straight ahead, through an arched opening, is a bar area enveloped in floor-to-ceiling cobalt blue tiles with blue grouting.
      Banquettes are upholstered in Verner Panton’s 1969 Black and White Optik textileA brushed-aluminium bar counter has rounded ends echoed by a light fixture above, and industrial-style bar stools provide seating for seven.
      Banquettes are upholstered in Verner Panton’s 1969 Black and White Optik textile, adding space for eight more guests.
      Cobalt blue continues as an accent on seat cushions in the main dining spaceIn the main dining space, left of the entrance, the walls are covered in earthy limewash that contrasts the bright blue cushions of built-in seats.
      “Here, a voyeuristic egress allows guests to peek into the subterranean lounge, while domed dining niches with blue crescent-shaped booths provide a more intimate dining atmosphere,” the team said.
      The private dining space is decorated with a mural inspired by the Bauhaus abstract gridThe private dining space for up to 10 guests is decorated with a wall-to-wall, hand-painted mural inspired by the Bauhaus abstract grid.
      With its own entrance, this space includes Ant chairs by Arne Jacobsen for Fritz Hansen, a vintage Makio Hasuike for Seccose metro dining table, and Maru pendant lighting by Ingo Maurer.

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      Cobalt blue reappears across the basement-level lounge, where almost every surface is dressed in the bold hue.
      Aluminium accents continue in this space too, along with a variety of playful lights that add a warm glow to the cool-toned space.
      The basement-level cocktail lounge is also lined almost entirely in cobalt bluePieces by New York-based artists and designers can be found throughout Only Love Strangers, including Max Simon, Blue Green Works, Yuyu Shiratori, Nico Anon, Superabundance, Gregory Beson, Adriana Gallo, Ash Allen, and Lucas Willing Studios.
      The lounge also offers a live music program of local jazz talent in the evenings.
      The lounge features aluminium furniture and hosts live music performancesThe lively Lower East Side neighbourhood is packed with bars and restaurants, such as Italian spot Una Pizza Napoletana with “deco meets industrial” interiors.
      Boutiques that have recently opened in the area include the Le Père menswear store by BoND and the Awake NY streetwear shop by Rafael de Cárdenas.
      The photography is by Ori Harpaz.

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      Lina Stores South Kensington designed to “evoke the rhythm” of Italian espresso bars

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      Interiors studio North End Design has applied the distinctive pistachio green synonymous with London’s popular Italian delicatessen and restaurant chain Lina Stores to the company’s newly opened branch in South Kensington.

      Positioned on the corner of Exhibition Road and Thurloe Square, the South Kensington restaurant is the seventh outpost of the well-known deli, which opened in Soho in 1944.
      The Lina Stores team worked with local studio North End Design to create an interior that balances the chain’s history with its most recent location.
      Lina Stores South Kensington includes the brand’s distinctive pistachio green”For South Kensington specifically, we added a more elevated look to mirror the neighbourhood,” Lina Stores told Dezeen.
      The brand’s “signature” pale green clads the facade, from which the deli’s recognisable stripy awning protrudes.

      Inside, the designers centred the restaurant around an open kitchen counter and coffee bar that wraps one side of the eatery and is topped with dark timber and stainless steel.
      The designers centred the restaurant around an open kitchen counterThis feature was chosen to reference the hustle and bustle found in traditional Roman and Milanese espresso bars.
      “These bars tend to be at the centre of their communities, which is very much how we see our restaurants and delicatessen when we open in a new neighbourhood,” explained the brand.
      Mismatched bentwood chairs provide seatingMismatched bentwood chairs and deep green banquettes were arranged around rectilinear tiled tables to create seating areas across the restaurant, which features a ceiling painted the same distinctive pistachio as the facade.
      Plump, leather-upholstered stools with fat cream-hued piping were also positioned at the bar – the focal point of the eatery where “everything happens”.
      Black and white photography and newspaper cuttings line the wallsThe team dressed the space with steel columns and beams – taking cues from classical Milanese colonnades – and painted them dark green “to evoke the rhythm of the architecture of Milan”, said Lina Stores.
      Chequerboard flooring features throughout the space, finished in a mixture of dark green mosaic and terrazzo tiles.
      Gloss lacquered sapele wall panelling matches the dark timber of the chairsGloss lacquered sapele wall panelling matches the dark timber of the dining chairs, while second-hand Tuscan credenzas and cabinets were sourced as waiter stations.
      “They were included for an elevated, vintage look,” Lina Stores said.
      Chequerboard flooring features throughout the spaceAcross the restaurant’s walls, a selection of vintage Italian black and white photography was combined with framed newspaper cuttings documenting Lina Stores’ history.
      “The collection and positioning of the artwork throughout the space has a spontaneous feel to it, like a wall at an old cafe that’s been added to organically over time,” explained the brand.

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      North End Design also added “opaline” globe lighting to the eatery, in a nod to the same bulbs illuminating Lina Stores’ original Brewer Street deli.
      “We take an individual approach to each one of our locations so no Lina Stores restaurant and delicatessen looks the same,” said the brand.
      “While all the restaurants are very much inspired by our first delicatessen, we see them as extensions and a way to further develop and bring in different elements of Italian design.”
      Globe lighting nods to the Brewer Street deliArchitecture studio Red Deer designed the first of the Lina Stores restaurants on Greek Street, minutes from the original deli. French designer Olivier Delannoy recently created the interiors for Daroco restaurant located just around the corner.
      The photography is by Adam Firman. 

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      Pirajean Lees draws on Japanese and Spanish design for Kioku restaurant and bar

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      Studio Pirajean Lees paired oxblood tiles with intricate wooden joinery at the Kioku sushi restaurant and sake bar, within central London’s OWO hotel, to reference the head chef ‘s travels.

      Kioku consists of a bar on the ground floor and a restaurant on the top floor of the hotel within the Grade II*-listed Old War Office on Whitehall, which once housed the British government’s military departments.
      Pirajean Lees created Kioku, meaning “memory” in Japanese, to capture sushi master Endo Kazutoshi’s recollections of living and working in Japan and Spain.
      Kioku bar is located on the ground floor of The OWOLocated on the ground floor of the hotel, the single-room bar is accessed via a door framed with smooth timber joinery informed by the traditional Japanese carpentry technique Sashimono.
      Guests are greeted by a bespoke oak reception desk featuring embroidered floral textiles and mesh detailing as well as a light-controlled sake cellar clad with patchwork cork panels.

      All of Kioku’s furniture was custom-made by Pirajean Lees, explained studio co-founder James Lees.
      The bar features a light-controlled sake cellar”We share a passion for storytelling and an obsession with details, from the way your hand touches the backrest of a chair, to the height of the table,” said the designer.
      “From the outset, we knew that the level of attention to detail in the interior had to match that found in the food being served.”
      Japanese records can be played on a bespoke turntableThe bar’s floor plan was subtly stepped to provide “elevated views” for each of its intimate seating areas, rather than relegate guests to hidden corners of the room, said Lees.
      A wide selection of sake is served at an oversized and curved central bar designed with knobbly timber cladding.
      Kioku restaurant is located on the hotel’s rooftopHandcrafted tiles and a gridded carpet finished in oxblood red were used to create the flooring, while deep red dado and natural clay walls also nod to the space’s Spanish influence.
      In one corner, a bespoke turntable is positioned for guests to play a selection of Japanese records from Endo’s personal collection.
      Bow details were carved into the dining chairsThe Kioku restaurant is contained within a long room on the north side of the hotel’s rooftop, with panoramic views of central London. Entered through timber double doors, the eatery features similar design accents to the bar.
      Wooden frames and boxy mirrored “portals” were used to delineate spaces within the main dining area, which includes L-shaped banquettes and oak dining chairs upholstered with Japanese embroidered silk.
      The chef’s table was positioned opposite the open kitchenBow details were carved into the chairs to emulate the seating at Endo’s favourite hotel in the city of Yokohama. Subtle versions of the bow motif are echoed downstairs on the bar’s wooden tables.
      Pirajean Lees constructed a private dining room with a chef’s table at one end of the restaurant, built above an intimate outdoor cigar terrace that overlooks The OWO’s central courtyard.
      Panoramic views of central London can be seen from the main terraceEncased by a curved glass roof, the extension was positioned opposite the open kitchen to allow guests to watch their dishes being prepared. Retractable mesh screens were also fitted for privacy.
      The main terrace includes timber dining tables and chairs with Mediterranean-style terracotta and mustard upholstery surrounded by lush plants.

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      At the end of the terrace, a historic turret overlooking St James’ Park and Horse Guards Parade features another eight-seat private dining room with soft linen curtains and an oak table illuminated by an oversized rice paper pendant light.
      Pirajean Lees chose a striking yellow rug for the circular floor to reference the sun, while the round ceiling was hand-painted with an inky indigo mural by British artist Tess Newall in an ode to the contrasting moon – recognisable motifs found in Japanese mythology.
      A historic turret houses another private dining space”We design to create emotional spaces grounded in their story, rather than interiors purely driven by aesthetics,” reflected studio co-founder Clémence Pirajean.
      Founded in 2017 by Pirajean and Lees, the studio has applied its eclectic style to various other London projects – from the “timeless” interiors of music venue Koko’s members’ club to a Mayfair restaurant with an Arts and Crafts-style design.
      The photography is by Polly Tootal.

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      Venetian palazzo informs “elegant and unexpected” interiors of Hotel Bella Grande

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      Bold red-and-white checkerboard tiles and colourful upholstered banquettes lend an Italian feel to the atrium of this Copenhagen hotel designed by local studio Tonen.

      Malene Bech-Pedersen and Mette Bonavent of Tonen oversaw the design of Hotel Bella Grande, which occupies a historic building close to Copenhagen City Hall.
      Constructed in 1899, the five-storey building retained many characterful features but was in need of refurbishment to maximise its potential and bring it up to modern standards.
      Tonen has refurbished a hotel informed by a Venetian palazzoTonen aimed to create interiors for the 109-room hotel that are timeless yet contemporary and combine a sense of nostalgic charm with modern sophistication.
      “For the interior of Hotel Bella Grande we had two important pointers,” said the designers. “First of all to create a design hotel that is a true treat to the eye, and second to highlight the historic and very classic architecture of the building.”

      “The hotel rooms should be luxurious, with high-quality materials and references to midcentury Italian design,” they added. “The interior design plays with a nostalgia that is utterly elegant, but also unexpected.”
      The hotel occupies a historic building close to Copenhagen City HallInspiration for the project came from a trip to Italy, where Bech-Pedersen and Bonavent were impressed by a Venetian palazzo with an open-air central courtyard and peach-coloured walls.
      The atrium at Hotel Bella Grande has a roof light that allows natural light to flood into a bright and welcoming space containing colourful furnishings, floral arrangements and marble-tiled floors that enhance the al-fresco feel.
      Marble tiled floors feature in the bright atrium”We went for ‘wow’,” said the designers of their approach to the interiors, and particularly the reception and courtyard areas that are the first guests encounter upon entering the building.
      “This should be a very one-of-a-kind experience, and nothing like you would normally experience in the centre of Copenhagen.”

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      The atrium was previously a dark and underused space that required significant upgrades to become a prominent focal point within the scheme.
      Soundproof windows were added to all the rooms that overlook the courtyard. All four internal walls were covered in acoustic foam which, along with the soft furnishings, helps to reduce sound reverberation within the space.
      Tonen looked to give the hotel’s rooms and suites a calming atmosphere through the use of muted colours and sophisticated details, such as the coordinated upholstered armchairs and fabric lampshades from Danish brand Oi soi oi.
      The hotel also contains a restaurantThe hotel also contains an Italian restaurant called Donna, with a lively and vibrant interior defined by its use of moody red and pink hues.
      The dining room’s dark red ceiling is complemented by blood-red couches and pink curtains that were designed to create an atmosphere of romance, but have a touch of mystery for the space to take on a nightclub vibe later in the evenings.
      Guests can choose to dine in the main restaurant or in the atrium space, while a laid-back cocktail lounge provides a cosy spot for pre-dinner drinks or late-night conversations.
      An internal courtyard is overlooked by the hotel bedroomsTonen was involved in every detail of the hotel’s interior fit-out, sourcing vintage objects and artworks to sit alongside contemporary pieces including furniture from &Tradition, bedside lamps by Tom Dixon, side tables from Polspotten and bespoke vanities made by by Københavns Møbelsnedkeri.
      “Both Bella and Donna are very much unmistakable expressions of our style,” claimed Bech-Pedersen and Bonavent. “We love the historic references, mixing vintage with new design and the use of materials that age beautifully.”
      The restaurant interior is defined by red and pink huesHotel Bella Grande is owned by Copenhagen Food Collective, a Copenhagen-based group operating 18 restaurants around the city. Tonen has worked on interiors for several of Cofoco’s properties, including Coco Hotel and Restaurant Delphine.
      Other recent restaurant interiors on Dezeen include a steel-and-mirror space in London’s Mayfair area and a Frankfurt restaurant with lime-wash walls.
      The photography is courtesy of Tonen.

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      Jolie creates temporary restaurant with “aesthetic and sensory” materials in Frankfurt

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      Interior design studio Jolie has completed The Nest restaurant with lime-wash walls and natural materials that is designed to be relocated in five years time.

      Set above an underground car park in Frankfurt, the restaurant was designed for future relocation using modular construction and lightweight materials to minimise its impact on the site as well as maximise material reuse.
      The temporary restaurant will operate for five years”The temporary nature of The Nest had a significant influence on its design, guiding many key decisions to ensure sustainability, flexibility, and minimal environmental impact,” Jolie founder Franky Rousell told Dezeen.
      “The need to keep the structure lightweight, due to its location above a car park, meant that every material was chosen not only for its aesthetic and sensory qualities but also for its weight.”
      Lime-wash walls and natural materials decorate the spaceThe restaurant has a bright dining area lined with wooden tables and chairs fronted by full-height glazing.

      A bar, with a curved counter that wraps around an oversized column, divides the space and is lined with a raised seating area.
      Hues of red, green and brown are used throughout the interiorLime-wash paint, glossy laminates and plastered walls line the tactile interior. Hues of red, green and brown permeate the space and are set off by neutral-toned ceilings, floors and furnishings.
      “The tactile elements are designed to evoke comfort and luxury,” Rousell said.
      “Surfaces like cool pink marble at the bar and natural wood and soft textiles in the outdoor lounge area invite touch and contribute to a relaxed yet refined environment.”

      Olivier Delannoy creates mirrored “English garden” for Daroco Soho restaurant

      A curved motif is repeated throughout the space, with two rounded seating areas nestled into individual corners and complete with plush cushions.
      Doorways, shelving units and countertops are similarly finished with rounded edges.
      A curved motif is repeated throughout the restaurantSituated behind the main restaurant is a separate kitchen area that runs along the length of the structure.
      Meanwhile, an external wooden patio backed with greenery provides additional seating sheltered by parasols at the restaurant’s front.
      Additional seating is provided outdoorsJolie is an interior design studio based in the UK founded by Rousell in 2017.
      Other restaurant interiors recently featured on Dezeen include a London restaurant that balances steel and mirrors with wood and leather and a New York restaurant with a buttery yellow interior.
      The photography is by Billy Bolton.

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