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      Tutto Bene balances steel and mirrors with wood and leather in Nightingale restaurant

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      Design studio Tutto Bene drew on “the sombre elegance of theatre and museum lobby cafes” when creating the interiors for the Nightingale restaurant in London.

      The 60-square-metre space, which opens to a courtyard in London’s Mayfair neighbourhood, references Viennese coffee houses, known locally as Kaffeehäuser.
      “We thought London is missing spaces with the atmosphere that we know Kaffeehäuser for,” Tutto Bene co-founder Oskar Kohnen told Dezeen.
      Nightingale’s interior draws on Vienna’s coffee housesNightingale’s “stage-like” dining room was also informed by “the sombre elegance of theatre and museum lobby cafes”, Kohnen said.
      “Nightingale’s sloped ceiling, abundant drops of fabric curtains, as well as the curtain-like wall panelling play on this idea,” he explained.

      The restaurant has a colour palette that emphasises green and cream colours, with a floor made of cement tiles in various green hues.
      A pale green floor contrasts with white wallsCream-coloured walls and curtains contrast against silvery details, with a monolithic stainless-steel bar functioning as the room’s centrepiece.
      “The courtyard plant life suggested the green colour,” studio co-founder Felizia Berchtold told Dezeen.
      “Based on this we added light and shadow through layers of black and white,” she added. “The surfaces interacting with the daylight create an abundance of hues in an overall calm tonality. It’s simple but dramatic.”
      Tutto Bene added a stainless-steel counter as a centrepieceMirrored, tiled columns add to the theatrical feel of the space, for which Berchtold also designed the sculptural Satellite Pendant, a spinning chandelier.
      It was manufactured by the Austrian brand Kalmar, which has a history of designing lights for Viennese coffee houses, and features pleated cream lampshades that orbit around a steel axis.

      Tutto Bene references Streamline Moderne in tiny New York eyewear store

      “I initially drew the lamp during my travels in Japan last spring,” Berchtold said.
      “It was inspired by paintings of sea roses and the craft of fan making, as well as ideas around motion and dance. We developed the design together throughout the year.”
      Felizia Berchtold designed the Satellite Pendant lamp for the restaurantKalmar’s vintage glass scones decorate the mirrored glass columns, while Tutto Bene’s angular Sketch lamp sits on the wait station and its round Oblo lights can be found on the ridged walls.
      The studio also worked with a variety of materials to give the space a tactile feel.
      Nightingale features tables made from burl wood and stainless steel, which was also used for the bar and as a detail on the wait station, where it contrasts against swathes of cream cloth.
      The studio also designed the furniture for the spaceTutto Bene’s Cafe Chair, made from stained wood and saddle leather, was used for seating along with wooden benches in the same style.
      “The material palette balances crisp and formal materials such as steel and tiles with texture and playful warmth, resembled in the ever-changing drapes of fabric, the burl wood tables and saddle leather chairs,” Berchtold said.
      Tutto Bene recently created a Streamline Moderne-informed New York store for eyewear brand Cubitts. Also in Mayfair, design studio Pirajean Lees designed an Arts-and-Crafts inspired restaurant called 20 Berkeley.
      The photography is by Ludovic Balay.

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      GRT Architects creates buttery yellow interior for San Sabino restaurant

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      Yellow hues make for a sunny environment inside this restaurant in New York’s West Village, designed by Brooklyn-based studio GRT Architects.

      For San Sabino, GRT Architects once again teamed up with chefs Angie Rito and Scott Tacinelli, with whom they worked on the neighbouring Don Angie restaurant.
      San Sabino’s historic facade was restored and painted pale grey to constrast the yellow interiorWith a very different menu and aesthetic, the new space is typified by buttery yellow interiors that contrast its pale grey facade.
      Both restaurants occupy the same wedge-shaped building on Greenwich Avenue, in what used to be a trio of retail spaces with “diminutive storefronts”.
      An interior wall was partially removed to connect the bar and dining areasThe facades were restored and windows were uncovered, returning the historic corner to its former glory.

      “Under many layers of paint and filler we found the original storefronts clad in copper sheet that seemed only better for neglect with a charming verdigris and patina,” said GRT Architects.
      A stainless steel ribbon above the bar fronts the lower connects and connects through to the dining spaceInside, a thick brick wall was partially removed to unify the spaces, while still visually separating the bar area from the main dining zone.
      A ribbon of stainless steel above the bar wraps around to connect the two, with custom polished brass sconces affixed at intervals onto the undulating surface.
      Ribbed leather banquettes and custom light boxes creates intimate moments”This horizontality is reprised at the bar with a shapely solid pewter rail, echoed by stainless nosings set into the bar die,” GRT Architects said.
      Low-slung ribbed banquettes covered in warm caramel-hued leather surround the perimeter, notably below a mirrored side wall with light boxes installed between the reflective panels.

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      Mottled grey stone floor tiles are patterned with smaller, glossy yellow circles and squares, riffing on a classic carreaux d’octagones pattern.
      The handmade yellow tiles were also installed behind the bar, while the ceilings are padded and upholstered to help with acoustics.
      The sunny daytime mood becomes more sophisticated at night thanks to the lighting scheme”Naturally this was an excuse to play with pattern and texture,” said the team. “The dining room features a winking vermiculated print while the bar tips luxe with a woven jacquard.”
      Overall, the vibrant color scheme and the cool metal tones come together to create a playful yet sophisticated dining environment, which shifts dramatically from day to night and reflects the spins on the Southern Italian cuisine served.
      The warmth of the yellow tones contrasts the cool metals to create a playful aestheticGRT Architects was founded by Tal Schori and Rustam-Marc Mehta in 2014, and over the past decade has built up a portfolio of projects in New York City.
      Among these are several Manhattan restaurants, including the similarly sunny Cucina Alba in Chelsea and the maximalist Bad Roman on Columbus Circle.
      The daytime photography is by Nicole Franzen. The nighttime photography is by Alice Gao.

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      Lanterns dangle through hole between floors in “UK’s most expensive steak” restaurant

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      Interiors studio Rosendale Design used paper pendants to illuminate hand-painted red-and-gold walls in the first overseas outpost of Japanese steakhouse Aragawa in London.

      Set across two floors in a Mayfair townhouse, the restaurant is widely credited as serving the “UK’s most expensive steak” – a £900 cut of wagyu beef from Shiga prefecture.
      Rosendale Design created the interiors for a Japanese steakhouse in MayfairCharacterised by a rich palette of deep reds, golds and dark woods, the interior of the steakhouse was “heavily influenced by traditional Japanese architecture and design”, Rosendale Design founder Dale Atkinson told Dezeen.
      “We gave it a contemporary twist in a subtle way so it didn’t become kitsch,” he said.
      Pendant lights dangle through a void between the ground floor and basementUpon entering Aragawa, visitors pass through an archway that frames a wood-panelled reception area painted in pale green.

      From here, a corridor leads past a wine display cabinet that wraps around the back wall with skylights providing natural illumination.
      A private dining room with seats for 12 guests is accessed through glass and wood doors, with a slatted wooden screen partially obstructing the view into the space.
      A Japanese kiln is surrounded by blue tiles in the kitchenPendant lamps that take cues from traditional Japanese paper lanterns hang through a mirror-lined void between the ground floor and the basement, providing views of the main restaurant below.
      “The lanterns are one of the key features that are first experienced at ground level but drop down through the opening in the floor and are then a prevalent feature in the main dining room,” said Atkinson.
      “We looked at traditional Japanese lanterns and gave it a bit of a contemporary twist.”
      More lanterns hang from the latticed ceiling in the dining roomStairs lead down to the restaurant past an open kitchen, divided from the seating area via an uplit rough-textured counter.
      Cornflower-blue tiles clad the walls in the kitchen, where Rosendale Design installed a Japanese kiln.

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      Used to prepare Aragawa’s speciality, Japanese Kobe beef, the kiln was modelled on the model found in the original Aragawa restaurant in Tokyo, which opened in 1967 and became known as one of the priciest steak houses in the world.
      “The feature kiln is the main connection between the restaurants in Tokyo and London,” said Atkinson.
      “We worked with a local manufacturer to copy as best we could the kiln in Tokyo but dress it in a way that matches the London design ethos.”
      Hand-painted red-and-gold panels line the walls of the dining spaceMore lanterns are suspended from the dark wood lattice ceiling in the primary dining space.
      “The feature ceiling is referencing traditional Japanese castles,” explained Atkinson.
      Soft lighting illuminates the red-and-gold panels that line the walls of the dining area, hand-painted with patterns derived from Nishijin silk kimonos.
      Rosendale Design opted for crimson-red velvet-lined seatingThe red colour palette is continued in the red velvet-lined seating, contrasting against white tablecloths.
      “We made sure to play with the saturation of colours to make it more dramatic and romantic,” said Atkinson.
      Other Japanese restaurants recently featured on Dezeen include a noodle restaurant in a century-old townhouse in Kyoto and a restaurant in Alberta that combines Japanese psychedelia and cabins.
      The photography is by Justin De Souza.

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

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      Paris-based restaurant group Daroco has opened a London outpost with mirrored, curving interiors designed by French architect Olivier Delannoy.

      Delannoy, who has worked on Daroco’s previous projects, reproduced the mirrored ceiling from its two Paris restaurants for the Daroco’s latest location in Soho.
      “Though the layout maintains an orderly appearance, the reflection of the mirror creates an anarchic, enchanted dimension to the space,” he told Dezeen.
      The restaurant ceiling is covered with a large mirrorA wide range of designer lighting was placed throughout the restaurant, with arm wall-mounted lights by Penta, flower-shaped wall-mounted lights by Leucos and suspended glowing discs by DCW Édition. Together they were placed to create a softly lit interior that complements the mirrored ceiling.
      “We approached this project with the aim of mirroring an English garden,” Delannoy explained. “In evoking the garden, the lighting fixtures were inspired by plant motifs such as flowers, water plant stems and tree branches.”

      “The curved resin light tubes were designed to resemble the stem of a phosphorescent water plant,” he continued.
      Suspended glowing discs by DCW Édition illuminate the dining space

      The English garden concept was extended to other design elements such as a large pizza oven covered in blue butterflies and the flooring.
      “We designed the floor to be inspired by the undulation of the first raindrops on a landscaped pond,” said Delannoy.

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      Within the restaurant’s dining areas Delannoy used a diverse range of materials with marble and wooden table tops paired with crushed-velvet seats.
      The colour composition of the fabric used on the seating is intended to “evoke the flowers, earth and vegetation of the water’s edge”.
      A large pizza oven is decorated with blue ceramic butterflies
      Delannoy also drew inspiration from the Italian Renaissance for the restaurant, which serves Italian food.
      The mirrored ceiling bounces light around the interior and creates the illusion of a larger space, “such as that of a renaissance hall,” he said.
      Visitors are met with brass arches informed by the structure of Florence’s basilicas and a large counter that directly references the Baldachin – a large bronze canopy in St Peter’s, Vatican City.
      Looping acrylic light tubes and brass arches conjure evokeDelannoy co-founded Reinh Agency in 2016 and its completed projects include a Parisian cocktail bar and a restaurant in a former Belgian brewery warehouse.
      Other restaurant interiors recently featured on Dezeen include a pizzeria in a Finnish ski-resort,  a |cathedral of fried chicken” and an art-deco informed restaurant in New York.
      The photography is by Julie Spicy.

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      Ivy Studio combines retro colours at Ottawa restaurant Buvette Daphnée

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      The colorful retro diners of Quebec influenced the interiors of this restaurant in Ottawa, designed by Montreal-based Ivy Studio.

      Buvette Daphnée wine bar and fine dining restaurant sits in a 1,500-square-foot commercial space within an old industrial building in the city’s historic ByWard Market district.
      The Buvette Daphnée restaurant in Ottawa’s ByWard Market district takes cues from colourful retro diners”The establishment, led by a head chef with deep roots in Quebec and years of experience in Ottawa, aims to showcase a blend of both cultures through the eyes of a nostalgic francophone residing in the country’s capital,” said Ivy Studio.
      The studio therefore looked to Montreal’s vibrant retro diners for design references, pairing a caramel, brown and cream palette with contrasting blue and burnt orange accents.
      The restaurant is divided into two areas, including a space with lower ceilings on one side of the entranceHighly visible from the street, the dining area at the front is divided into two main sections.

      A lower, more intimate space with eight-foot ceilings is to the right of the entrance, while a loftier 15-foot-high space where the open kitchen, a 36-foot-long U-shaped bar and high-top counters can be found to the left.
      Exposed brickwork, natural walnut and cognac-toned upholstery all feature in the restaurantIn the taller portion, the ceilings are painted black to obscure the extra height and the walls are clad in cream-coloured, v-board panelling that continues overhead in the lower area.
      Both the bar stools and the semi-circular seats tucked into tambour-lined booths are wrapped in blue velvet, while vintage dining chairs feature orange seats and banquettes are cognac and chocolate-toned.
      Semi-circular booths with blue velvet seats are lined with tambour panellingNatural walnut was used for the majority of the millwork, and portions of the building’s original brickwork were left exposed.
      In front of the entrance, a lacquered server station with a pill-shaped plan and tiered shelves draws the eye to the restaurant’s centre.

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      “To tie everything together, a vibrant custom-designed mosaic with the main colours covers the entire restaurant floor,” Ivy Studio said.
      “Various light fixtures in the space each tell their own story,” added the team, which installed a 30-foot-long bespoke tubular piece by Montreal-based Hamster above the bar.
      A burnt orange host stand catches the eye, while mosaic floor tiles combine all of the hues used across the interiorMeanwhile, frosted globe-shaped pendants that are recycled by Studio Botté from Montreal’s 1960s street lamps hang from the black ceiling.
      “Much like its celebrated menu based on locally grown ingredients, Buvette Daphnée’s design offers Ottawa an authentic taste of Montreal’s rich culinary culture,” the studio concluded.
      Bespoke lighting fixtures created for the space include a tubular design by Hamster that follows the shape of the barIvy Studio has completed several restaurant interiors in its home city of Montreal, including the recently completed Middle Eastern eatery Hayat, which features a colour palette based on “the earthy tones of the Syrian deserts”.
      Earlier examples range from Piatti, an Italian spot that the studio renovated after fire damage, to the tropical-themed Jack Rose in a former auto body shop.
      The photography is by Alex Lesage.

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      Woods Bagot designs art deco-informed restaurant at Rockefeller Center

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      Dim lighting and dark tones define the interiors of the second Smith & Mills restaurant in New York, recently completed by architecture studio Woods Bagot.

      Situated in New York’s Rockefeller Center, the restaurant’s interiors were designed by Woods Bagot in collaboration with New York City-based hospitality management consultancy Neighborhood Projects.
      To enter the space, guests walk through a snug hallway covered with vintage elevator-cab panels.
      Architecture studio Woods Bagot has completed the Smith & Mills restaurant in New York”It was very important to us that we created a transition zone off the concourse before you enter the main dining room,” explained Wood Bagot’s Krista Ninivaggi.
      “This would act as a buffer to feel the buzz of the heart of Rock Center diminish, and then be enveloped in our warm amber glow.”

      “We achieved this by using old wrought iron elevator cab screens to partition off the entry and lowering the ceiling for a classic design move of compression before being ‘released’ into the carefully crafted atmosphere of the restaurant,” she continued.
      To enter the space, guests walk through a hallway covered with vintage elevator-cab panelsColumns clad in zellige tiles and mirrors divide the space, while antique-style mirrors on the walls and reclaimed wood panelling were used to create a vintage feel in the restaurant, which is the second Smith & Mills to open in the city.
      “We used the reclaimed panelling and zellige tile to ‘paint’ all of the wall surfaces,” Ninivaggi explained. “We alternated them in key locations by deciding what should feel ‘warm’ with the wood or ‘hard’ with the tile.”
      An oval bar made of zinc and walnut is also featuredAn oval bar made of zinc and walnut, which sits on a tiled black stone floor, functions as the restaurant’s focal point.
      In the dining area, the studio chose banquette seating dressed in oxblood velvet in a nod to the restaurant’s original location in New York’s Tribeca neighbourhood. Marble tables with brass accents and bistro chairs complement the design.
      Banquette seating in the restaurant is dressed in oxblood velvetThe interior of the restaurant’s private dining room features a transition from handmade red zellige tiles sourced from Morocco on one wall to a botanical print wall covering above.
      Lighting fixtures, such as pendants and sconces, cast ambient lighting throughout the space. Artwork by Ukrainian artist Yelena Yemchuk hangs on the walls.

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      “The lighting was very carefully considered both in its design and light quality, to give the appropriate hue to the space,” Neighborhood Projects’ Matt Abramcyk told Dezeen.
      “We went so far as to undertake tests to find the right vinyl to veil the light from the concourse to give a warm backdrop,” he continued.
      Pendants and sconces provide ambient lighting throughout the spaceThe location of the new restaurant also had a big influence on the design.
      “At both locations, Smith & Mills strives for simple, rustic design, with materials that nod to the past,” Abramcyk concluded. “Because of the new location’s iconic surroundings, the Rockefeller Center design also nods to art deco, in particular.”
      Other restaurant interiors recently featured on Dezeeen include a Korean fried chicken restaurant in New York designed by Rockwell Group and a cocktail lounge in Las Vegas created by musician Bruno Mars in collaboration with design studio Yabu Pushelberg.

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      MYT+GLVDK creates industrial-style restaurant in Mexico City

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      Mexico City studio MYT+GLVDK has designed a fast-casual restaurant where exposed concrete walls are covered in wavy green metal mesh.

      The office led by Andrés Mier y Terán and Regina Galvanduque completed both the architectural and graphic identities for Órale Milanga, located in the city’s upscale Polanco neighbourhood.
      The Órale Milanga restaurant is designed to have a relaxed atmosphere, which is channelled through both its interiors and brandingThe restaurant celebrates the “comforting and beloved” dish, the Milanese – which many countries claim to have birthed – in a new concept by Venezuelan chef Jorge Udelman.
      “Órale Milanga proposes a fast casual concept that invites you on a journey through Milanese, the main character of a single-item menu that honours different culinary traditions with a variety of ingredients and preparations,” said MYT+GLVDK.
      Olive green accents are a common theme, found in metal-mesh wall panels and seating upholsteryFor the interiors, the multidisciplinary studio overlaid the original exposed concrete walls with panels of wavy, olive-green mesh within metal frames in the same hue.

      Mirrors also fill a row of the wall-mounted frames, creating the impression of more space for the narrow footprint.
      Tubular-steel stools accompany the pale wood bar counterSimilar framework forms a tall, open shelving unit on the other side of the restaurant, partially concealing a green staircase that leads up to additional seating on a mezzanine level.
      “The presence of the green tones, as well as the wood and ironwork accents, evoke the classic neighbourhood cafes and bars in Milan,” the studio said.
      A green metal framework forms an open shelving system that partially conceals a staircasePale wood shelves display Órale Milanga’s branded products that include take-out boxes, mugs, canned goods and glass water bottles.
      Diners are encouraged to eat at either formica-topped tables or a pale wood bar counter, both of which keep the atmosphere in the space light and bright.

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      Modernist-style tubular steel chairs have seats and cylindrical backs wrapped in beige and olive leather, matching the built-in seating.
      Warm LED lighting is emitted from glass diffusers, linked in pairs on curved brass rods that attach to the metal frames.
      The restaurant’s graphic identity features chunky typography, which is applied to signage and branded paraphernaliaThe restaurant’s laid-back spirit is reflected in its graphic identity, which features yellow and green tones “that communicate the naturalness and joy of the atmosphere… as well as the ingredients used in the kitchen” according to MYT+GLVDK.
      Along with bold colours and chunky typography, the branding also features an illustrated group of characters and expressive lines.
      “The branding proposal confirms Órale Milanga as a democratic, open and unpretentious space, where enjoying and sharing are the only premises,” the studio said.
      Órale Milanga is located in Mexico City’s Polanco neighbourhoodMier y Terán and Galvanduque founded their studio in the Mexican capital in 2015, offering architecture, industrial design and branding concepts and execution.
      The team has previously completed a food court inside a Mexico City shopping mall with elements that take cues from Japanese and Mexican design traditions.
      The photography is courtesy of MYT+GLVDK and Órale Milanga.

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      Rockwell Group creates “the cathedral of fried chicken” for New York restaurant

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      Arches of light warmly illuminate this Korean fried chicken restaurant in New York’s Flatiron district, designed by Rockwell Group.

      Coqodaq is the brainchild of restauranteur Simon Kim’s Gracious Hospitality Management, the group behind the Michelin-starred and James Beard-nominated COTE Korean Steakhouse.
      At Cododaq, glass and bronze modules form arches of light over dinersThe new restaurant offers an elevated take on traditional Korean-style fried chicken, encouraging diners to indulge in nuggets topped with caviar and to pair its “bucket” dishes with champagne.
      “Designed by Rockwell Group as ‘the cathedral of fried chicken’, the restaurant design delivers a daring, yet refined dining experience that skillfully integrates Korean and American influences, placing them at the forefront of this enticing culinary adventure,” said the restaurant team.
      The restaurant’s moody material palette and warm lighting set the tone for an elevated take on Korean fried chickenTo create the right atmosphere for this experience, Rockwell Group opted for a dark and moody interior of rich materials and low, warm lighting.

      “Our goal was to capture the essence of this unique concept and innovative approach to fried chicken and translate it into a memorable dining experience,” said founder David Rockwell.
      Plaster wall panels feature a crackled effect akin to fried chicken skinUpon entry, guests are invited to wash their hands in leathered soapstone basins, above which a row of pill-shaped light bands glow within a bronzed mirror that also wraps onto the side walls.
      Past the host stand, an area with four high-top tables offers a space reserved for walk-ins in front of garage-style windows.
      The long bar is topped with black soapstone and fronted with tambour woodThe main dining area is formed by a series of green leather and dark walnut booths on either side of a central walkway.
      A series of illuminated arches soar overhead, formed from rippled glass and bronze modules that resemble bubbling oil in a deep-fat fryer.
      The restaurant’s extensive champagne collection is displayed in glass cases with bubble-like lightingAt the end of this procession, a mirrored wall reflects glowing arches and creates the illusion of doubled space. Meanwhile, plaster wall panels feature a crackled effect, nodding to the crispy skin of the fried chicken.
      “The material palette was driven by a desire to surround diners in an envelope of warmth, creating a joyful place to be at any time,” Rockwell said.
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      Additional booth seating to one side is followed by the long bar, topped with black soapstone, fronted by tambour wood and backed by a luminous black liquor shelf.
      The restaurant’s extensive champagne collection – which it claims is the largest in America – is displayed inside glass cabinets installed with globe-shaped lights that look like giant bubbles.
      At the front of the restaurant is an area with high-top tables reserved for walk-in diners”Simon and I share the belief that the most important thing about restaurants is how they ritualise coming together for a shared, celebratory experience and Coqodaq provides the perfect template for that,” said Rockwell.
      Since Tony Award-winning designer founded his eponymous firm in New York 40 years ago, the studio has grown to a 250-person operation with additional offices in Los Angeles and Madrid.
      Upon arrival, guests are encouraged to wash their hands in leathered soapstone basinsAmong Rockwell Group’s recent hospitality projects are the Metropolis restaurant and lobby spaces at the Perelman Arts Center (PAC NYC) and Zaytina inside the Ritz-Carlton Hotel.
      We’ve featured a few fried chicken restaurants recently, including a 1960s-influenced spot in Los Angeles and a neon-illuminated eatery in Calgary.
      The photography is by Jason Varney.

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