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      Studio Tarea creates “90s fever dream” inside pink Richmond eatery

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      Pink walls, carpet and upholstery define this intimate restaurant and cocktail bar in Richmond, Virginia, designed by locally based Studio Tarea.

      Pink Room was created in a former studio apartment, transformed into what Studio Tarea describes as “a 90s fever dream where you can have a cocktail made from concrete”.
      A studio apartment was transformed to create the compact Pink RoomThe team renovated the space for chef Brittanny Anderson, creating an 18-seat restaurant in which she can cook a weekly updated menu while conversing with her guests.
      “Between the short timeline, the tiny footprint, and the client’s vision of bright colors and funky textures, it was a test for us,” said studio co-founder Nolan Beck Rivera.
      The restaurant’s large windows are veiled with silver-bead curtainsWith partner Cameron Billinghurst, the studio looked to girls’ bedrooms in the 1990s that featured Spice Girls posters and fluffy bedding as primary references.

      The aim was to elevate this nostalgic aesthetic with materials including glass and polished metal to offset the bright colours and plush textures. “We found a nice balance between our modernist tastes and Brittanny’s maximalist vision,” Rivera said.
      Glass and metal tables were chosen to offset the all-pink paletteThick-piled carpet with colour-blocked patterning forms a soft covering across the floor, helping to dampen acoustic echoes
      Across the ceiling, a collage created by artist Monsieur Zohore depicts women in pop culture with food.
      Food is plated and served from a small open kitchen, from which the chef can converse with her guestsFrom the compact kitchen, food is plated and passed to a peninsula with bar seats for four, or served to the five glass and metal tables.
      Two four-tops are positioned in the centre of the room, while three two-tops share a cushioned and upholstered banquette along the wall.
      Several pop-culture references are sprinkled throughout the interiorLarge windows are veiled in silver-bead curtains that partially conceal the view from the street.
      Smoked polycarbonate sliding doors disguise the powder room, in the apartment’s former bathroom past the kitchen, where a vintage mirror hangs above basin.

      Akin Atelier designs JAM Record Bar to feel like being “inside a giant speaker”

      A trio of polished nickel sconces are mounted on the dining room wall, while three glossy ceramic pendants hang above the peninsula.
      Additional cove and under-shelf lighting glow orange and pink as the evening service draws later, adding to the experience.
      The mood is set by lighting that includes nickel-plated sconces”Part of the experience of eating there is looking around at the unique light fixtures, trying to find the hidden Miss Piggies, spotting pop-culture references,” said Rivera.
      “Obviously Brittanny’s food is the centrepiece, but the interiors really complement it.”
      The apartment bathroom was upgraded to a powder room, which includes a vintage mirrorPink in its many shades is a popular choice for restaurant decor, from Ken Fulk’s pastel-hued Swan in Miami to the bold monochrome JAM Record Bar in Sydney by Akin Atelier.
      Meanwhile, other eateries that have taken a different monochromatic approach include the all-blue Only Love Strangers in Manhattan’s Lower East Side, and the buttery yellow San Sabino the West Village.
      The photography is by Nolan Beck Rivera.

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      Claves evokes classic Parisian bistro interiors at cafe Le Cornichon

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      French design studio Claves has transformed the interior of a Paris cafe, introducing bespoke retro-style decor that mirrors the architecture of local bars and tobacconists from the 1930s to the present day.

      Claves founders Laure Gravier and Soizic Fougeront were assigned to craft a space fuelled by nostalgia and French tradition for the reopening of Le Cornichon, a contemporary neighbourhood cafe, bar and restaurant owned by Bertrand Chauveau and Paul Henri.
      Claves has redesigned a contemporary neighbourhood cafe to evoke Parisian bistros”As the owners’ aim was to create a place where people from all backgrounds could come and go from morning to night, every day of the week, the decor had to lend itself to all kinds of scenes”, the design studio told Dezeen.
      “The morning coffee while reading the paper, the business lunch, the aperitif with friends, the romantic dinner, the evening out.”
      The interior of Le Cornichon incorporates nostalgic chrome fittings and laminate detailsLe Cornichon is positioned on a corner site, its facade and architecture designed to be indistinguishable from that of a local Parisian bar or tobacconist.

      “These are highly identifiable but timeless places, which don’t refer to any particular period, or rather which cross the eras by adjusting as they go along”, said Claves.
      Touches of different period styles are reflected in the cafe’s decor. Its interior was completely redone from floor to ceiling, and Claves also redesigned the bay windows and blinds for its facade.
      A glossy lacquered wave ceiling is highlighted by painted walls with textured plasterClaves designed the cafe’s speckled mosaic flooring to reflect the typical architecture of the 1930s, while the creation of a glossy lacquered wave ceiling was a nod to 1950s Italy.
      Textured plaster was applied to painted walls to create contrast and highlight the ceiling.
      “We used the classic palette of Parisian bistros, including Bordeaux red, bottle green, cream and chrome details”, said the design studio.

      El Fant Café and Bar celebrates both traditional and contemporary Finnish design

      The counter and waiter station of the bar are covered in laminate travertine effect panels in matt red, with walnut effect worktops in gloss black.
      Le Cornichon’s bar was clad in laminate fittings reminiscent of Formica, a material invented at the beginning of the 20th century and used in many post-war bars and tobacconists.
      Neon green bar lights pay homage to the space-age design style of the 1960s”We wanted customers to feel comfortable and at home very quickly, that there would be ‘regulars’,” said Claves. “That’s why we’ve taken the codes that everyone knows and built a space that’s rhythmic, harmonious and punctuated with amusing details.”
      1980s-style mirrors and chrome rod strips, inside and on the facade, add shine and give rhythm to the space. The studio also added neon-green lights to evoke the space-age design style of the 1960s and lend a party atmosphere to the cafe.
      A decorative ‘smoke’ frieze aligns the velvet-padded banquette seating area”We also wanted to create a very cinematic space, like in Cédric Klapisch’s film Un air de famille,” explained the design studio. “This is reflected in strong markers such as the painted ‘smoke’ frieze and the fresco in the toilets.”
      The decorative frieze, which evokes wisps of smoke, was created by decorative painter Mauro Ferreira.
      Le Cornichon’s toilet displays a fresco mural paintingAccompanying laminate tables are green banquettes padded in thick velvet, which were custom-designed and produced by a Parisian workshop in the style of typical comfortable cafe bench seating.
      Wave-shaped backrests echo the ceiling design and the wisps of smoke in the frieze. Chromed steel and black artificial-leather chairs were also custom-designed and made by another local workshop.
      Numerous items were hunted down by the design studio to add a patina element to the interior, including the washbasin, mirror and bar lights.
      “The pinball machine was hired from a vintage arcade game enthusiast and the postcard holder was bought from a specialist website,” said Claves.
      Before founding Claves in 2022, Gravier and Fougeront gained experience working together over several years for French interior designer Pierre Yovanovitch.
      Other retro cafe, bar and restaurant interiors that have recently been featured in Dezeen include the Fika restaurant in Almaty, Kazakhstan, by NAAW Studio and the Sant Ambroeus Coffee Bar Aspen in Aspen, Colorado, by Giampiero Tagliaferri Studio.
      The photography is by Matteo Verzini.

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      Laurence Bonnel creates tactile restaurant interior informed by Japanese archipelago

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      Artworks are dotted throughout the interior of restaurant L’Abysse Monte Carlo in Monaco, for which its designers Laurence Bonnel and Rowin Atelier took cues from the Seto Inland Sea archipelago.

      Bonnel, who led the design and is the founder of Paris art gallery Scene Ouverte, also drew on the food served at the restaurant when creating the design.
      Headed up by chef Yannick Alléno and sushi connoisseur Yasunari Okazak, L’Abysse Monte Carlo mixes French cuisine with Japanese culinary traditions.
      L’Abysse Monte Carlo has an interior filled with artwork”The design has been inspired by the atmosphere Yannick Alléno wanted for the Abysse – precious and warm, a French vision of the way you feel in Japan,” Bonnel told Dezeen.
      “The sea, as it is a sushi restaurant, has also inspired the design,” she added.

      “Monte Carlo’s unique blend of French Riviera chic and international flair also influenced the design. I also wanted to create a sense of clarity, so upon entering, one feels immediately transported, as if stepping away from the world.”
      Pale pink chairs contrast against a dark blue rugBonnel has mixed materials including marble, travertine, wood, ceramics and velvet for the interior of the 90-square-metre restaurant, which is located inside the Hôtel Hermitage in Monte Carlo, Monaco.
      “I worked with ceramic and porcelain for their connection to Japanese ‘savoir-faire’, and the special soul they bring to a space – I’m an absolute lover of ceramics,” Bonnel explained.
      “The Versylis marble has a light grey tone with a hint of pink  – I went to choose the panels myself and it is reminiscent of a Japanese mountain drawing inside the stone,” she added. “I chose velvet fabric to bring the softness and warmth.”
      The Coral Wall installation adds texture to the spaceL’Abysse Monte Carlo’s interior also features artworks that evoke the sea, including artist William Coggin’s Coral Wall installation.
      “Art always enhances an interior, it gives life and soul to a space,” Bonnel said. “It also gives a special, sweet, warm atmosphere with a spectacular effect: you feel to be in a special place while feeling very comfortable.”
      The white ceramic wall decorations feature 3D forms that rise from the surface and resemble coral reefs, sand dunes and ocean waves.
      “The coral colour of William’s ceramic wall was the first choice, followed by the very light wood of the bar, which led me to the Versylis marble,” Bonnel said.
      An indigo rug fills the floor at L’Abysse Monte CarloBonnel worked with Rowin Atelier on a large indigo rug that covers the restaurant floor and nods to the indigo dye Ao blue, which is traditionally produced on the island of Shikoku near the Seto Sea and used for prints.
      “I wanted to retain the dark blue from the Paris location [of the hotel], so I collaborated with Rowin Atelier to incorporate this colour into the rug, creating a wave-like effect,” Bonnel explained.

      ORA utilises LA’s fallen street trees inside Uchi West Hollywood restaurant

      “The sofas, also dark blue, are part of this wave,” she added. “I chose the soft pink seats to complement the Versylis marble and add warmth.”
      The restaurant also features pieces by artists Célia Bertrand, Silver Sentimenti and Caroline Désile.
      Designer Laurence Bonnel drew on influences from France and JapanThe decision to base the restaurant on the Seto Inland Sea archipelago came about as it has a recognisable geography, which is often depicted on the Japanese prints made with dye from the Shikoku island.
      “The Seto Inland Sea, with its thousands of islands and jagged coastline, served as our inspiration,” Rowin Atelier told Dezeen.
      “Our aesthetic desire was based on Japanese prints (Ukiyo-e) and the indigo colour, combined with the region’s distinctive geography,” the studio added.
      “It is also an idea of the shore where the waves run aground. The Shikoku island is the traditional island of indigo culture.”
      Soft pink seats were chosen to add warmth to the spaceOther Japanese restaurants recently featured on Dezeen include one in Los Angeles decorated with fallen street trees and another in Paris with an interior informed by architect Frank Lloyd Wright’s designs.
      The photography is by Sébastien Veronese.

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      Locus uses recycled materials for Mexico City restaurant interior

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      Mexican design studio Locus has utilised 50 per cent recycled materials for the interiors of a Singaporean restaurant in Mexico City.

      Combining the varied flavours of Southeast Asia typical of Singapore’s cuisine, Makan serves customers within an industrial-style space in the Centro district of the Mexican capital.
      Makan occupies an industrial-style space in Mexico City’s Centro neighbourhoodDesigners Jachen Schleich and Sana Frini of Locus aimed to prioritise environmental responsibility with the project, and so used recycled materials for half of the total fit-out.
      “From the conception stage, the use of sustainable materials was prioritised, particularly the use of national white oak wood in much of the interior design,” said the studio.
      The restaurant’s open kitchen is framed by the exposed concrete structure”This choice not only highlights the natural beauty of the surroundings but also ensures proper management of natural resources, promoting environmental conservation and supporting the local industry sustainably,” the team added.

      The white oak forms counters, shelving and built-in seating throughout the space, contrasting the exposed concrete floors, columns and ceiling.
      Wooden bench seating is built around the perimeter and a circular banquette is tucked into a cornerThe restaurant has street frontage on two sides, allowing the dining area to be flooded with natural light from tall operable windows.
      This minimises the need for artificial light and air conditioning during the day, reducing electricity usage.
      Private dining rooms are concealed behind sliding paper screensFreestanding tables and chairs supplement the booth seating around the perimeter, which includes a curved unit for large parties tucked into a corner.
      Shelves above the banquettes are filled with wine bottles, glassware and other accessories, while open storage units are suspended above the two service counters.
      The private rooms feature sunken floors and bench seats, and can be opened up to one anotherAlong one side is a series of private dining spaces behind paper screens, with sunken floors and wooden bench seating.
      These rooms, which more closely reflect Asian dining traditions, can be opened up to one another via more screens,

      MYT+GLVDK creates industrial-style restaurant in Mexico City

      Behind the bar and open kitchen and across the bathroom walls, vertical timber boards are charred to a black finish.
      “This technique not only adds a visually appealing element but also ensures durability and resistance, eliminating the need for harmful chemical treatments to the environment and health,” said Locus.
      Open shelving is suspended above the bar counter as well as the open kitchen service areaPlanters large and small are peppered throughout the restaurant, adding greenery to the interior.
      Overall, the tall ceilings, large windows and open kitchen create a light and airy atmosphere, while the material add an industrial edge.
      Charred wood lines the walls in the bathroomsAs Mexico City’s food scene continues to grow, several gastro options with interesting interiors have opened over the past few months.
      These range from a boba tea shop by Worc Studio to an industrial-style restaurant by MYT+GLVDK and a tiny taqueria by RA!.
      The photography is by Rafael Gamo.
      Project credits:
      Locus team: Jachen Schleich, Sana FriniDesign team: Santiago Sitten, Ruy Berumen, Eduardo SilvaLighting: Locus x Estudio NuumbraSinks: Locus x Muebles de ConcretoChairs: Locus x Taller NacionalArt: It’s A Living, Sindrome de ClerambaultGraphic design: Foreign Policy Design

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      ORA utilises LA’s fallen street trees inside Uchi West Hollywood restaurant

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      Vertical fins of live-edge wood, which was sourced from fallen street trees, divide spaces at this Japanese restaurant in Los Angeles by local studio ORA.

      Uchi West Hollywood is the first West Coast location for chef Tyson Cole’s Austin-based chain, operated by Hai Hospitality Group.
      Fallen street trees sourced from across LA form spatial dividers through the restaurantSituated on a prominent corner along Santa Monica Boulevard, the 5,200-square-foot (483-square-metre) restaurant seats 160 covers amongst a timber-dominant interior.
      “We collaborated closely with local artists, makers and craftsmen, elevating humble natural materials to create a sense of surprise and connection to the unexpected natural beauty and spirit of our city,” said ORA founding principal Oonagh Ryan.
      Custom pieces created for the space include a sculptural light fixture by Kazuki Takizawa above the bar counterOne of the main collaborations for this project was with Angel City Lumber, which sourced wood from 25 Aleppo Pine trees that had fallen across 14 different city neighbourhoods.

      “With an average diameter of 30 inches and an average length of nine feet, nearly 26 tons of local LA trees were turned into wood for Uchi,” said the team.
      The live-edge wood boards trace sinuous lines through the space, creating more intimate seating areasThe 42 logs from these trees were cut into live-edge boards of varied lengths, and suspended vertically from the restaurant’s ceiling to form spatial dividers.
      The panels follow sinuous lines that demarcate seating areas, and are followed around the top by vertical wood bands that conceal cove lighting designed by Dot Dash.
      Travertine is mounted behind the sushi barIn between, hand-troweled plaster across the ceiling helps to improve acoustics in the space.
      Meanwhile, custom concrete planters by landscape firm SBLA run underneath the dividers and extend out to a patio with further dining space.
      Light boxes above the banquettes create silhouettes of the decorative objects displayed in frontThe remainder of the earth-toned material palette is dominated by woods such as white oak and walnut, complemented by upholstery from Maharam, Knoll and Carol Leather.
      At the perimeter, bespoke booth seating by ORA is placed below glowing light boxes that create silhouettes of decorative objects displayed on shelves in front.

      Stitched brick wall welcomes guests to Uchi Miami restaurant by Michael Hsu

      Striations in travertine panels mounted behind both the sushi bar and drinks bar are accentuated by thin metal shelves for storing dishes and bottles respectively.
      Also in the bar area, a custom sculptural light fixture created by LA artist Kazuki Takizawa to evoke cherry blossoms hangs above the end of the stone counter.
      Custom concrete planters below the wooden board dividers extend out to the patio dining areaBoth the solid white oak and brass bar stools by Lawson-Fenning and the handmade ceramic lamps by Ceramicah were made locally.
      Other California-based artists represented in the space include Liisa Liiva, Molly Haynes, Rajiv Khilnani and Rachel Duvall.
      The corridor to the bathrooms is lined with thin wooden stripsThe bathrooms are reached via a corridor lined with thin vertical wooden strips, and are themselves clad in dark grey tiles.
      Uchi – which means “house” in Japanese – also has locations in Austin, Miami, Dallas and Denver, while its sister brand Uchiko has an outpost in Houston designed by Michael Hsu.
      The photography is by Eric Staudenmaier.
      Project credits:
      Architect: ORAInterior design: ORAFurniture and accessories: Hai Hospitality and ORALighting: Dot DashLandscape: Stephen Billings Landscape ArchitectsStructural: Nous EngineeringMechanical: Engineered SolutionsElectrical: TEK Engineering GroupFoodservice design: MyersContractor: Build GroupLumber shop: Angel City LumberMillwork fabricator: Architectural Woodwork of Montana

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      Hallmarks of British pubs and French brasseries meet in Henri restaurant interior

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      French interior designer Dorothée Meilichzon has converted the restaurant of London’s Henrietta Hotel into an homage to Parisian bistros for chef Jackson Boxer.

      Set on the ground floor of the hotel’s 19th-century townhouse in Covent Garden, Henri serves classic French dishes with a British twist – and British produce – from grilled snails on skewers to a raclette burger au poivre.
      Henri is the restaurant of London boutique hotel HenriettaThe mishmash of influences in Boxer’s cooking is also reflected in Meilichzon’s interiors, where art nouveau details rub shoulders with the oakwood panelling and leather upholstery found in London’s public houses.
      “We have designed an interior that mixes the relaxed style of a traditional British pub with the elegance of a typical French brasserie,” the designer told Dezeen.
      The interior merges typical features of pubs and brasseriesGuests enter the restaurant via an informal bar area, where snacks and aperitifs are served on red Coralito marble counters.

      Bulbous brass lights and table lamps with scalloped shades informed by plum blossoms provide points of brightness in the dimly lit interior, chosen as a tribute to Covent Garden’s former life as a fruit and vegetable market.
      Meilichzon created custom seating banquettes for the restaurantForest-green paint adds to the cosy pub atmosphere, together with the dark timber wainscoting and the bar with its leather-upholstered stools.
      The entrance also introduces Belle Epoque details such as spherical lights and gridded mirrored panels to create a sense of continuity with the main dining room.

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      “We have used some art nouveau elements typical in a brasserie: the detail on the arms of the banquettes, frosted glass globes, Thonet chairs and bespoke organic suspensions,” Meilichzon said.
      Despite the restaurant’s small footprint, Meilichzon managed to squeeze in several banquettes with decoratively curved backrests and hidden cutlery storage, designed bespoke for the interior.
      The benches are finished in velvet and leatherNear the entrance, there are smaller booths upholstered in duck-egg blue leather and velvet, with a lacquered frame in a darker midnight hue.
      But as the space widens towards the open kitchen at the back, the palette becomes warmer and cosier with terracotta wall tiles and larger banquettes for sharing, finished in rust-coloured velvet with glossy red arms and backrests.
      The restaurant’s existing ceiling murals were retainedAccompanied by classic bentwood bistro chairs from Thonet, Henri’s marble-topped tables with their dramatic skirts were also custom-made for the restaurant.
      Ornamentation is provided by an eclectic mix of artworks and photographs, framed alongside several mirrors and blackboards listing the daily specials.
      Meilichzon also created custom marble-topped tables for the restaurantMeilichzon also retained the restaurant’s existing floral ceiling murals, hand-painted on-site by French artists, that provide a counterweight to the rigid grid of the honeycomb parquet flooring.
      Henri is the latest in a long line of collaborations between Meilichzon and the Experimental Group, a French hospitality group for which she has also designed hotels in Venice, Ibiza, Biarritz and the Cotswolds.
      The photography is by WeTheFoodSnobs.

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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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