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      Lucky Chan restaurant in Bangalore combines craft objects with candy colours

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      Indian office MAIA Design Studio has designed a Pan-Asian restaurant in Bangalore, which brings local crafts together with a Tokyo-inspired palette of colours and patterns.Lucky Chan is a casual restaurant serving sushi and dim-sum, which takes over the grand floor of a two-storey house.

      Lucky Chan takes over the ground floor of a two-storey house
      Because it’s a residential building, the space is divided up into a series of rooms. MAIA Design Studio founder Shruti Jaipuria saw this as an opportunity to explore a variety of different concepts.
      Her interior design scheme gives each room its own character, but they all share an eclectic mix of colour, pattern and material.

      Mosaic tiles create stripy walls in the open-air section

      Large surfaces of grey Sadharalli granite feature alongside ceramic tiles that combine candy shades of red, yellow, pink and green.
      “We were inspired by the hip Harajaku style of Tokyo while developing the colour palette,” said Jaipuria, “but the material palette is more local”.
      “As an office, we aspire to use local material and craft in contemporary and unexpected contexts,” she told Dezeen.

      The main dining room combines granite walls with a ceiling installation
      Lucky Chan can be divided up into five different zones: the main dining room, the open-air section, the passageway, the sushi bar and the private dining room.
      The main dining room is perhaps the most simple of the spaces, although it features a very unique detail – hanging from the ceiling is an installation of 250 turned-wood sculptures, created in collaboration with local artisans.

      These 250 turned-wood sculptures were made by local artisans
      These curvaceous wooden objects celebrate the tradition of hand-lathe woodwork in the nearby township of Channapatna.
      Each piece is coloured with natural lacquers, made using substances that include turmeric, walnut bark and manjista root.

      A passageway section features a neon sign that reads #heretogetlucky
      Mirrors lining the surrounding ceiling beams create the impression that the installation goes on forever.
      “The visual effect makes the large 900-millimetre beams disappear, thus opening up the otherwise small space and making it lighter,” said Jaipuria.

      The sushi bar is made from birch plywood and covered in green tiles
      Wooden chairs provide seating in both this space and the adjoining open-air section. These chairs feature seats hand-woven with coir, a coconut fibre, making use of another local craft technique.

      John Anthony restaurant by Linehouse is “British tea hall turned Chinese canteen”

      Mosaic tiles create a pattern of stripes on the end walls. The same tiles feature in the sushi bar, where they create a grid effect. They also form a chequerboard pattern on the table in the private dining room.
      “Parallel lines and cross-grids started to play an important role while we were designing the space,” said Jaipuria.

      The private dining room has panelled walls and a chequerboard-patterned table
      Birch plywood brings a more lightweight feel to these rooms, providing custom furniture and also panelling on the walls.
      These wooden elements include a sushi bar with an integrated conveyor belt, which Jaipuria believes is the first of its kind in India.
      Other details include silk lamps that were handmade in Pondicherry, an array of plants in colourful pots, and a neon sign that reads #heretogetlucky.
      Norm Architects also looked to Japanese design for its Sticks n Sushi restaurant in Copenhagen, while Linehouse referenced a retro Chinese canteen for its John Anthony dim sum restaurant in Hong Kong.
      Photography is by Gokul Rao Kadam.
      Project credits
      Design studio: MAIA Design StudioDesign team: Shruti Jaipuria, Roshni Ramnane, Rahul ChughChannapatna execution: Atul Johri, Mubarak

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      Studio Tamat creates casual interiors for Rome restaurant Tre De Tutto

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      Studio Tamat hoped to create the feeling of a casual local bar with its design for Tre De Tutto, a restaurant in the south of Rome.Although the restaurant only recently opened, its interior is designed to feel lived in, with its simple tiled walls, humble furniture and peeling plaster.
      These are contrasted by bold contemporary details that include geometric lighting fixtures, a neon sign and a yellow suspended staircase.

      Details include arched windows, vintage metal chairs and geometric lighting

      Tre De Tutto is located in Garbatella, a neighbourhood with a distinctly 1920s character. The space was previously a bakery, but had been abandoned for some years.
      Studio Tamat’s design follows the concept proposed by restaurant owners, to create a space that takes inspiration from the local neighbourhood traditions and culture.

      Blue majolica tiles are contrasted by coral-coloured mortar
      “Owners Mirko Tommasi and Daniele Notte proposed revisited classics of Roman cuisine, taking inspiration from one of the most authentic neighbourhoods in Rome,” explained studio co-founder Matteo Soddu.
      “In the same way, our goal from the beginning was not to distort the pre-existing space, but to enhance it and at the same time, bond with its clientele,” he said.
      The neon sign offers the same message, reading “Quanto é Bella Garbatella”, which means “How beautiful Garbatella is”.

      A marbled bar counter is made from Liquid Cosmo, a surface by Diesel and IrisCeramica
      The restaurant is divided up into various rooms, with some at ground level and others set half a storey below.
      The triangular upper level consists of three rooms that are usually reserved for breakfast and aperitifs, including a bar and a lounge area. The lower level contains two dining rooms, along with the kitchen and storage areas.

      A coral-coloured “staircase tunnel” leads downstairs
      Both levels have a slightly different design character, with a colour palette designed in collaboration with consultant Sabina Guidotti.

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      Upstairs rooms have a bold colour palette, with blue majolica tiles set against contrasting mortar, plus a marbled bar counter in vivid shades of orange and purple, and three grand arched windows.

      Dining rooms feature Grid, a graphic wallpaper by Texturae
      A coral-coloured “staircase tunnel” leads downstairs, where rooms feature pale blue walls and wallpaper with cartoon-style graphics.
      The yellow staircase features on this level, connecting one of the dining rooms with the street.

      A suspended yellow staircase provides access to the street
      Humble finishes and timeless elements feature throughout, including a resin-topped concrete floor, vintage metal chairs, leather-like upholstered benches and large pot plants.
      “We left the rough walls, with the original layers of plaster, to dialogue with the contemporary design of the architectural elements that characterise the space, from the clean-cut counter that dominates the bar, to the exquisitely pop staircase of the restaurant,” said Soddu.

      Tre De Tutto is located in Garbatella, in the south of Rome
      Tre De Tutto’s menu matches its design, with a selection of drinks inspired by local history and “unpretentious” dishes that include pasta, panini and antipasti.
      Photography is by Seven H Zhang.

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      Snøhetta designs Tokyo restaurant with all-black interior and stage-like kitchen

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      Architecture firm Snøhetta has worked with Bronx-based cooking collective Ghetto Gastro to create a jet-black eatery in Tokyo that will house immersive dining experiences.Set above a convenience store in the city’s Harajuku neighbourhood, Burnside is a casual restaurant by day and a bar and lounge by night.

      Top image: floral sculptures by Makoto Azuma hang in the dining area. Above: the room is oriented around a central kitchen
      The space was designed with flexibility in mind, as it will host a rotating roster of chefs and be used for a wide variety of pop-ups and events. It comprises a 30-person dining room with an open kitchen, all decorated using a dark material palette with amber-coloured accents.
      The eatery, which marks Snøhetta’s first project opening in Tokyo, was designed for art and design collective En One Tokyo, with help from local construction partner Kooo Architects and Ghetto Gastro – an ensemble of chefs that specialises in immersive dining experiences.

      The kitchen is open to the eyes of the public

      “Using food to empower communities, Ghetto Gastro celebrates the Bronx as an inspiration and catalyst of global culture,” explained the practice. “Burnside builds upon this creative energy where the Bronx and Tokyo meet.”
      Black was chosen as the predominant colour, referencing the dark atmosphere of Tokyo’s izakaya bars and the characteristic finish of Shou Sugi Ban charred wood. At the same time, it represents Ghetto Gastro’s culinary style, which it describes as “Black Power Kitchen.”

      Steps lead up to the kitchen as if it were a stage
      Together, the team wanted to build a dining experience that combines the intimacy of a bar with the easy informality of convenience stores, whether New York’s bodegas or Japanese conbinis.
      Sound designer Devon Turnbull, who goes by Ojas, designed a bespoke sound system for the space while local flower artist Makoto Azuma created a series of floral sculptures that are displayed behind glass in the dining area.
      Guests arrive at the eatery via a staircase that takes them from the street to the second floor. Once inside, the eye is drawn towards the open kitchen by a curved amber-coloured light strip that runs along the ceiling.

      A long, black sharing table anchors the space
      The space is divided by two intersecting arches, delineating the dining area and kitchen while still allowing views across both spaces.
      A set of steps lead up into the open kitchen as if it were a stage, framed by curved walls that suggest the proscenium arch of a theatre. A central table in the kitchen is the focal point of the entire room, transforming the food preparation into a performance.

      The walls next to the kitchen are curved to suggest a proscenium arch
      A flexible kitchen layout was designed to adapt to the needs of a rotating roster of chefs. It can also be used as a space to dine and eat, or closed off to become a temporary gallery with the help of a curved, sliding partition hidden within the proscenium arch.

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      “The transition between day and night, cafe and lounge, is a driving theme for the interior design,” explained Snøhetta. “A dark material palette features amber-coloured accents that reflect the changing light throughout the day while highlighting more ornate design elements such as the floral sculptures designed by Makoto Azuma.”
      Custom-designed, family-style tables maximise the limited floor space and can be joined together or folded away to allow for a variety of layouts including a dance floor for late-night events.

      A curved, sliding partition can be used to divide the space
      Other dark restaurant interiors include central London’s Lucky Cat restaurant, where design studio AfroditiKrassa hoped to create a space that looks better in person than in pictures, and Shenzhen’s Voisin Organique restaurant, which Various Associates designed to resemble a gloomy valley.

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      Cheng Chung Design creates restaurant within brick art installation in China

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      Hong Kong architecture studio Cheng Chung Design has created a restaurant and exhibition space within the cavernous interiors of a brick art installation in Mile City, China.The restaurant, named 50% Cloud Artists Lounge, occupies one of several distinctive structures in Dongfengyun Town that evoke a giant cluster of termite mounds.
      Cheng Chung Design’s (CCD) interior is deliberately pared-back to retain focus on this unusual building, while also forming a backdrop to the artwork that is exhibited throughout it.

      Top image: the restaurant occupies a cavernous brick building. Above: it resembles a giant cluster of termite mounds

      “It was to be not only a restaurant but also an art space with an exhibition area,” said CCD’s founder, Joe Cheng.
      “It aims to serve as an exhibition hall for various cultures and arts, providing a space for the public to get close to and enjoy art,” he told Dezeen. “You can see original art throughout the entire space.”

      The entrance is marked by a curving steel doorway
      The brick structure within which the restaurant is located was created by local artist Luo Xu and made without any steel reinforcements or nails.
      The interiors of the other buildings in the cluster, also designed by CCD, have been transformed into a multi-functional hall, an art gallery and a hotel.

      Steel panels guide visitors inside
      CCD marked the entrance to the restaurant by a trail of curving steps that lead to an arched door and a series of curving steel panels.
      This is modelled on the nearby Honghe Hani Rice Terraces – a system of historic terraces used to grow rice – and designed to add an “artistic touch” that is complementary to the colours and sinuous form of the building.

      The restaurant layout responds to overhead skylights
      Inside, the layout of the restaurant’s bar, chairs and tables responds to the curves of the structure and the positions of round openings carved into its roof.
      As the walls of the building could not be decorated, this is intended to draw visitors’ attention to the light that filters in through the skylights and onto the bricks and creates patterns throughout the course of the day.

      Patterns of light across the brick walls are the focal point
      “Light is an essential element in the space,” said CCD. “Guests can experience the change of light in every minute.”
      “All design elements are arranged based on light and under skylights. Natural light tells the passage of time throughout the day, and creates diversified spatial experiences,” the studio added.

      Woven lampshades help softly filter light
      Furniture is kept simple throughout, with cool colours and curved bodies that complement the form of the building.

      Cavernous brick vaults define Jingdezhen Imperial Kiln Museum in China

      These are teamed with large woven lampshades that softly light the room, alongside art-deco style partitions that were used to loosely divide the space.

      Furniture is kept simple throughout
      The artwork throughout the restaurant ranges from bespoke furniture to larger sculptures designed by CCD and produced by an artist called Qi Songtao.
      This includes an abstract, cloud-like piece and a metallic, woven artwork that mimics a human head.

      A cloud-like sculpture is among the featured artwork
      Elsewhere in China, Studio Zhu-Pei also created a series of sweeping, red-brick structures to house the Jingdezhen Imperial Kiln Museum.
      Located in the city of Jingdezhen, the museum’s cavernous buildings are all unique in size and are designed to recall the forms of traditional brick kilns.

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