Located in a region marked by diversity and in constant development and movement, the bar emerges as an urban breather, for lovers of art, drinks, cuisine and architecture. Space is shaped and designed with the collective concept, in which different sensory experiences are shared. It’s an invitation to pause and reconnect amid the daily rush within a big city.
The design came from an old building that once had uses as a residence, music studio and law firm, until the current owners opted for a bar. As the structure was of self-supporting blocks, for the new openings and connections of the environments, metallic reinforcements were needed to expand the spaces. From this party we use metal as the design of the environments, designing from tables, chairs, doors and decoration.
In Chengdu, a capital city in the southwestern China known for its laid-back lifestyle, there is such a cocktail R&D workshop & bar. The client’s emotional preference and rich experiences as a bartender convince the designer to create a novel project, in which the place is converted from an innovative cocktail workshop to a cozy and styled bar according to time shift in a day.
Salvatore Massone’s architectural firm signs the project CaBarET, a new pastry bistro located in the Isola Garibaldi neighborhood in Milan.
The project focuses on a careful study of space and its valorization through heterogeneous architectural and furniture elements with a specific formal and functional identity.
As in the case of a tray of diverse pastries, the so-called cabaret, these elements are held all together within the 100sqm area by the pattern of the floor and its projection on the ceiling. The red resin, combined with dark base marble grit, distinguishes the working area from the area for the public. Similarly, the red resin ceiling and the dark joists exploit two different types of light: a more technical and precise one above the operational area and a more diffused and mood lighting over the tables to illuminate the two distinct sectors of the bistrot.
Fans of the carefully curated Foodhallen venues will be no doubt excited about the latest location opening its doors this autumn in Den Haag. After two intensely popular food courts in Amsterdam and Rotterdam, the most recent venue is located within Haagsche Bluf – a hidden away area of luxury shops and contrasting architectural styles. With an interior designed by Studio Modijefsky, the brand-new hall is a vibrant space to enjoy local people and flavours.
The West Bund Museum is a new art gallery on the Shanghai Corniche, an 8.5 kilometre frontage on the northern bank of the Huangpu River. The promenade connects the Xuhui district to the historic Bund and forms a key part of the West Bund Masterplan, which envisages a new cultural district over nine square kilometres of former industrial land.
The museum occupies a triangular plot at the northernmost tip of a new public park, at the point where Longteng Avenue and the river converge. A raised public esplanade above the flood plain surrounds the building, offering views to the river. The edge of the esplanade on the east side is delineated by a continuous series of steps with landing stages leading to the riverbank. The site offered the opportunity to create a completely freestanding structure and its location allowed for improved access to both the river and the park.
Located in Shanghai Jing An Kerry Centre, Heytea stands as the first F&B along the leisure street between the mall’s south-north connection, covered with a double height curtain wall and outdoor seating area along the sidewalk.
The former shop window facade system is replaced by an open and interactive interface that blurs inner and outer space. Sliding doors, double-sided seating, along with a recessed quick-resting place on the main facade, each part of the facade is made to maximise space utility, which also enriches streetscape activity and brand influence.
Oficina Bravo and Design Systems International collaborated to bring new life to a venue that had historically been home to several clubs already. The ambition was to create a both sophisticated and low-tech aesthetic that, while maximizing the use of the space, was able to project a recognizable identity and attract the public nightly from Wednesday through Saturday.
The project utilized principles that were applied consistently throughout the space to give it a unique and recognizable character: using exclusively amber color for lighting, a custom low-resolution LED screen system with a custom variable width typeface setup, and the uniform floor-to-ceiling application of color.
I designed a long counter table around an open kitchen, inspired by Japanese Sushi/Teppan-yaki counter, giving diners a front-row view of all the chefʼs activities. It is like a theater, and I named it “TEATRO” that means “theater” in Italian. I designed indirect lighting with a steel grid over the counter table, so the lighting shines onto the basement floor like sunshine. A wall of steel shelves between the restaurant and the bar sometimes interrupts and sometimes passes the view to each diner, so the wall forms a tie, whilst cutting space. I tried to design a pleasing space where elegance and relaxation come together well, by using some materials which are rustic but also elegant and simple in design.
Take one imposing building, consisting of three separate areas, serving a very diverse clientele, and turn it into one giant living area that caters to the need of all. That, in a nutshell, was the challenge in renovating Amsterdam’s Hotel Casa.
Founded in the late 1950s to help solve the housing shortage for students, Casa has always been a hybrid of sorts, serving as the (temporary) home of hotel guests, locals, student residents and people attending a board meeting or conference. In 2010 Casa moved to a new building but the concept stayed the same. Recent plans to renovate and modernise the convention center turned into a complete overhaul of both public and conference areas.
In the new design connectivity was key. There’s one central space for all visitors to enjoy. The focus lies less on specific functions like bar, restaurant or check-in area.
The Hotel Bostalsee occupies an advantageous position in its natural surroundings, overlooking a serene lake from a wooded promontory. GRAFT’s design aims to build on and enrich the character of the location.
The building figure is a product of the surrounding topography. The hotel connects the realm of the wood with the expanse of the lake, mediating between the land and the water.
Guests arrive at the hotel through oak woodland, barely seeing the lake. The path to the hotel leads on towards two green hills on which the main section of the two-storey hotel rests. The lobby is situated beneath it at the natural gap between the hills, revealing a breathtaking view over the lake as one enters. The lobby frames the sunset which in turn animates the space with the cycle of nature. An open-air terrace with fireplace offers guests an opportunity to enjoy the evening spectacle.
Location: Am Bostalsee 1, 66625 Gonnesweiler, Germany
Photography: Michael Moser, Airteam
Client: HOTELKULTUR GMBH & Co. KG
Founding Partners: Lars Krückeberg, Wolfram Putz, Thomas Willemeit
Project Lead: Arne Wegner
Project Team: Inga Anger, Marvin Bratke, Konstantin Buhr, Alexandra Bunescu, Raphael Hemmer, Johanna Kuntze, Filipa Leal de Carvalho, Christian Litz, Antonio Luque, Frank Petters, Rita D. Schult, Berta Sola, Alexandra Tobescu, Aurelius Weber, Max Wittkopp, Anna Wittwer
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