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Among the many casual cafes in the city centre of Nagoya, there is a cafe of unique identity where women would come dressed up for. This is cafe "20, Avenue de Champagne" designed by Yasumichi Morita. The champagnes of Moet & Chandon are served at the cafe. Its name, “20, Avenue de Champagne”, came from the street address of its head office in France. Morita personally loves this champagne which boasts keeping up the tradition and taking on new challenges at the same time. This direction has inspired Morita in the design of this cafe. The basic design of the cafe is simple with minimal decor. The focal attention is therefore drawn to the several magnificent chandeliers that are made of 370 champagne glasses and crystals placed in different locations of the cafe. The chandeliers have so successfully created a character that they soon become the icon of the cafe.
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The cafe is composed of three dining areas, each with its own distinct aura and setting. The cafe/bar area is adjacent to the entrance characterised with five chandeliers made of champagne glasses and crystals hanging from the ceiling in a glass box and are lit from the bottom like an artwork. There is a counter on one side of the room and on the other side are two C-shaped sofas by the windows. The luxury carpet of shimmered grey helps impress guests with its speciality from a typical cafe.
Located at the rear of the cafe is the Salon which features wooden flooring and chandeliers akin to those in the cafe/bar area, which projects a grand, yet soft atmosphere. There is a warm and cozy small dining room with a completely different characteristic to the other splendid and cool dining areas. Morita hopes that this cafe can open up opportunities for people to learn to enjoy drinking champagne with ease on a daily basis.
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Nadaman Restaurant
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The design concept for the Nadaman restaurant was to create a sophisticated environment incorporating a strong Japanese flavour with a contemporary twist. The colour palette and materials were taken from nature with greens and golds blended with the Yin and Yang of chocolate and ivory. Natural materials such as bamboo and contrasting light and dark wood feature throughout the space. Grass fibres laminated in clear and chocolate glass create a contemporary version of traditional shoji panelling.
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Atmospheric lighting was a vital component in the design. Whilst retaining the subdued general lighting of the traditional Japanese restaurant, special lighting effects and features were created.
a f i e l d . Tr a d i t i o n a l o r i g a m i influenced the design of the ceiling and wall panels.
Based on the movement of fish and reeds the artworks range from carved wood panels to metallic freestanding sculptures and floral displays. The artwork was very much part of the initial concept with the design of the panels and pieces influencing details throughout the restaurant. The ripples on the wall at the entrance are echoed in the green and gold carpet, giving the illusion of a breeze blowing through
The Teppanyaki and Sushi rooms were opened up making them a key feature for the space. A raised stage in the Private Teppanyaki room creates a theatre for chefs to demonstrate their skills.
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Unkai Japanese Restaurant
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Located on level 3 of Sheraton Hong Kong Hotel & Towers is Unkai - a Japanese Restaurant where one can relax and enjoy authentic Japanese cuisine in a cozy, tranquil environment. The design mixes a stylish Nippon tradition with a touch of modern Asian influences. Materials such as sandstone, granite, bamboo, rattan, marbles, tempered glass and stainless steel are used distinctively to create an exotic Japanese taste in contemporary flair.
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A stunning glass sake showcase with attractive lighting forms part of the restaurant entrance. With the storage capacity of over 300 bottles, it is designed to offer the most comprehensive range of top quality sakes in town. On the left as you enter the restaurant is the Sake & Sushi Bar. On its wall features an artwork of Japanese Rattan Net which brings out homely coziness. A Roji - a narrow path between traditional Japanese houses - leads diners into the main dining area. The focal point of the restaurant is the three-featured installation that is composed of solid black granite stones and bamboo. The contrast between the light-accented green bamboo and the dimly lit black granite creates a dramatic scene in the heart of the restaurant. The restaurant is divided into six main dining areas: Open Teppan Area, Private Teppan Room, Sushi & Sake Bar, three Private Rooms, Main Dining Area and Tatami Room. Each area has its unique settings with varying ambience and degrees of privacy. Artistic displays are strategically located at the end of each aisle way quietly inviting diners to appreciate its beauty. The quiet and personal Private Teppan Rooms are ideal for parties and special occasions. The baby size windows just above the ground are special features in the Tatami room. It is designed to create a feeling that diners are sitting in a comfy small garden. Yozo Shibata, chairman of Kanko Kikaku Sekkeisha, said: 'In this project, attention is drawn to the balance between tradition and contemporary. Open-plan designs are very popular in Japanese restaurants at home, that's why we applied it here. The use of stone, wood, bamboo and clay helps to foster a natural and cozy dining experience to diners.' This is the main design concept.
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Located at the popular food forum in Times Square, Tokyo Washoku â&#x20AC;&#x2DC;Sunâ&#x20AC;&#x2122; has to incorporate unique and inviting design with fine culinary skills to attract customers and make it a hot spot. The design conceived by MYU Planning & Operators Inc epitomizes the restaurantâ&#x20AC;&#x2122;s main theme of balancing modernity with authenticity and traditional life style in Tokyo. The restaurant has a total of 106 seating capacity in its different zones defined to create different ambiences. Diners would have no idea of the settings inside from the shop front as there is only a narrow staircase at the entrance which leads to the inner section of the restaurant and projects a mysterious image to the customers. The circular lounge,
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the ‘Ko Agari’ of Japanese sitting style and the open kitchen counter are the most outstanding zones among the others. The bright red circular lounge seats six to eight persons, making it an ideal place for social gatherings. On the other hand, customers can watch the chefs in action at the open kitchen counter. With subtle level changes, guests can experience the diversified spatial quality in the restaurant while the different lighting effects in different zones create various moods for customers’ choices.
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The art of fine dining is savoured for the expectancy of the experience that begins from the moment the reservation is made, and the process of ritual encompasses from the experience. Perhaps then, the unlikely becomes the twist that heightens and individualises the ritual, and the place becomes irrevocably woven into the experiential process.
since. Imagine that the experience begins from the unremarkable drive through into the residential blocks, and park between the entrance of many rows of modest homes along the leaf-strewn road. Among the rows of shops located there, a glass front curtained with modesty matches the surrounding
Shiro is an haute cuisine restaurant situated in a quiet, aging middle-class suburban neighbourhood with a handful of small businesses that have lost their relevance several years
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environment. A dimly lit brass plaque confirms the location. The door is locked though. By intercom, your reservation is acknowledged and the entrance door remotely opened for you. Greeted by name and escorted through a dimmed passageway, it leads into an intimate dining room fully draped in darkened silk. You are seated at your private table to find out that, though you are the subtly pampered dinner guest, the room envelopes and focuses itself to the marble plinth bathed in light ... it is a dinner theatre with a twist - the limelight belongs to the chef and on this 'stage' the evening begins ...
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Who said that the decor of a restaurant reflects the food it serves? By looking at the front, Chef Japanese Restaurant & Bar seems no more than just a specialty bar in Lan Kwai Fong. The design of this 'outlandish' restaurant is the joint effort of its owners and manager. The most salient feature of this restaurant is the ship-shaped sushi-bar near the entrance. The sushi-bar which points towards the dining area allures patrons inside. With the use of brighter lighting, the bar becomes the focal point of the restaurant. On one side of the bar, a number of circular orange sofas are placed. The area is decorated with Victorian chandeliers and round opal lighting fixtures. It is an ideal place where people can meet in a lively and enjoyable environment. In a Japanese restaurant like this, it is not difficult to associate the orange sofas and green bar stools with wasabi and fresh salmons. Such association, in turn, stimulates the customers' appetite. On the other side of the sushi bar, there are a few semi-private dining lodges delineated by timber structure and wooden blinds.
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The atmosphere in the rear of the restaurant contrasts to that of the front hall by its seclusiveness and privacy. This section is composed of an open Teppanyaki area, a tatami room and the so-called 'backyard', which in fact is a narrow lane between buildings. The idea was to utilize the space where the owners thought patrons might not want to dine in. It is separated from the Teppanyaki area by a partition wall with two latticework windows. The windows can be pulled up and buckled to form an integral room. Although much of this place differs from a traditional Japanese restaurant, the entire interior speaks of simplicity so typical of a Nippon design. The restaurant is furnished with easy-to-clean concrete floors, wooden dining tables, wooden frameworks, bamboo-like timber wall
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covering painted in green, and a ceiling composed of wooden strips. Francis Soo, manager of the restaurant, said that initially there was no design concept whatsoever. What they actually did was to revamp the original casual cafe into several individual zones with unique atmospheres for various occasions. This openness in designing concept has turned out to be a success in creating a one-of-a-kind dining experience for patrons.
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South Beauty Restaurant
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This is the ninth South Beauty Restaurant Team 7 designed. Keeping the design in conjunction with the diverse and colourful flavour of Si Chuan cuisine is always the basic approach in designing for this client plus some new ideas for each new outlet. The concept of this project was 'DNA revolution'. The idea that food being the fundamental fuel for human bodies and DNA being the essential element for living creatures is incorporated into the design. The intricate structural elements also trigger the floor plan to become organic and curvy, thus the design concept was developed. In terms of choice of materials and colours, Team 7 still kept the traditional use of water, bamboo and the colour of gold. In addition, red is used to symbolize blood; the layering patterns throughout the restaurant are an abstraction of skin layers. Upon entering the restaurant, customers are immediately welcomed in the lobby bar. The design is a single DNA cell rotation, and it is expressed in its forms and motion. Lighting in this area is particularly dramatic to emphasize the design. Further into the restaurant is a series of small private rooms (pods) to the right
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depicting an abstraction of cell splitting. The copper and black foam strips not only serve as insulations, but also mimic skin layers. The main dining room has hand-made gold leafed columns and partitions to add organic yet luxurious taste to the space. To the left side of the dining room is a wall of banquettes. This area is portioned by a special 'Panelite' material which has the natural characteristic that harmonizes the whole design. Going into the rear of the restaurant is a group of large private rooms/VIP rooms. The space between the private rooms and the main dining area is two rows of 'wombs'. The wombs are designed to bring out coziness and seductive instincts. The entire interior surface of the womb is lamb wool. With a level lower than the walkway, customers who dine in the room would feel securely wrapped and get a glimpse of the traffic from an interesting viewpoint. The
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biggest attractions of the VIP room area are the glass wine racks. They not only serve as functional storage units, but also bring out significant designing impact. The layout of this section is very circular which signifies an abstraction of the biological flowing process. Gold leaves are used throughout the area to generate an extravagant atmosphere and leather is utilized for added texture and visual interest.
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The greatest challenge of this project was to develop a diversified and functional design based on the complexity of the given space. The result was a project which mixes festive and luxurious atmosphere with various practicalities. In addition, the employment of colours and texture is carried out visually as well as gastronomically.
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Imperial Court is located inside the hotel of Mission Hills Golf Club, characterized by its exceptional taste of oriental flavour. Bamboo is the major material used extensively in the interior design. Upon entering the door, customers are greeted with bamboo decorations along the walls which create a calm, tranquil and serene ambience as if they have stepped into a bamboo court to comfort themselves before dining. The restaurant consists of nine exclusive VIP rooms. The internal settings are based on circular shape for circle means unity among Chinese. With this concept in mind, designer Joey Ho transformed
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this metaphor boldly into round Chinese dining tables and circular lighting fixtures. The circular light, as big as the dining table, helps foster the sense of togetherness and unite the people who sit and dine around the table.
Besides bamboo, timber is also generously used. The natural colours of these materials complement the design with easy and simple finishes. Although these are popular materials employed in Chinese restaurants, the designer has re-interpreted their form, usage, and combination to generate a refreshing aura.
Instead of applying wall finishes, Joey installed a mirror to 'borrow' the fantastic scenery outside through the full-height glass window. In addition to the mirror, a huge wooden frame same size as the wall is placed at eye level to display artworks of dried plantations. All these fixtures echo the greenery outdoor. The nine VIP rooms also share the same designing concept. However, with slight changes in configuration, the ambience they create is different.
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The restaurant and bar are separated by a metal grid made of special materials, which also acts as a connection between these two individual areas. Blowfish is characterized by an atmosphere that is formal yet carefree, with traditional elements intertwined in a modern setting. While the use of metal, glass, and blue-green lighting project modernity to the place, traditional and classic elements as reflected in the earthy tone of furniture and custom-made candle chandeliers above the dinner tables are also employed. The candle chandeliers are the key lighting sources in the dining areas, and become background lights in the bar to create a unique ambience.
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Located at Nanking East Road, Taiwan, Cellar is the Mecca for upbeat nightlife people. Its name, Cellar, does sound a bit intrigue though, as apart from the mysterious feeling it evokes, doesn't it seem a bit absurd to have music in the lounge of a cellar?
into a time tunnel. At the end of the tunnel stands a giant automatic bronze door. Once inside, you can see a semi-open VIP room on each side with a bead curtain which not only serves as a partition, but also adds a mysterious touch with the space inside seemingly elusive. The interior of the VIP rooms resembles that of a household sitting-room with long sofas where guests can sit on or lie down. On the left side lined up in a curvy wall is a whole array of whisky and brandy bottles which the bar owner collects worldwide.
The word 'CELLAR' in ancient Roman characters is carved on the entrance door. The smooth and even surface of the stone door is cut diagonally into irregular diamonds to add a lively and relaxing touch to the already classic and solemn front door. Upon entering the bar, a long staircase stretches right from where you stand into somewhere underneath and you can't help but feel curious. Flanked by lights on both sides, you make your way down, step by step, feeling like walking
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The lounge of the Cellar is an apple to the eyes of female patrons. The rippling lights reflected on the brick wall, the chattering running water, the poems on wine written by Li Bai on the arched wall, plus each
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lighting fixture mimicking the ancient times create a grand, secret, classic, yet pleasant post-modern atmosphere. The 12-inch long marble bar counter which is lit by orange lights speaks for all the grandeur and impressiveness of the lounge bar. Thanks to the generous use of wood fossils and modern sofas set off by the purplish grey colour as the fundamental palette, a trip to the Cellar is nothing short of venturing into a Cellar Matrix atmosphere. In this place, with uplifting chill-out and soft techno music to the ears, all the worries will be cast far away. Beset with wine, music and a post-modern setting, Cellar at night is intoxicating in the extreme for a dry puritan.
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The ambience of the bar is very much characterised by the selection of armchairs and sofa designed by master architect Le Corbusier in 1928. They evoke a unique taste of elegance, class, and somewhat 'veiled' sobriety. The resulting atmosphere of the bar is derived from this characterisation, hinting any private, serious conversation, confidential dealing, veiled but important identities can find its place in this comforting environment. The bar does not attempt to be funky or outlandish suggesting that 'seriousness' plays a part in this theatrically dramatic setting. Friends and lovers can lounge in quiet conversations, separated by latticed screens which are intimate in their proximity and vertically hide the space that they confine, stretch upward and disappear into the seemingly never-ending height of the space. The screens also suggest that there may be a corridor, corner, or space where another quiet conversation can be taking place. Plasma flat-monitors that are inset into these screens give each enclosure a notion of subtle yet advanced technologies
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blended into a welcoming friendly atmosphere; otherwise thought of as being politically retrogressive, making one wonder whether they have just stepped into the villain's lair of an old 007 movie. The monitors provide the latest updates in stock-market prices and news. They can also act as digital painting and may even screen 'Goldfingers'. Patrons may ask for cordless infrared headphones if the program is of interest. Balaclava is a hub for urbanities looking for a getaway from the daily milieu, a sanctuary to hide, a dreamland to recluse or discuss the strategies for taking over the world tomorrow.
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From the hotel lobby, a large wood sliding door demarcates the entrance into Cafe Zoe. Guests are greeted in an informal reception area raised upon a dark wood floor mezzanine which is visually punctuated by huge glass cases displaying the Greek national drink â&#x20AC;&#x2DC;Ouzoâ&#x20AC;&#x2122;. These glass cases create a pivotal counterpoint both visually and physically which allows guests to orientate themselves.
into the larger dining room. Defined by its light creamy end walls and ceiling, guests can walk amidst the ouzo display cases to discover a buffet table centrally located in the room with its attractive display of mouth-watering entrees and desserts. Behind all these lies a backdrop that glazes into a pool garden intimately enclosed by trees and a perimeter of white canvas sails. This enclosure provides a natural environment where customers can gather in smaller or bigger groups lounging in teak sun beds and rocking chairs. Tucked away from view, a corner of this garden is anchored and energized by an outdoor bar similar in feel to the Cafe Zoe interior.
To the right, one can decide whether to sit in the banquette that overlooks the room from its vantage point on the mezzanine, or in the inviting deuces with the warm glow of lampshades where one can leisurely breakfast and read the paper. Alternatively one can step down
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Cafe Marco
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Located on the first floor of The Hongkong Hotel, Cafe Marco blends chic European design with a touch of Chinese history and art. The five elements of fire, earth, water, wood and metal formed the inspiration for the interior and give a calm easy elegance with a strong contemporary impact. The design is conscientiously restrained with a restricted palette of finishes interspersed with Chinese artworks and antiques.
usual trappings of a coffee shop and provides a more grown up ambience through the use of dark wood and accent lighting. The space is carefully zoned to delineate areas suited to different dining needs: bistro style tables, booth seating, a juice bar, an island buffet servery and an open kitchen. Carved MDF panels with irregular vertical stripes and a metallic bronze finish define the dining areas. Metal screens throughout the cafe add a contemporary edge and complement the dark wood, neutral terrazzo and bronze glass mosaic tiles. They also act as a barrier between the cafe and public areas to
The design had to address multiple usages from daytime cafe to latenight bistro. To fulfill its role as a destination dining spot, it avoids the
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afford more privacy for diners. Simple stylish furnishings in dark wood feature jewel-bright upholstery in shades of red, orange, gold and green, which are echoed in the hanging banners of silky translucent fabric.
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A casual juice bar with comfortable armchairs and a large sofa sits to the side of the main cafe area. Dark wood flooring and more subtle hues of the colours used in the main cafe provide a more relaxed ambience. Designed as a free-standing restaurant, Cafe Marco links the hotel and shopping mall.
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Park Coffee is located at the Orchid Garden in Guangzhou. Situated at the city centre, this historical garden has been known for its famous tea houses among older people in Guangzhou. Immune from the hustle and bustle of the city, the cafe is surrounded by excellent views and sceneries. The main design concept is to protect and preserve the original garden style and architectural beauty, and at the same time make necessary changes to cater to new functions. You can feel the uniqueness once you go into the entrance of the Park Coffee. White walls, green tiles, mottled wood door, stone b r i d g e , p o n d , ro c k e r y, a n d bamboos; every inch of a typical Chinese garden is preserved in an intact manner without any unnecessary addition. The only contrast to this traditional setting is the stainless steel signboard at the entrance which is lit luminously. The entrance of the Park Coffee also features the 'Tanglong' door, a traditional type of door used in the Xiguan area of Guanzhou. This can be interpreted as an implication of Guangdong culture. The original flooring and wall
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structure are kept intact by the designer who regards the bricklaying of the wall very special, as is testified by the Eight Diagrams on the wall. The zigzag corridor is another area worth attention. The designer followed the linear pattern but interspersed small spaces along the corridor to make the whole layout smooth and natural. At the centre of the garden, a pavilion and a wooden corridor are designed to function not only as a small platform and catwalk, but also as a central stage and focal point of the cafe. The cafe provokes completely different sentiments in the daytime and at night. During the daytime, freshness, naturalness and the feeling of being in the park with a fuzzy glimpse of the old teahouses are what one gets. At night, the park is more like a private meeting place where
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At the east of Ersha Island, there is a tranquil and elegant French restaurant on the Pearl River bank. Surrounded by the Starsea Music Hall, the restaurant is adjacent to the Guangdong Arts Museum. She has a very romantic name - La Seine Cafe. It matches the romantic environment where it locates. Sitting on the riverside, the restaurant has superb geographical, cultural, and artistic settings which attract people of different tastes. The restaurant is accordingly divided into a French dining room, an outdoor bar, and a coffee house to meet various needs. Every detail in the French dining room is designed with a touch of elegance and romance. The free-form sculpture modeled on roots, the semi-curving bar counter in rough sculptural form with pins on it, the partition between tables made with sparsely interweaved frame, and the relatively small and dense patterned ceilings, all share a similar checked design bringing out organic similarities as well as differences. The wood strip finishes on every column inside the hall are of the same size, creating a special threedimensional vision and delivering a rhythmical upbeat. The floor is made of black peach wood and the walls are mostly finished with two different kinds of wood.
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Colour purple plays an important role here in La Seine Cafe to create an air of elegance. The square purple flannelette of balanced sizes on the wall, tablecloth, sofas and pattern on cloth, with its dark and light purple combination, they project a strong taste of French fragrance. The matching of purple with khaki further enriches the colour scheme of the restaurant. There is another unique element: the embellishment extracted from the sea. Every corner you look at is decorated with brilliant coral reefs, shells and seaweeds, etc. They make you feel as if you are in the sea world packed with imaginations. They bring life to the entire restaurant. The design, which tries to create an exotic flavour and elegance, is worth savoring.
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The screen wall acts as a membrane, offering a sense of protection while maintaining a strong relationship to the street in the spirit of the sala. The laser-cut steel screens were patterned after Thai textiles, but the designs have been abstracted and transformed. In this way, the patterns do not simply mimic the traditional forms, they also seek to avoid the trappings of literal borrowing. These screens and other exposed steel members are finished with a metallic-flake automotive paint.
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Wanna Fan Dining is located at the ground and first floor of a commercial building in the Business Park in Osaka. It is catered for both regular dineins and wedding parties. The recent trend in Japan is to have wedding parties held in restaurants instead of hotels. To design a restaurant that can accommodate both regular dine-ins and wedding parties is not an easy mission. The two different scenes require different settings which should not be too elegant or formal for casual diners nor too basic or common for grand parties. Designer Yasumichi Morita has chosen to make this restaurant ELEGANT and DRAMATIC. He employed the use of chandelier as the staple design language as it is the most classical material for grand interior. To one's
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surprise, the chandelier is not three-dimensional nor a fixture that is normally hung from the ceiling. It is flat on the wall. This flat crystals creates an atmosphere which is not only elegant, but also modern and upbeat. The backs of the simple black chairs are delicately embroidered with chandeliers which again calls attention to the master piece design. On the other side of the wall is tiled beveled mirror that gives glamorous airs to the space. People of all ages would attend a wedding party. The design of this restaurant projects a fresh and modern image to young people and impresses the older generation with its classical and elegant style.
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Located on the ground floor of a magnificent turn-of-the-century townhouse, Bruno Jamais Restaurant Club was designed with sophistication and flair.
bar and dining room are revealed. The ebony bar is accented with Venetian blown-glass sculptural silvered vessels. The bar top and adjoining DJ booth are enveloped in sheets of hand-hammered silver. Open red lacquer shelving behind makes a gleaming backdrop, and enormous mirrors reflect the glow of the surrounding room. The ornate original panelwork on the walls has been restored, a nostalgic twist juxtaposed against the modern lines of designer’s architecture transcends to interiors.
Upon ascending the limestone steps into an entry hall shared with the building’s residents, guests arrive at a silk-lined foyer where their coats are checked in an antique armoire. They are then led through an impressive wine cellar. Soaring red lacquer wine racks line the wall from floor to ceiling. A brilliant wine glass chandelier in polished black nickel with mouth-blown glass beads sparkles over an eight-foot “tasting” table with turned pedestal legs, both custom designed specifically for the cellar.
Originally a jarring add-on atrium space at the rear of the building, the designer made use of a clever combination of colour, texture, and light control to integrate the two dining rooms, enabling them to work together as a complex spatial diptych. Antiqued velvet damask walls envelop the sofas, a gesture that complements the panelwork in the first room. And a new ceiling was dropped over this area, covering
A cobblestone path leads to a ten-foot high sliding door of ebony and verre eglomise glass. As the door slides behind a velvet curtain, the
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much of the glass atrium to control light from the outside, as well as proportionally matching the height of the two rooms. Sheer linen screens and decorative mirrors are placed around the sofas, both to provide intimacy and mystery via layering and indirect eye contact. In the basement behind an ornate carved wood door, a private reserve cellar sits just off the kitchen. Private parties of up to twelve are served at a solid walnut trestle table.
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Located on the second floor of t h e A m e r i c a n B a n k C e n t re , Guangzhou Chaoweizhan Restaurant is an upbeat spot with its major attraction in serving global cuisines. As those diversified foods actually come from different culinary cultures, neutral decor is used to cater for v a r i o u s c u i s i n e s . I t re f l e c t s t h e r e s t a u r a n t ’s b o l d n e s s in bringing customers new dining experiences. The main dining room adopts quartz sands epoxy self-levelling flooring. The use of industrial flooring not only reduces costs, but also reinforces an avantgarde style. The raised platform and solid wood floor at the back of the restaurant contrast materially with the front hall flooring, which in effect defines the two zones. On the wall, the designer used white mosaic with colourful dots, circular wallboards in varying
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diameters and scattered mirrors placed freely to add attractions to the space. A series of round furniture and fixtures: such as circular wallboards, oval entrance to the cashier/office, yellow round sofas, bar counter, and curvy external glass wall all echo with one another in bringing out vogue and fresh first impression. The 3/4 rounded bar emphasizes simplicity and grandness. The walls with white mosaic and colour dots echo the walls in the dining room. The white man-made bar counter of stone as well as the drink showcase framed with metal and clear glass inject a bright and joyful feeling to the bar. Adjacent to the kitchen, the designer used transparent glass to strengthen the visual attractions of the mouth-watering food ready for diners which adds up in stimulating the appetites.
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The focus of the interior design is in its VIP rooms. By placing random containers of different sizes and heights, the designer broke the tradition of regular VIP rooms. The containers contrast pleasantly with the orderly main dining room layout. In each container, the ceiling and the wall are covered with white corrugated metal boards. The uniformity of material creates an illusive effect that the space in a VIP room is extended. The full height sanded-glass windows not only partition the interior and exterior, but also extend and penetrate the space. The glasses are screened with posters of classical architecture worldwide showing the characteristics of different cultures. The combination of modern and classic elements enhances the whole design and helps to bring out the fascinating culinary cultures all over the world.
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Grand Cru wine bar is located at a high end shopping area in Hysan Avenue, Hong Kong. Due to the very expensive rental cost of the location, the area of the wine bar is only less than 100 sq m. In addition to the relatively small square footage, there are two huge columns in the middle of the rectangular space resulting in a very compact layout design.
level, there are smaller tables of regular seating for daytime use with the bar counter adjacent to it. The wine cellar abuts the bar counter and wraps around one of the huge columns in the area. On the other side, a raised timber platform for performance wraps around the other column, leaving a desirable space for a circular staircase. The wine cellar and performance platform which are visible to both levels act as focal points for the whole wine bar. The lower level consists of secluded sofa seating for patrons to enjoy their drinks in a refined, sophisticated setting.
Following the gradient of the street, the bar is divided into two levels connected by the central feature of a circular wine cellar. On the top
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By day, the wine bar serves light snack and casual dining to the daytime crowd of shoppers and professionals working in the area. The ledge at the wine cellar even doubles up as a buffet counter. At night, the place is turned into a mellow wine bar with jazz performance catering for the crowd of professionals and businessmen unwinding after their work. A truly multi-functional restaurant cum coffee shop, cum jazz wine bar is achieved to serve the different clientele of the area.
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Munch is a small-sized restaurant which offers Fusion cuisines. The fact that its head chef creates new dishes and changes the menu on a regular basis inspired the interior designer, Joey Ho, to design in a similar way. A chef puts all the ingredients onto a plate before it is delivered to the patrons. For Joey, the 'ingredients' include not only food consumption, but also other activities like lovers' chats, business talks, birthday celebrations, and so on. The 'plate' where those activities take place is a U-shaped raised dining platform with green glass stripes that foster its continuity from wall to floor. Colour scheme is a crucial element in culinary art as well as in designing food service outlets since experiments have proven that certain colours, like orange, stimulate appetite. The colour is therefore widely used in Munch as the main tone, complemented by green finishes. In keeping with the whole atmosphere, artificial lighting is kept in medium level so that the variance in natural sunlight impacts and creates different ambiences. To attract more customers, the bar and cake display refrigerators are placed at the store front enabling passersby to have a glimpse on what is going on in the restaurant.
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Contact
CHK Design Institute Pink Mao Mao, Cova Restaurant, Liu Yuen, Wood Cafe, Regal CLK Airport - China Coast APIDA 2000 - Bar & Restaurant Winner, APIDA 2001 - Honarable Mention
www.chk-hk.com
dwp CL3 The Marco Polo Hotel, Beijing; Cafe Marco, Hong Kong; Baishayuan Teahouse, Changsha; Purple Jade Clubhouse, Beijing; Le Ciel Restaurant, Beijing AIA HK Chapter Merit Award 2003 - Nadaman Restaurant AIA HK Chapter Honor Award 2003 - Baishayuan Teahouse APIDA 2003 Honourable Mention - Purple Jade Clubhouse APIDA 2002 Winner (Hotel) - The Marco Polo Beijing APIDA 2000 Winner (Restaurant) - Le Ciel Restaurant
www.cl3.com / william@cl3.com
Glamorous Co Ltd (Yasumichi Morita, Kaoru Fujii) DAIDAIYA (HK), Wasabisabi (HK), Watami (HK), Keifuku ARASHIYAMA Station (Kyoto, Japan), Hajime (Tokyo, Japan) HOSPITALITY DESIGN AWARD BEST DINING BAR sponsored by “INTERIOR DESIGN” 9th IIDA Will Ching Design Award JCD DESIGN AWARD NATIONAL SHOP LIGHTING COMPETITION JAPAN SHOP SYSTEM COMPETITION
www.glamorous.co.jp
Joseph Sy & Associates Eu Yan Sang, Hong Kong; Deluxe Restaurant in Guangzhou, Beijing, Nanhai, Shenzhen; The Peninsula in Guangzhou and Beijing; La Superieur, Shenzhen APIDA Winner 2003 - Commercial Category; Design for Asia Award 2003 - Distinguished Design From China; APIDA Honourable Mention - Restaurant Category; APIDA Honourable Mention - Commercial Category
KKS International (HK) Co Ltd Sheraton Hong Kong Sky Lounge, Sheraton Dongguan Sekisai Japanese Restaurant, Dalian Hilton Hotel Interior Design, Dongguan Hill View Golf Club & Hotel Architectural Design, Mission Hill New Golf Club House Architectural Design Asia Pacific Interior Design Award 2002 / Honourable mention Restaurant Category Project: Unkai Renovation Best 10 Golf Club House in China by Golf Digest magazine: Dongguan Hill View Golf Club
www.kkstokyo.co.jp
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Point Architects Ltd Basheer Design Books W by Wellness Munch joey@pointarchitects.com.hk / www.pointarchitects.com.hk
Team 7 International Shanghai Opera House, Shanghai, China ICBC Shanghai, China Mercedes Benz Showroom, Beijing / Shangahi, China South Beauty Restaurant at Sunshine Plaza and PCCW, Beijing, China 10th Annual Interiors Award by Interior Magazine
www.team7.com
Tolkin + Byram & Associates www.tolkinarchitecture.com
Tony Chi & Associates Cafe Zoe (Athens), Bruno Jamais Restaurant Club (US), SPOON (HK), Chinaroom Restaurant, Juniper Restaurant (Tokyo) www.tonychi.com
Wallflower Architecture + Design LOANG & NOI Jewellery Boutique in Paragon, Singapore SPA ESPRIT in Paragon, Singapore SNAILS Nail Spa in Wheelock Place, Singapore OLIO DOME RESTAURANT in Wheelock Place, Singapore LULU Shoe Boutique in Scotts Shopping Mall, Singapore Singapore Institute of Architects & ICI Colour Award 2002 - Gold for Balaclava in Interior Category Singapore Institute of Architects & ICI Colour Award 2003 - Merit for Loang & Noi in Interior Category
wallflower@pacific.net.sg
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cliking@21cn.com