This innovative and conscious concept demonstrates the role of creatives such as BLOOM to turn a challenge of today in Southeast Asia – the plastic polluting our environment – to become a source of happiness for tomorrow – louvers for the brand-new flagship restaurant for PIZZA 4P’S.
A wooden house near the beach was renovated into the designer’s residence and workplace, as well as a curry restaurant. What I was conscious of while designing this house was about “mixed”. I proceeded with the design while paying attention to the various mixes surrounding this house, such as usage, culture and nationality, time and space, town and house, work and life. In designing, I thought that it would be possible to renew the mundane “multinational house” by understanding the roots and cultural background of my own once again and mixing the essence of foreign countries with traditional materials and techniques of this area.
Terra’s new home at Al Qana, Abu Dhabi, seamlessly translates the brand’s distinct architecture while embracing the standards of the local residents and community.
The restaurant is located in Thanh Cao, a suburban area of Hanoi, Vietnam. This is a peaceful village and people here are so close to each other.
MILK BUN Qatar designed by Rabih Geha Architects for Gastronomica is a bold way to invoke tradition and marks the company’s third outpost of its hit, tech-oriented Fast Casual concept.
In the Ötztal Valley, among the Tyrolean alps, mountain tourism has seen in the last few decades a steady-increase. Willing to sustain and further promote an all-year-round sustainable model, the Bergbahnen Sölden asked obermoser + partner architekten to extend the Gaislachkogl cable car middle station with two new restaurants.
Steki, which means ‘hangout place for friends’ in Greek, is an intimate new restaurant located on a beach in Fujairah, looking out onto the Indian Ocean in the UAE. The interior is inspired by the natural and organic forms found in marine life and the movement of water found around coastal islands.
Nestled within Pridi Banomyong neighborhood, City Fresh was a regular row house that has been transformed into a space that welcomes fruit lovers. The venue is somewhat of a destination in which groups of people with common interests can gather, exchange, and share. Space on the first level has been prepared for brief and small meetings. There are temporary seatings with a wide variety of curated fruits and fresh home-grown salads to choose from. House of Fruits incorporates different low-key transparent materials within a structure to add natural light into the space and build layers that bring about comfortable visual textures. Clear glass panels in the front interchangeably establish connection and cohesivity among the architecture and its adjacencies. Open space on the first level concurrently helps link and draw circulation from the first to the upper levels.
Light Years Asian Diner is an exploration of tonality, texture, and threshold: honest materiality and playful gradients were central in capturing the famed local personality of the restaurant, cuisine, cocktail, and waitstaff. Studio Plenty teamed up with Sarah Ellison to achieve this bold concept; an elevated departure from the restaurant’s humble beginnings.
The project is a renovation to divide a 130-year-old storehouse built in the Meiji era into a French restaurant “NIM” and a residence for the owner-chef and his family in Daishinmachi, that retains the traditional townscape of Hida Takayama. The exterior is almost untouchable because the storehouse is located in the Important Preservation District for Groups of Historical Buildings designated by Takayama City. The client asked me to take advantage of this constraint and create an interior with a worldview that would be unimaginable from the exterior. I have visited the existing storehouse without any preconceived notions or design ideas. The structure was very impressive because it was quite large for a storehouse, with a frontage of 4 spans and a girder of 8 spans and it has a rugged frame typical of Takayama, with a ridgepole made of splendid logs and two intersecting beams. I felt that the scale of the space, the framework of the structure, and the unique atmosphere created by the darkness of the storehouse should be respected. On the other hand, it was difficult to divide into two uses by inserting a wall without destroying this spatial characteristic. The design theme was the action itself of inserting a wall to divide it into two uses and the interior of the store was completed with only the inserted wall because I wanted to limit the scope of modifications due to the budget limited.
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