Goat Town, in East Village, New York is meant to be an ‘elevated everyday American bistro’ according to owner Nicholas Morgenstern. Brothers Evan and Oliver Haslegave of Home is responsible for the interior that is filled with reclaimed industrial pieces. While the use of white subway tiles is by no means unusual, the designers used them in a surprising way – tiling the banquette seating. This detail adds a hint of glimmer to the monochrome space that contrasts dark wood and rusty steel with light walls and floors. Details like salvaged signage and decorative ceiling panels complete the aged appearance of the space.
Charred timber and shiny copper accents characterise Ubon, a Thai bistro in Kuwait. The restaurant, designed by architect Rashed Alfoudari, seamlessly integrates the interior with the existing structure of the space, making use of a reserved palette of colours to create a bistro space with an Asian feel. The golden copper, used on the walls and insides of lamps is a nod to Thai ornamentation and adds interest to the subdued hues of the walls and exposed concrete floors and ceilings. A darkened mirror separates the dining space from the service spaces, subtly making the space seem larger. Visual continuity is maintained throughout the space and continued into the restroom where the texture of the wood grain is imprinted on the concrete walls.
(Images via Aome)
The Exchange, a brand new Amsterdam hotel located on the Damrak, one of the liveliest and oldest streets of Amsterdam, has a special love of fashion. The hotel was developed in close collaboration with the Amsterdam Fashion Institute (AMFI) and is part of ‘The Red Carpet’, an urban-renewal project.
The hotel is spread across three buildings, one of them dating back to the 17th century, and shares the buildings with a contemporary department store, Options! and a restaurant, Stock. The project was initiated by Lloyd Hotel and Cultural Embassy with Suzanne Oxenaar and Otto Nan responsible for the concept.
Each of the 61 rooms in the hotel have been dressed up like models on a catwalk by graduates and alumni of the AMFI. The result is a mix of interior and fashion design, with each room having a distinct identity. The diverse rooms draw inspiration from the multiplicity of the neighbourhood the hotel is located in.
One New York’s more humble flatiron buildings houses Cafe Moto. The peeling paint exterior of this Williamsburg artists’ cafe can be misleading about what goes on inside; but as you enter through the rusty industrial doors the atmospheric interior seems both familiar and unsettling. Sepia tones are punctuated by shiny metal fittings and marble table tops. In the centre of the cafe sits a curving bar with taps made of repurposed bike parts – hence the name Moto. Low lighting, battered wood and antique glass ensure that the cafe has a cosy, intimate feel which is occasionaly interrupted by the faint “please stand clear of the closing doors” and rumbling of the overhead train that runs by it.
Designers Reich und Wamser have completed the interior of fashion brand Esprit’s Cologne outlet. The Lighthouse shop juxtaposes masculine and feminine elements. Exposed brickwork, timber and steel frames throughout are used throughout in contrast to softer elements like woven light fittings. Similarly gauzy curtains that conceal the fitting room at the back of the shop complement the harder materials used in the design and add a soft, feminine touch to the otherwise rigid interior. Furnishings and fittings are also more delicate: walnut tables and cabinets are used, along with clothes racks with slender profiles to display clothes and accessories. Another distinguishing feature of the space is the glazed courtyard that is naturally lit by a skylight above and filled with plants and flowers.
(Photos by Peter Janczik and Reich und Wamser.)
Capanna, an elegant new Pizzeria and Trattoria in Athens was designed by K-Studio to simulate the experience of eating outside. The adaptable facade allows the floor to ceiling windows to slide upwards and join the restaurant with the side-walk. The interior design subtly combines Italian and Greek influences to great effect: the resulting space is warm yet spacious.
The most eye catching feature of the space is the cladding of the mezzanine level: rows of narrow wooden shutters run along the side of it and then bend around its edge, continuing on the ceiling underneath. Similar to the cladding that extends from the wall to the ceiling, the geometric patterned floor tiles also extend onto the double volume side wall of the space, giving the vintage feel tiles a fresh appearance and drawing your eye upward.
Simple Scandinavian furniture and low hanging ceramic light fixtures complete the contemporary space that still manages to feel traditional.
Les Grandes Tables de L’île on the outskirts of paris could be mistaken for a greenhouse – or even a house still under construction, but it is actually a bar / restaurant conceived as a temporary meeting place while Jean Nouvel completes a museum project in the area. The restaurant is housed in a large timber ‘container’ suspended in a scaffolding frame that doubles as an events space.
The interior takes its cue from the restaurant’s temporary nature and uses simple building materials like wood in its crude form for both walls and floors, while playing with the positioning of windows and capitalising on the view it gets over the area. The restaurant will stay open for a total of two years before the entire structure is dismantled and removed, leaving the site practically untouched.
(Images via Wallpaper)
Bungalow Eight in Mumbai (not to be confused with London’s Bungalow 8 nightclub) is a beautifully curated luxury store, selling products ranging from high quality clothes to home ware. The store is spread across a three story building, designed by architect Bijoy Jain, and takes its name from the address where Maithili Ahluwalia, the owner, grew up. The spacious building has unusually high ceilings and was left mostly bare, with raw concrete and exposed trusses. The few fixtures that do adorn the space is minimal and high end, like the tube lights by Michael Anstassiades. The selection of objects on sale all originate from either India or France and are arranged in such a way that you may be mistaken for being in someone’s home.
Coin Laundry, a lovely neighbourhood cafe in Melbourne, Australia has become a favorite brunch spot among locals. The airy cafe that takes its name from the former function of the space, also kept the original signage, and used it as a basis for its interior design. The most distinctive feature of the space is the rows of tea towels draped along the ceiling with bare light bulbs dangling below. Add to this bentwood chairs, concrete floors and exposed brickwork and you have one cool cafe.
(Images via CafesPhotoBlog)
The Meat Wagon; a legendary food offer known by keen foodies and avid trend forecasters alike. The infamous burger van has globetrotted it’s way around any festival worth mentioning, spearheaded it’s own events and become synonymous with great food, delicious drinks and relentless parties. Now the legend continues, but instead of four wheels, it will be presented in a more permanent fixture.
When interior architects Shed first collaborated with the Meatailer enterprise, a design formula was created that would mean no two establishments would ever be the same; originality and nonconformity are at the heart of the Meat Wagon’s philosophy so all environments had to embody this ethos while taking on their own character.
The concept: to take an idea borne of location and environment and mince that up with the Meat Wagon’s utilitarian ‘no nonsense’ approach – all materials in their raw form, all elements explicit in their function.
Lurking beneath a car park just behind Oxford Street resided the perfect site for Meat Liquor – the Meatailer’s next venture. Previously the site of an Italian restaurant, the site was appropriately kitted out with an impressive Rococo style dome and a mass of ornate columns and architraves. So with this influence the idea came: a modern day mural to make Michelangelo weep, a ’tattoo’ that would envelop and intertwine with the obscurity of the building. A scene that would tell some of the Meat Wagon’s story so far and mutate the classical architecture into something far more appropriate to the Meat philosophy.
Shed commissioned the prolific design collective ‘I Love Dust’ to administer the monumental illustration. in just a week, a team of illustrators and graphic artists camped out on site to adorn as much visible surface as possible, with colourful tales from the Meat Wagon’s past, culminating in an extreme and almost hallucinogenic visual experience.
Red ‘liquor’ signs have been suspended in the windows to splay dull light over the dyed oxblood red, leather banquettes. Industrial cage lamps are hooked and gathered around galvanised steel hooks and suspended over blackened steel framed tables. Red cord is looped from the centre of the dome to reach salvaged industrial work lamps, positioned to highlight poignant images trapped within the trailing mural.
Industrial rubber flooring and an 8-metre long stainless steel bar with corrugated sheet façade resonate the sterility of a factory environment. Occupying the floor is a small army of vintage industrial seating, all powder coated in just two utilitarian colours. A length of ‘butchers’ curtains contains the lower level ‘Pit’; the Meat Liquor’s VIP area where guests can enjoy the thoughts of Hunter S Thompson that adorn the walls.
A project like this comes up once in a lifetime. To have a chance to push boundaries of what may be considered indecent, inappropriate and down right wrong, and to have this concept whole heartedly backed by the client is one in a million. The history of the Meat Wagon has been the driving force behind every aspect of this project but what remains now is an entirely new beast.