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      Japanese patchwork technique informs interior of Sando burger bar in Geneva

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      Sapid Studio aimed to keep as much of the original fit-out as possible during this renovation project, which saw the Swiss design firm turn one burger restaurant in Geneva, Switzerland, into the home of another.

      The new burger joint, named Sando after the Japanese word for sandwich, is located near the waterfront in Rive Gauche and serves burgers infused with Japanese flavours such as teriyaki tamago and miso bacon.
      Sapid Studio designed the interiors of the Sando burger joint in GenevaSince the space was originally designed for a similar establishment, Sapid Studio made no changes to the layout.
      Instead, founders Cecile-Diama Samb and Michael Piderit took a retrofit-first approach inspired by the Japanese craft of boro, which involves repeatedly mending and stitching together textiles to create a multi-layered patchwork.
      The studio retained the existing tiled flooring and the barIn this spirit, the studio retained the interior’s original bar – simply re-finishing it in brushed and corrugated stainless steel – and patched up the existing tiled flooring.

      The millwork of the previous restaurant was dismantled and repurposed to form wainscoting and a table-height counter running along the window front, designed to resemble those found in Japanese ramen shops.
      The original millwork was repurposed into window counters and wall panels”All efforts were made to make the most impactful change to the space while minimising the amount of wasted material,” Sapid Studio co-founders Cecile-Diama Samb and Michael Piderit told Dezeen.
      “It is the re-working of an existing element, stitched together with surgical demolition, alterations and additions, that creates the unique patchwork that is Sando.”

      CUT Architectures designs sunset-hued interior for Parisian burger joint in ode to California

      Most literally, the boro technique is reflected in the tapestries that hang in rows from the walls and ceilings, made from reclaimed textiles by local upcycling workshop Lundi Piscine.
      Stitched onto a translucent open-weave tarlatan backing, these feature fragments of bright yellow letters that spell out Sando in both English and Japanese.
      Translucent tapestries by Lundi Piscine decorate the walls and ceilingsBirchwood is featured liberally throughout the interior and was finished in three different stains for contrast, as seen in the bar stools that line up along the steel-clad counter to form a subtle gradient.
      The two lighter stains were also used to create a colour-block effect across the wall panelling and the window counter. Here, diners can sit on aluminium stools by Danish brand Frama that were chosen to match the brushed metal counter.
      Recycled plastic stools provide more seating in the backAnother seating area at the back of the space sees simple off-white metal tables paired with speckled stools made from recycled plastic by Normann Copenhagen.
      Apart from the tapestries, the only other wall decoration is provided by several bespoke prints from Swiss illustrator Kristell Silva Tancun, depicting classic Japanese art motifs remixed with burgers, fries and fast food items.
      The restaurant serves burgers infused with Japanese flavoursOther well-designed burger joints include PNY Citadium in Paris, which has a sunset-hued interior informed by the roadside diners of America’s West Coast, and Noma’s burger spinoff POPL in Copenhagen.
      The photography is by Alicia Dubuis.

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      GRT Architects references “vacation Italian” at New York bar and restaurant

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      New York studio GRT Architects has designed a light and airy Italian restaurant and adjacent cocktail bar at the base of Thomas Heatherwick’s Lantern House in Manhattan.

      The new dining and drinking destinations face the corner of West 18th Street and 10th Avenue through the distinctive bay windows of the building, which straddles the popular High Line park in Chelsea.
      The bright and airy Cucina Alba was designed to transport diners to ItalyThe 3,000-square-foot (278 square metres), 90-cover Cucina Alba offers a full brunch and dinner menu, while Alba Accanto is half the size and serves cocktails and bites next door.
      Both are operated by Prince Street Hospitality, whose partner Cobi Levy collaborated with GRT Architects on the interiors of both spaces.
      Alternating yellow and white fabric panels are draped above the dining spaces”Cucina Alba and Alba Accanto are two distinct yet complementary spaces that instantly transport guests to Italy, capturing the polish of the north with the brightness of the south,” said the group.

      Cucina Alba is designed to embody a “vacation Italian” aesthetic, evoked by light terrazzo floors, tubular metal Knoll Cesca chairs, and pale oak millwork.
      Oak millwork, light-toned terrazzo flooring and tubular metal chairs all add to the ambienceAlternating yellow and white fabric panels were draped overhead, forming a parachute-esque ceiling that matches the striped awnings over the entrances.
      Thin metal chains hung from red railings act as space dividers, defining and partially enclosing a section of the dining area.
      Hints of coral red stand out against the pale colour paletteHigh-gloss, oxblood-coloured tables nestle into semicircular booths or line up along the bench that follows the windows.
      At the other end of the L-shaped space, the open-air kitchen is denoted by a colourful mural by artist Alex Proba that covers the end wall and part of the ceiling.
      A colourful mural by Alex Proba denotes the open kitchen areaIn the bay windows, an assortment of plants and random paraphernalia – from inflatables to plastic lemons and disco balls – are visible to passersby, while outdoor seating along 10th Avenue is offered under scallop-edged parasols that continue the white and yellow theme.
      Next door, Alba Accanto has a similar “Italian holiday bar” aesthetic, but with a slightly moodier ambience for evenings.

      GRT Architects uses “riot” of materials for Bad Roman restaurant in New York

      The bar counter is built from stacks of pale stone that form striations across the front, while the top and the bar back are made from continuous expanses of a single stone type.
      Arched niches behind the bar emanate a golden glow, and display glassware and liquor bottles alongside figurative sculptural vases that were custom-made in Italy.
      Next door, the Alba Accanto bar has stone detailsThe ceiling is covered in fabric that features thin ticking stripes, from which brass chandeliers with pale blue glass globes are suspended.
      At the back is a private dining room that can be booked for large parties of up to 45 guests, and the table configuration can be adapted depending on the event.
      The bar area features a striped fabric ceiling and a painting by Alex KatzBuilt-in bench seating wraps the perimeter, and patterned wallpaper and matching curtains are reflected in the glossy ceiling.
      In both spaces, works by renowned artists including Alex Katz and Ethan Cook were sourced with the help of art advisor Elizabeth Margulies, and hand-painted tableware from Puglia adds an authentic touch.
      Behind the bar is a private dining room that can accommodate up to 45 guests”The design of Alba Accanto is exuberant and maximalist in style, utilizing bright colors to reflect the vibrance of Italian coastal cities like Positano,” said Levy, “while the design of Cucina Alba is polished, contemporary, and warmly inviting with wood accents, embodying the soul of Milan.”
      “We wanted to capture the distinct atmosphere of each city, and with Accanto, we achieved that same sense of vitality but with a maximalist approach,” he added.
      Both Cucina Alba and Alba Accanto occupy the ground floor of Thomas Heatherwick’s Lantern House building in ChelseaGRT Architects has completed the interiors for two other Italian restaurants in New York City: the Michelin-starred Don Angie in the West Village, and the recently opened Bad Roman at Columbus Circle.
      Founded by Tal Schori and Rustam-Marc Mehta in 2014, the studio has amassed a portfolio that extends from Brooklyn townhouse renovations to ground-up builds in the Hudson Valley.
      The photography is by Peter Murdock.

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      Otherworlds transforms Goan villa into restaurant that “celebrates chance encounters”

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      Local design studio Otherworlds drew on the traditional Goan balcão when converting a 1980s villa in Panjim, India, into the Terttulia restaurant and bar.

      Housed in a Portuguese-style villa, Terttulia Goa is defined by a central island bar informed by the balcão – an outdoor porch with built-in seats that serves as the entrance to a typical Goan home.
      The restaurant takes its name from the Spanish word tertulia, meaning a social gathering with literary or artistic associations.
      Intimate two-seater booths flank the bar”The balcão is a crucial part of a Goan home as this is where one spends most of their time,” Otherworlds founder Arko told Dezeen.
      “At a time of rampant urbanisation, all houses tend to become very self-contained, private and detached, separated away from the city or the neighbourhood,” he continued.

      “The balcão becomes all the more important at such a time as it is built with the idea of reinforcing the kinship between the house and the neighbourhood.”
      Terttulia Goa is defined by a central bar informed by the balcãoMultidisciplinary studio Otherworlds overhauled the villa, which it describes as a “formerly enclosed shell”, by removing some of the external walls and extending the dining area into an outdoor porch.
      This area is sheltered by a large bamboo canopy with elliptical openings that diffuse the natural light, transforming the space throughout the day.
      The canopy is intended to mitigate the region’s extreme weather conditions; sheltering customers from the rain during monsoon season and providing a semi-open space with plenty of air circulation during the hot summer months.
      Low-hung lamps add a sense of “whimsy”Otherworlds designed the bar so that customers face each other, rather than facing the wall, in a bid to “encourage chance encounters”.
      “The intention was to create an immersive atmospheric experience that inspires a feeling of being in a tropical, lush outdoor space under an overgrown natural canopy,” said Arko.
      A metal and fluted glass structure hung from the building’s external walls floats above the white marble bartop and holds the arc-shaped lamps that light the intimate two-seater booths flanking the bar.
      A bamboo canopy was inserted to mitigate the region’s extreme weather conditionsAt night, the restaurant is lit by low-hung sinuous lamps informed by sweeping stems that are intended to add a sense of “whimsy” to the interior.
      Adhering to Terttulia’s signature green and white colour scheme, the studio opted for a palette of locally sourced materials, including the green-pigmented hand-cast concrete that it used to create the restaurant’s flooring.
      “The green pigmented hand-cast concrete floor, largely termed as IPS [Indian Patent stone], is found in most places in the country and is also used to finish the balcão in all Goan homes,” Arko explained.
      Terttulia Goa is housed in a revamped 1980s villaOtherworlds worked with local workshop Jyamiti & Sea to create ovoid terrazzo accents that are scattered in various places across the floor and walls.
      The studio achieved what it terms “the perfect green” using a mixture of white and grey cement and green oxide pigment.
      Otherworlds opted for a palette of locally sourced materials”The tricky bit with coloured concrete is achieving the exact shade [because] once the cement sets and is polished, the result is quite different from the initial wet mix,” said Arko.
      “The process required numerous iterations and experiments to get the right mixture of materials that would yield the correct shade.”
      The green cement is offset by dark wood derived from the matti, Goa’s state tree.
      “We imagined the restaurant to be an extension of the house and while being part of it, [we also wanted it to] feel like a part of the city.”
      Other projects that take a contemporary approach to Indian design traditions include a rammed-earth family home in Rajasthan designed by Sketch Design Studio and a Rain Studio-designed “native yet contemporary” home in Chennai.
      The photography is by Suryan and Dang. 

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      Fettle revamps San Carlo restaurant with interiors informed by Milanese villas and gardens

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      Architecture and design studio Fettle has unveiled the refurbished interior of the San Carlo restaurant in Liverpool, UK, which was informed by northern Italy’s coastline.

      Located in Liverpool’s city centre, Fettle’s refurbishment was designed to reinvigorate the restaurant and offer a “spectacularly opulent and contemporary take on traditional Italian dining”, the studio said.
      The lighting was chosen to create an overall softnessDuring the redevelopment, Fettle stripped the building back to its existing shell and redesigned each element, from the walls to the flooring.
      The 280-square-metre restaurant also contains a feature bar and a private dining room named The Rosa Room and Wine Sellar, which is located on the lower ground floor.
      The restaurant’s furniture was informed by Milanese villas and gardensSan Carlo’s colour palette takes cues from the hues of the northern Italian coastline and includes greens, blues and pinks.

      Fettle adorned the space with contrasting materials, including timber, brass and marble, which were softened by patterned upholstery made from mohair and leather.
      San Carlo’s colour palette takes cues from Italy’s coastlineThe furniture was designed specifically for the project and was informed by the furniture found in grand Milanese villas and gardens.
      This included fluted oak bar stools with green leather seats and brass bases, marble and timber tables, curved-legged dining chairs and velvet leather seating.
      Fettle aimed to create a space that had an “alluring ambience and timeless sophistication”.”The restaurant offers a spectacularly opulent and contemporary take on traditional Italian dining with elegant interiors inspired by Grand Milanese villas and gardens,” the studio said.
      The lighting was chosen to add a sense of softness to the interior, and includes a mixture of bespoke-designed statement chandeliers, pendant fillings and wall and table lamps to give the space an “intimate glow”.
      The lighting intends to give the space an “intimate glow”.The floor was equipped with colourful terrazzo in a mix of cream, orange and green tones, while the walls were clad in high gloss timber panelling.
      According to the architects, its colour is similar to that of luxury Italian sports cars and the water taxis of Venice.
      The restaurant was also equipped with antiqued mirrored panels that aim to add to the glamour of the space.

      Fettle returns The Georgian hotel in Santa Monica to its 1930s “glory”

      Three eclectic abstract murals by Los Angeles-based artist Jessalyn Brooks are positioned opposite the bar and on the rear wall of the restaurant.
      “We’re excited to unveil the transformation of San Carlo Liverpool,” said the managing director of San Carlo, Marcello Distefano. “The new design is representative of the evolution of San Carlo, a journey we began in 1992.”
      Antiqued mirrored panels decorate the restaurantFettle was founded by designers Tom Parker and Andy Goodwin and specialises in hospitality design and interior architecture.
      Previous projects include the restoration of an art deco hotel in Santa Monica, California, and the conversion of a members’ club for 1 Warwick members’ club in Soho, London.
      Other interior projects recently featured on Dezeen include the transformation of a three-story home into a restaurant in Bogotá that uses natural materials and a travelling gallery by multidisciplinary designer Vanessa Heepen, which includes vintage furniture pieces.

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      Lorenzo Botero and Martín Mendoza convert Bogotá residence into brick-lined restaurant

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      Local architecture studio Lorenzo Botero Arquitectos and interior designer Martín Mendoza used a palette of natural materials to transform a three-storey house into a restaurant in Bogotá.

      Located in the city’s Zona del Nogal, a popular shopping destination, Ideal Restaurant takes cues from the materiality of the deserts of the southern United States and the north of Mexico.
      Architect and interior designer Lorenzo Botero and Martín Mendoza turned a three-storey residence in Bogotá into a restaurantThe building was a three-storey residence that had undergone a series of previous renovations, which made it difficult to integrate a full kitchen and dining spaces.
      “It was a challenge,” said Botero, “But in architecture, it is about making trade-offs that are solved with the design once the program is clear.”
      The space was informed by the deserts of the southern United States and the north of MexicoThe studios used wood, copper, terracotta, linen and stone to create a warm atmosphere throughout the restaurant, which includes a covered outdoor seating area.

      The second-floor dining area is the “tour de force” of the project and includes an eclectic mixture of curved wooden and terracotta tables from Colombian furniture companies Carmworks and 902 Showroom and wooden chairs and benches from Vrokka.
      Vertical brick made of river sand was used to clad much of the interior”The project was very architectural and I did not want to superimpose things that were unnecessary,” said Mendoza.
      “I knew that the interior design had to work in favour of the architecture and the concept; hence the colour palette and natural materials⎯wood, vegetable fibres, terracotta, leather, jute and linens⎯and to contrast are the details in bronze and copper”.
      The second-floor space was divided by a sloping wine rack extending from the ceiling, as well as a wide stone bench tucked into a corner. The bench extends the length of the back wall to become the hearth of a metallic fireplace.
      The second-floor dining room is furnished with wooden tables and chairsA curved wall above the fireplace conceals the flue and further added dimension to the dining room, which looks out over the street through a wall of wood-framed windows.
      Lorenzo Botero Arquitectos wrapped much of the space in a thin brick made of sandstone, placed vertically to “lengthen” the walls of the space.

      Jagged windows pierce Studio Cadena’s Masa bakery in Bogotá

      Walls, floors, and windowsills were wrapped in the material, as well as the base of a large shared sink in the bathroom.
      Horizontal bands made of metal were embedded throughout the rows of bricks to reflect the earthy-red tone.
      A series of windows are framed in woodMetallic lighting fixtures and lamps from Mendoza’s brand mm&co and others made in collaboration with La Bestial also reflect the restaurant’s natural palette.
      They include circular metallic wall sconces and cylindrical pendants affixed to the restaurant’s ceiling, as well as the wall sconces topped with wicker lampshades.
      Metallic light fixtures and hardware reflect the earthen tones of the interiorThe outdoor seating area has the same linen-covered chairs and wooden tables as the second-floor dining room.
      Large clay pots line the walls and hold herbaceous plants such as lavender and rosemary.
      The restaurant is currently open and serves modern American fare.
      Other Colombian eateries featured on Dezeen include a bakery and cafe by Studio Cadena with jagged, triangular windows and a hotel with a lobby and cafe covered in plants in Medellín.
      The photography is by Mónica Barreneche Olivares.

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      Smith Hanes Studio brings “a sense of calm” to Carmel restaurant in Atlanta

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      Atlanta-based Smith Hanes Studio has used a palette of natural colours and materials to help diners at this restaurant imagine they’re beside a beach.

      A laid-back, coastal vibe was the goal for the Carmel restaurant, located on a cobblestone street in Atlanta’s Buckhead Village.
      The U-shaped bar at the entrance to Carmel is wrapped in rattanFounder Tal Baum of Oliva Restaurant Group wanted to create a space that would transport guests to the casual seaside ambience, so she tasked Smith Hanes Studio with designing an environment that draws upon a variety of beachside communities.
      “[Baum] wanted us to bring a sense of calm and expansiveness to Carmel, like you’d experience on the Mediterranean coast,” said studio founder Smith Hanes. “Our interior designer Janine MacKenzie accomplished that with a beautiful warm palette of naturals that coax us to remember the balmy indoor-outdoor breezes of Tulum or Puerto Escondido beach.”
      Lime plaster covers the walls to evoke a coastal aestheticA variety of local artists and craftspeople were brought on to achieve the desired effect. Lime plaster was hand-applied to surfaces by Super Delicious Walls and custom fibre installations by Sonya Yong James were added as accents.

      Meanwhile, upholstery and millwork were crafted by fabricators Hancock Surface Studio, Onemost Studio and Bjork Studio.
      In the dining room, woven pendant lights emit a warm sunset-like glowUpon entering the establishment, a U-shaped bar is wrapped in rattan, matching a light fixture suspended above that follows the same shape.
      Folding back a large wooden window opens the bar area to the street, where additional seating is built into the facade to serve cafe tables.
      Contributions from local artisans include custom fibre installations by Sonya Yong JamesThe back bar is set against a wall of textured, square white tiles, and framed by an arch with curved pillars covered in similar but smaller reddish tiles.
      “The rattan-wrapped bar, amber-tiled barback, glowing drink rail and sculptural lighting evokes a world of cabanas and parts of the Mediterranean where handwoven basketry is commonplace,” said the restaurant team.

      Floral installations decorate Atrium bar in Atlanta by Smith Hanes Studio

      Past the bar area, a deep arched opening leads into the 1,600-square-foot (149-square-metre) dining room.
      Mossy green banquettes, wooden four-top tables and chairs, and sheer curtains are all washed in a warm glow, “as if the sun is setting low on the ocean’s horizon” according to the team.
      Booth seating is set into niches carved from the wallsThe pendant lamps above the tables are woven from elephant grass and feature matte porcelain bulbs.
      More tilework, this time in sage green, clads the area around the kitchen passover window, which is flanked by niches for booth seating on either side.
      A large window opens to additional seating along the restaurant’s exteriorHanes founded his eponymous studio in 2004, and also opened an office in New York in 2020.
      Focusing on hospitality interiors, the team has previously completed a bar and restaurant in Atlanta that’s decorated with floral installations, and the ground-floor eateries within a renovated hotel in Portland, Oregon.
      The photography is by Tim Lenz.

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      Akio Isshiki Architects marries old and new with Japanese home and restaurant

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      Japanese studio Akio Isshiki Architects has transformed an old wooden building into a warm-toned home and public restaurant named House in Hayashisaki Matsue Beach.

      Located on a coastal street in Akashi in southern Japan, the mixed-use space was built within a 50-year-old building for a local designer and features a curry restaurant as well as residential and working spaces.
      Designed to reflect traditional Japanese dwellings, the home and restaurant are contained within a wooden building that was previously dark and separated.
      House in Hayashisaki Matsue Beach was designed by Akio Isshiki ArchitectsDuring the renovation, Akio Isshiki Architects aimed to pair existing elements with modern features to reflect the mixed-use nature of the project.
      “The house was divided into small rooms, narrow and dark,” studio founder Akio Isshiki told Dezeen.

      “It was very old and damaged, but fortunately the carpenter had done a good job, there were no leaks, and the structure was solid.”
      It is located in AkashiAccessed from the roadside, a series of circular stones form a path that leads through the planted front garden and curves to extend along the front of the building, providing access to the ground-floor restaurant.
      Here, a stepped sheltered porch features external seating and is separated from the interior space by a wide sliding glass door set in a timber frame, which offers views into the garden and can be fully opened to connect the dining space to the outside.
      The structure contains a restaurant and a homeInside, the floor has been coated with dark tiles informed by the history of the area, which was formerly a large tile producer.
      “These tiles were handcrafted one by one by tile craftsmen in Awaji, with the image of lava stone pavements seen in cities in Central and South America superimposed on the texture and edge shape,” said the studio.
      It draws on traditional Japanese homesWooden furnishings, including bespoke D-shaped chairs designed by the studio and created by a local woodworker, are arranged throughout the dining space at the front of the building.
      “To ensure stability even on uneven floors, three legs are used as a base for the chairs, and the legs are made of a thick material so that they do not fit in the joints of the Kawara tiles,” said Isshiki.
      “I aimed for a primitive design with an unknown nationality, with as simple and crude a composition as possible.”

      Apollo Architects & Associates create home from stacked volumes in Tokyo

      Separated from the main space by an earth-toned counter, the kitchen is tucked into one side of the dining room and features walls clad in wooden panels and white tiles, along with a lighting fixture formed from two circles that hangs in the street-facing window.
      A Japanese shoji screen at the end of the dining room is the first of a series of flexible partitions throughout the home that can be pulled out to provide separation between the spaces.
      The upper floor contains private residential space”Conscious of the tropics and nostalgia, we put nets that look like mosquito nets and sudare blinds on the shoji screens,” said the studio. “The graceful plans created by imperfect partitions such as shoji and fusuma are typical of ancient Japanese architecture.”
      “In this house, where cultures, nationalities, times, and various other things are combined, I thought it would be appropriate to have the spaces partially mixed so that they could feel the presence of each other, rather than being permanently partitioned in terms of usage,” it continued.
      Wood was used throughout the interiorBuilt on a raised timber platform, the rest of the ground floor holds private rooms for the client, which are divided by shoji screens, including a traditional Japanese room that opens onto a garden.
      A home office borders the dining space, where a central black ladder leads to the floor above, while a bedroom, bathroom and utility room branch from the other side of the corridor.
      The residential space has views of the seaUpstairs, the studio added an open arrangement of dining and living spaces with warm-toned surfaces including a red wall and dark wooden beams that interact with the home’s original rustic roof structure.
      “The wall on the second floor is a scraped wall mixed with red iron oxide and finished by a plasterer from Awaji,” said Isshiki. “This is an attempt to incorporate the colourful walls of each country into architecture in a Japanese context.”
      The home has an open-plan living arrangementOther Japanese homes recently featured on Dezeen include a Tokyo home spread across two stacked volumes and a concrete home supported by a single column on Japan’s Okinawa Island.
      The photography is by Yosuke Ohtake.

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      Michael Groth uses natural and recycled materials inside New York’s Donna restaurant

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      New York designer Michael Groth collaborated with a Moroccan artisan cooperative to create the wall hangings for this worker-owned bar and restaurant in the West Village.

      The opening of Donna’s new location on Cornelia Street follows the closure of its Williamsburg spot in December 2020 as a result of the coronavirus pandemic.
      Michael Groth has designed the new Donna outpost in New YorkServing a pan-Latin menu with Mediterranean influences and Filipino-inspired cocktails, the restaurant and bar is now a worker-owned cooperative, with original owner Leif Young Huckman acting as an advisor.
      To reflect this shift, Brooklyn-based Groth aimed to imbue the design of the new outpost with references to the previous location while nodding to Donna’s revised business model.
      Earth-toned limewash plaster was applied to the walls in geometric patternsHe drew influences from the constructivist art movements of Latin America in the 20th century and particularly the work of artists Sandu Darie, Pedro Alvarez and Lygia Clark.

      Donna is decorated with earth-toned limewash plaster, applied to the walls in geometric patterns that echo the brand’s visual identity.
      Groth created wall hangings in collaboration with artisan cooperative The AnouExposed brickwork is painted white, forming a plain backdrop for the circular wool wall hangings that Groth created in collaboration with Moroccan artisan cooperative The Anou.
      Together with wool floor rugs, these help to dampen the acoustics while lime plaster assists in regulating humidity, according to Groth.

      GRT Architects uses “riot” of materials for Bad Roman restaurant in New York

      The tables are crafted from reclaimed Douglas fir flooring and stained plywood was used to build the banquette seating that wraps the perimeter.
      Bar-back shelving and floors were repurposed from the unit’s previous tenant, while the bar tops were fabricated by Brooklyn Stone and Tile – another worker-owned cooperative.
      Tables are crafted from reclaimed Douglas fir”The use of any new materials was limited to those that are natural and biodegradable, keeping in mind the holistic effects of resource extraction, human health and equity, and circular material cycles,” the Donna team said.
      Pendants lights above the bar have shades made from mushroom mycelium, which according to the team presents “an environmentally holistic approach to material creation that poetically reflects Donna’s equitable business model”.
      The pendant lights above the bar feature mycelium shadesNew York City’s dining scene was upheaved during the pandemic, with many eating and drinking establishments forced to either adapt or shutter.
      As a result, sidewalk dining shelters sprung up across the city, as documented in these photographs by John Tymkiw.
      The photography is by Nicholas Ruiz.

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