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      Imafuku Architects completes Dongshang bar in Beijing with bamboo surfaces

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      Canes of bamboo interlace across the ceiling to form a canopy above guests in this bar in Beijing, China designed by Imafuku Architects.Dongshang – which is shortlisted in the bar interior category of this year’s Dezeen Awards – offers an extensive menu of sake and whiskies from Japan, as well as a selection of Japanese dishes.
      When it came to designing the interiors of the bar, Imafuku Architects wanted to use a material that spoke of the bar’s Japanese menu, as well as its Chinese location – bamboo immediately came to mind.

      Bamboo lines the upper half of the corridor leading into Dongshang

      “The history of planting and using bamboo in these two countries can be traced back to ancient times,” explained the studio. “Both Chinese and Japanese people have utilized bamboo as a material for construction, furniture, containers and even art pieces.”
      “Dongshang invites guests on a story of traditional aesthetics and crafting techniques of the two countries through the contemporary reinterpretation of bamboo.”

      Centre for displaced Rohingya women built from bamboo in Bangladesh

      The studio had also become particularly inspired by the Seven Sages of the Bamboo Grove, a group of Chinese scholars, musicians and writers from the third century who would convene in a bamboo grove to escape the turmoil and corruption associated with the royal courts at the time.

      The bamboo is fixed to the walls with brass nails
      Guests are led into Dongshang through a long corridor. The bottom half of the walls here are lined with dark grey terrazzo, while thin strips of bamboo have been affixed to the upper half with brass nails.
      Some of the bamboo strips arch up and away from the wall to form a lattice across the ceiling. Spotlights have been installed directly above the latticework so that, when switched on, light dapples the surrounding surfaces much like “sunshine filtering through tree leaves”.

      A “canopy” of criss-cross bamboo canes appears in the main dining room
      The terrazzo and bamboo-strip walls continue into Donshang’s main dining space. Mushroom-coloured sofas and armchairs have been dotted throughout, arranged around square wooden tables.
      Canes of bamboo have been arranged into a criss-cross-pattern “canopy” on the ceiling, a feature that the studio hopes will lend the room a cosier and more intimate ambience.

      Mushroom-coloured furnishings have been used to dress the space
      More bamboo canes appear at the rear of the room but have been stood upright to create a fluted feature wall behind the drinks bar. Backlit liquor bottles are openly displayed on three-millimetre-thick shelves crafted from steel.
      A splash of colour is offered by the high chairs that run around the bar counter, which are upholstered in sapphire-blue velvet.

      Bamboo canes create a feature wall behind the bar
      Dongshang restaurant will compete in the 2020 Dezeen Awards against projects such as J Boroski by Atelier XY, which is decorated with over 1,000 insects, and The Berkeley Bar & Terrace by Bryan O’Sullivan Studio, which includes a cosy, pink-hued snug where guests can enjoy their cocktails.
      Photography is courtesy of Ruijing Photo.

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      DooSooGoBang restaurant in South Korea references Buddhist practices

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

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

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

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

      Various Associates designs Voisin Organique restaurant to resemble a gloomy valley

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

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

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

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

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      Outdoor dining on New York City streets becomes permanent

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

      David Rockwell unveils kit to build restaurants on streets following pandemic

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

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      Maison François brasserie in London takes cues from Ricardo Bofill's architecture

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

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

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

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

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

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

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

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

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

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

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

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      Folding polycarbonate wall reveals earthy interiors of São Paulo wellness space Dois Trópicos

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      Brazilian studio MNMA has designed a spiral concrete stair and folding polycarbonate doors in this botanical store, yoga classroom and restaurant in São Paulo.Dois Trópicos has a calming earthy palette featuring local materials and crafts that MNMA chose to complement the functions of the wellness hub.

      “The concept of the project is a hybrid space, there is no determination or boundaries. We want a space that integrates gastronomy, the practice of yoga and botany,” MNMA explained. “Where people can feel in every way the importance of spending time in the chaotic city of Sao Paulo to take care of themselves, slowly and with pleasure.”

      “A commercial space that creates a homelike hosting experience, using nostalgia and natural matter, crafted by artisan hands that desire to achieve not perfection but real environments,” it added.

      Translucent polycarbonate doors set in aluminium frames front the exterior to contrast the earthy aesthetic, and allow natural light and cross-ventilation.
      “By contrast, the facade is technological, drafted and executed with precision, thought to allow sun and wind in, to avoid artificial air conditioning systems,” the studio explained.

      “The general purpose is to create a contemporary element that, when opened, would bring back some lost time of ancient forms of construction, a slow passing of time, an earthy place… it feels like ‘home’.” the studio continued.

      Slender terracotta-coloured bricks made by local craftsmen cover the flooring and form structures for washbasins, while textured soil-based render is applied by hand to the walls throughout.

      “We don’t use conventional paint to colour the walls, we literally use earth (like clay) to give this colour, the walls and ceilings are natural earth colours, we don’t use anything chemical,” MNMA said.

      Cracked floors and weathered wood feature in minimal São Paulo shoe store

      “The soil reacts allegorically to the sunlight movement along the day, turning walls, ceilings and the floor not into limits or boundaries, but into canvases for the light to express itself gradually in various forms,” it added. “As it is possible to enjoy comfortably great and authentic food, full of flavours.”

      A spiral staircase at the entrance has a rendered banister and concrete treads with a marked underside that was built using leftover wood on the construction site. It leads up to an open studio space for yoga and massages.
      “The shape was made with materials reused from demolition,” it explained. “The experience was more important than the performance of the technique, so the drawings that are usually super strict gave voice to the empiricism of the local artisans workers,” the studio added.

      A circular door punctured in the rear wall to provides access to stairs that lead down to a restaurant on the lower level. Granite gravel is laid the floor of the outdoor areas to allow for drainage of water. A glazed roof partially covers the restaurant and bar – which is also made from the pale bricks.
      Founded by André Pepato and Mariana Schmidt, MNMA has used a similarly pared-back aesthetic for a number of spaces in São Paulo. They include a retail space for Brazilian women’s clothing store Egrey and a store for shoe company Selo.
      Photography is by Andre Klotz.

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      Remi restaurant in Berlin is defined by cherry-red joinery

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      Red-stained cabinets crafted from MDF surround the open kitchen of restaurant Remi in Berlin designed by local studio Ester Bruzkus Architekten.Remi is situated near Berlin’s Rosa-Luxemburg-Platz square and is led up by Dutch chefs Lode van Zuylen and Stijn Remi.

      This is the second restaurant that the pair have in the German capital, joining Lode & Stijn which opened its doors in 2016.

      As with their inaugural restaurant, the chefs were keen for Remi to have a pared-back aesthetic – but also wanted the space to be reminiscent of the dining spots they once frequented at home in the Netherlands.

      “For Remi, we were inspired by the grand cafes of our home, where we used to enjoy eating together,” Zuylen and Remi explained.
      “We wanted to create a place where you could meet easily, whether for reading the newspaper, a quick lunch, or an intimate dinner.”

      Local studio Ester Bruzkus Architekten was brought on board to develop the interiors of Remi, which takes over the ground floor unit of a new concrete and glass office building.
      The restaurant is anchored by an open kitchen, enclosed by a series of MDF cabinets that have been stained a deep cherry red hue.

      A handful of surfaces in the kitchen have been covered in rough grey stucco, while sheets of perforated metal have been used to conceal service ducts that sit beneath the ceiling.
      “We used architectural materials that are high in quality, carefully sourced and crafted, with rigorous attention to detail,” the studio told Dezeen, “this is the very approach to ingredients that the chefs bring to crafting a meal.”

      The same red shade of MDF has been used to make the tall gridded shelves that run along the rear wall of the restaurant, openly displaying wine bottles, glassware and jars of ingredients.
      Cherry-red MDF has then been combined with black granite to form the service counter where guests are greeted by staff before being shown to their table.

      Metal-frame dining tables with grey countertops designed bespoke by Ester Bruzkus Architekten have been dotted throughout the room.
      One long communal table where guests are encouraged to “linger all day” has also been placed beside the restaurant’s entrance.

      Berlin restaurant LA Poke takes its cues from Hockney painting A Bigger Splash

      Each table is accompanied by timber or acid-yellow chairs by Danish furnishing brand Please Wait To Be Seated. There’s additionally a couple of wooden benches with seat cushions upholstered in mustard corduroy fabric by Kvadrat.
      Red, yellow and steel editions of Muller Van Severen’s Hanging Lamps have been mounted on the restaurant’s walls as decoration. White-neon tube lights also wind and intersect across the ceiling.

      Ester Bruzkus Architekten has been established since 2002. Remi isn’t the only Berlin restaurant designed by the studio – back in 2018, it completed LA Poke.
      Taking cues from David Hockney’s 1967 painting A Bigger Splash, the eatery features vibrant pops of summery hues such as cobalt blue and sunshine yellow.
      Photography is by Robert Rieger.

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      Burnt-red tiles and hessian feature inside Dough Pizza restaurant in Perth

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      Interior design firm Ohlo Studio used materials that evoke the “rustic sophistication” of Italy to create the interiors of Dough Pizza restaurant in Perth.Dough Pizza takes over a unit of Westfield Whitford City shopping centre which lies just north of central Perth.

      Locally based Ohlo Studio was tasked with designing the interiors and set out to create an aesthetic that, like the restaurant’s name, is “timeless and no-fuss”.

      The studio also wanted the space to texturally reflect Italy and the country’s “rustic sophistication”.
      “It needed to evoke a distinct atmosphere and personality reinforcing the cultural heritage behind the food,” explained the studio.

      On one side of the restaurant, burnt-red tiles have been used to line the lower half of the wall.
      Just in front lies a seating banquette upholstered in taupe-coloured fabric, accompanied by wooden tables and white wicker dining chairs. Slim disc-like pendant lights have been suspended from the ceiling directly overhead.
      The same red tiles clad the central bar counter. It’s surrounded by wooden fold-out high chairs, where customers can sit and eat within view of the open kitchen or grab a quick drink.

      A wall on the opposite side of the restaurant has been completely lined in hessian, which extends down to cover a chunky plinth that runs in front.
      The plinth serves as a base for a series of tobacco-hued cushioned seats that can be easily pushed together or apart to suit different-sized groups of diners.

      Homely decor elements such as ceramic vases, potted plants and tiny lamps have been dotted throughout to evoke the same feel as a “neighbourhood Italian espresso bar”.
      Large photographic prints that capture scenes from sun-drenched Italian beaches have also been mounted on the walls.

      Pink marble and patchy concrete emulate ancient Rome in Melbourne’s Pentolina pasta bar

      In a bid to contrast the commercial setting of the shopping centre, the studio has applied the same selection of warm materials used inside the restaurant to its exterior.
      “The tiled bar puncturing the facade also activates the boundary and creates a playful entry,” added the studio.

      Ohlo Studio was founded by interior architect Jen Lowe and is based in Perth’s South Fremantle suburb.
      The studio’s Dough Pizza project is one of several trendy Italian eateries across Australia. Others include Glorietta by Alexander & Co, which features wooden furnishings and a caged rattan ceiling.
      There’s also Pentolina by Biasol, which has worn concrete walls and pink-marble fixtures to emulate the materiality of Ancient Rome.

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      Biasol channels 1980s nostalgia inside Melbourne restaurant Billie Buoy

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      Design studio Biasol clashed hot pink and midnight blue to form the bold interiors of this 1980s-inspired restaurant in Melbourne, Australia.Billie Buoy occupies a corner plot in Melbourne’s Essendon neighbourhood and has been designed by local studio Biasol as a “1980s character who was radical, hip and a little offbeat”.
      To capture the mood of the 1980s, the studio closely studied the era and its quirky pop culture.

      “We looked back to the days before the internet and cell phones – we dusted off our Atari and Walkman, put a John Hughes movie in the VHS, and jammed to New Order and Madonna,” said the studio.

      “The interiors and branding were developed in unison to create high impact and strengthen Billie Buoy’s appeal.”

      When it came to creating a colour palette for the 60-square-metre restaurant, the studio selected two shades that it felt were synonymous with the 1980s – blue and hot pink.
      Where possible, different textures and materials have been introduced to foster a greater sense of “depth, richness and variation”.

      Midnight-blue paint covers the walls and ceiling. The same hue of felt has been used to upholster the seating banquette that curves around the wall of the entryway and the accompanying stools.
      A mixture of navy and speckled black bricks have then been laid across the floor, while white-terrazzo dining tables inlaid with blue flecks of aggregate have been dotted throughout the dining rooms.
      A glossy, powder-blue service counter that features a bold scallop pattern has also been erected in front of the drinks bar.

      Vibrant hot-pink details come in the form of the coffee grinders and a neon text sign on the wall. A series of vaulted steel storage shelves also appear throughout the restaurant, two behind the bar and three in the entrance dining area which are used to openly display crockery.
      Doorways that lead through to the customer bathrooms and back-of-house facilities for staff are also arched in form.

      Biasol uses green tones for update of Melbourne’s Main Street cafe

      The project also saw Biasol apply midnight-blue paint across the restaurant’s exterior.
      One street-facing wall is emblazoned with the words “wake me up when I’m famous”, which the studio hopes will become a prime spot to snap photos for Instagram.

      Biasol was founded in 2012 by Jean-Pierre Biasol and works out of offices in Melbourne’s Cremorne suburb.
      Billie Buoy is one of several eateries that the studio has designed around the city of Melbourne. Others include Main Street cafe, which is decked out with monochrome tiles and deep-green furnishings, and Pentolina, a pasta bar with worn concrete walls which are meant to emulate the streets of Ancient Rome.
      Photography is by Timothy Kaye.

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