Coffee shops around the world and their eye catching interior design details
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Inside The Hidden World Of Restaurant Design D Magazine

Inside The Hidden World Of Restaurant Design D Magazine Inside The Hidden World Of Restaurant Design D Magazine

It’s dinner hour on a Monday night, and Pakpao Thai is packed. Like Happiest Hour, this laid-back Thai restaurant in the Design District was designed by Coevál Studio. But the two spaces don’t have much in common. “We try to push a new aesthetic on everything we do,” Valverde says. “We think about the operator’s budget and be sure we can design within it.”

Francesca Von Thyssen and Jerry Hall, Courtesy of Annabel’sJack Nicholson, 1988, Courtesy of Annabel’s

Glamour is a rarefied form of everyone’s need for validation. People want to be seen; they want others to confirm they matter. The urban rich go out, because staying home is for the country, and to behave expensively is to be seen, to flash your life around. Consumption should always be conspicuous; glamour then gives it space and direction. You appear before others, and dazzle them – and then, to finish the picture, you need to be able to leave, to go somewhere they can’t follow. Luxury is an escape from the everyday.

Baker decided to have the Color Condition—a group that does streamer decorations—festoon the space with an installation. Not only did this create a festive atmosphere in a previously plain room, but the streamers are changeable. That means that every so often they’re swapped out with different colors—which creates a whole new set of photo ops.

“That was just at the tables,” she says, watching customers spill in and servers dart past with trays full of food. “That doesn’t account for people who only sat at the bar.”

It’s Saturday night at Happiest Hour, and front-door security can’t check IDs fast enough. A Dallas Stars game just ended, and fans are streaming in from the American Airlines Center in search of the closest after-party spot—which, not coincidentally, is Happiest Hour.

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“A lot of our focus is how to create these environments that can perform revenue-wise,” Valverde says. “The idea is to not just choose an aesthetic that looks great, but one that can also perform for the bottom line.”

Kaiseki Yoshiyuki and Horse’s Mouth, SingaporeDesign: Asylum

It’s these touches—along with good food and a friendly waitstaff—that come together to create a great experience. And that’s why Dallas’ top restaurant design firms are key to keeping the  customers coming through the doors.   

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With the awsome Mount Fuji as a backdrop, this igloo-like noodle restaurant is open to the elements, except in the strongest winds. It is specially designed so that natural breezes do the job of air conditioning and give the diner a feeling of being inside and outside at the same time. The interior, minimal with simple wooden furniture, creates a feeling of tranquillity.

When Plan B embarked on the creation of Bolsa in the Bishop Arts District, the true north was simple: Create a neighborhood café. (Urrunaga and Ring co-own Bolsa.) The restaurant would utilize locally sourced food and be the kind of place people could dine at more than once a week. At the time, Bishop Arts was still in its infancy, and Hattie’s and Tillman’s were some of the only other restaurants in the area.

And so Annabel’s, increasingly trapped between worlds, has chosen this winter to renew itself. It’s about to move one door down Berkeley Square, to a tall Georgian townhouse that’s variously been an office and a bank. Its remodelling is a sign of the changing times: since the 1960s it’s been a nightclub, open from the evening until a few hours before dawn, but with each passing decade the life of a moneyed London ‘creative’ has moved backwards into the day. The Groucho and most of the Soho Houses are open from 7.30am, a time before hangovers can even kick in; the new breed of arty professionals, from freelancers to marketing execs, want breakfast and artisan coffee; airy rooms and polished sofas; uninterrupted wifi. Shoreditch House, for instance, is a millennial paradise, with sitting rooms, bars, a sauna, a gym. The ambience is one of precisely realised intelligence: there’s a room for every slot in a scheduled artistic life, from conversations (individual chairs at a fireplace) to work (open-plan tables and power points), and later, as the sun goes down, people and furniture alike can be reconfigured for cocktail hour or dinner. The staff have an efficiency to match the floorplan. Every element seems faultlessly bespoke, in the way that film sets are.

But, don’t think the success at this popular spot, or any other in Dallas, is a coincidence. From its tidy industrial vibe to its small touches—like the indoor fire pit and the party games, which have a tendency to end up on Instagram—Happiest Hour was meticulously designed with the bottom line in mind. 

This bar-and-restaurant megalith, 12,000 square feet in size, offers up a variety of experiences and puts them all in one place. You can watch sports, play giant Jenga, enjoy a family meal, or pop champagne on the upstairs patio. And whatever you choose, you won’t be alone. On a weekend night, thousands of people will pass through Happiest Hour’s doors. According to a bar manager in a bright blue miniskirt, 3,700 patrons visited Happiest Hour one recent Friday.   

Annabel’s is about to loosen its famously buttoned-up dress code, too, and what’s more, though my hosts wouldn’t admit it in so many words, the entire membership has been effectively put on notice. Everybody (bar founding members) must reapply, and while they’re exempt from joining fees or nominations, they’ve been warned that on account of ‘unprecedented demand for membership’, the club is ‘unable to guarantee’ their position. This is a well-worn corporate strategy: make everyone reapply to the job of being themselves. The owner Richard Caring has warned, with useful vagueness, that anyone “not really cool” mightn’t survive. Cachet is always based on past achievements; threatened by an irrelevance purge, the members of Annabel’s will forever be trying to avoid their own expiry dates. 

Annabel’s was the nightclub you saw from a distance. From its opening in 1963, the entrance on London’s Berkeley Square was crossed by streams of beautiful people vanishing down the stairs. Frank Sinatra was one of the earliest members; Diana Ross, The Rolling Stones and Ella Fitzgerald played private sets; John Wayne once rolled in so drunk that he broke three cigars trying to light them. By 2003, the Queen was dropping by for dinner. (She drank a gin martini, without lemon. It remains the only nightclub she’s visited.) There are no candid photographs of any of these events. Mobile phones and cameras are surrendered on the door, and public access ends at a small, striped sentry box on the pavement. Journalists have never been admitted. Once, a photographer for The Sun sneaked in, took a quick snap of Joan Collins dancing, and tried to flee. The doormen left him lying on the pavement, without his film. The only thing that mattered to Annabel’s was to keep its secrets hidden.

John Paul Valverde, who started Coevál with his partner Miguel Vicens, says his company has three major components: brand creation (signage, uniforms, logo, etc.), interior environment (what the space looks and feels like), and architectural environment (how the space “flows”). He points to revenue as the ultimate indicator of a successful branding and design project.

Fast-growing Coevál Studio was responsible for the look of Nikkei restaurant, which is renowned for the glowing, ancient-style Japanese art on its walls. courtesy of vendor

Ring is energetic and quick with a smile, and Urrunaga is a little more reserved and thoughtful. But neither lacks a sense of humor. On their website, their staff’s profile photos are all of Will Ferrell in his various roles, and their loft-style office showcases a neon sign that says “It’s business time.” The two often finish each other’s sentences and, together, they’ve been working their creative magic since founding Plan B Group in 2005.

If it’s true that we eat with our eyes then it stands to reason that the design of the world’s best restaurants must be as delicious as the food they serve. We choose 10 sumptuous eateries from around the world where design and food come together in perfect harmony.

Inspired by Jean-Luc Godard’s classic science fiction film noir Alphaville, designer Joyce Wang has made industrial materials such as copper plumbing pipes into beautiful, intricate design details including chandeliers shaped like spiral staircases.

Bringing a touch of modernity to the restaurant at the Palais Garnier opera house in Paris, Odile Decq’s scheme has an undulating interior structure which is cleverly designed so that it doesn’t touch the walls of the historic building. A mezzanine level is suspended with concealed steel plates, while a glass wall encompasses the interior isolating the space from the building shell. Red furniture and floors create a theatrical character reminiscent of the phantom of the opera which was once performed in the Palais Garnier auditorium.

A Cantina, Santiago de Compostela, SpainDesigner: Estudio Nômada

“It’s about designing a space so it’s relevant in five years or relevant in 10 years.”

The basement of a shopping centre might not be the most promising location for finding beautifully designed restaurants, but Kaiseki Yoshiyuki and Horse’s Mouth, a Japanese fine dining, or Kaiseki, restaurant and speakeasy style bar, are hidden gems. The interiors feature tiled walls and cut-out windows displaying some 3000 origami flowers amid leather seating and dark wooden tables.

Upstairs, the influence of the Soho House model is bold. On the second floor there’ll be a large, rectangular room, Latin American-themed, with refreshments a little less heavily priced than elsewhere in the club. This space is where the younger crowd are supposed to stow themselves away and type. You imagine open sofas, warm colours, broad tables; but you wonder quite who the people will be. A writer I know, who tags along as a guest at Soho House, has noticed that the writers and oddballs, the ones who ignite the production chain, always seem to be there as plus-ones. It’s not a surprise; after all, they’re the least likely to be able to afford the dues. (Personally, I can’t say the new annual fee – somewhere between £750 and £2,750 – is burning a hole in my pocket.) Wealth loves, and will foster, itself. If this law weren’t true, clubs wouldn’t have to perform periodic culls, the way that in 2010 the New York Soho House purged everyone ‘too corporate’.

The team used slat wood to cover the granite and stucco, which both modernized and warmed the space. Baker had neighbors who grew bamboo, so he asked if he could harvest a few shoots. He dried them out, tied them up with colorful ropes, and used them as ceiling décor. But the area still needed something. He’d seen prayer flags by the temples in Thailand and wondered how he might incorporate them to help fill the space.

After meeting with Harwood, Valverde’s team came together to write a plan. They visualized the goal of each space, and contemplated everything from how the fireplace should look to the number of taps at the bar. They also brainstormed what the building would look like and what the entryway and signage would be made of. They assembled materials for their clients to touch, showcasing how the bar top and fabric of the servers’ uniforms would feel. Happiest Hour’s sheer volume would make it necessary to have menus that were easy to wipe down, so Coevál suggested laminated menus instead of paper.

“It’s about designing a space so it’s relevant in five years, or relevant in 10 years,” Ring says. “The worst thing you can do as a designer is treat it like fashion, so that after six months, it’s out of style.”

Plan B Group created Bolsa in the Bishop Arts District and Pakpao Thai in the Design District.

Hoto Fudo, Honshu Island, JapanDesign: Takeshi Hosaka Architects

“The streamers played right into social media and Instagram,” Baker says. “Everyone wants to take a selfie. Now CrushCraft is thinking of doing a second location. They’re like, ‘We have to have the streamers.’”

Occupying an old warehouse which had been used to store dried fish, whale oil and skins, Noma – three times voted the world’s best restaurant – looks like it has been shaped by the elements rather than the hands of interior designers. The starched white tablecloths that are de rigueur in many luxury restaurants are ditched here in favour of bare wood that will grow even more beautiful with age, and the use of natural materials, such as scarred wooden beams and furs draped over chairs, mirrors chef-proprietor René Redzepi’s obsessive approach to locally sourced and foraged ingredients.

Pakpao is small, little more than a tenth of the size of Happiest Hour, and its design utilizes bleach-white walls, kite décor, and understated brass and gold. Still, the space is vibrant and bustling. Big glass storefront windows unite the indoor dining space and the outdoor patio; an open kitchen is visible against the back wall. Tables sit just a smidge closer together than they might elsewhere, and the narrow bar area features bar-style dining along the windows. Nearly every corner of the area utilizes potential seating space.

Besides having a hand in the Pie Tap Pizza Workshop+Bar, Plan B helped the owners of Greenville Avenue Pizza Company redesign their brand in small steps over the course of nearly three years. They’ve written contracts for as little as $10,000 and for as much as $400,000. They’ve used subtle tricks, like making restaurant tables a little smaller than standard to evoke a more intimate setting. They furnished Whiskey Cake Kitchen & Bar with a host of services—everything from picking out the plush couches to programming the music, building the website, and even coming up with the name. They even have the foresight to anticipate what the children of millennials might look for in a setting.

“We try to create pockets of interest within the restaurants we design,” Urrunaga says. “You could sit at the bar, and that feels very different than sitting at a communal table, or on a sofa in the middle of the restaurant. You’ll notice different details from different vantage points.”

— March 15, 2018 —TextCal Revely-CalderPrincess Michael of Kent, Courtesy of Annabel’s

Baker wrapped the columns of the Routh Street restaurant with the boxes and put the license plates around the order counter, evoking the feel of a busy Thai street. But the back space was the real challenge: It was a big glass postmodernist half-dome, an unattractive mix of pink granite and stucco. (Think 1980s, and not in a good way.)

When the Harwood Group came to Coevál, it wanted to create a concept that could generate a high volume of sales, but also offer a concept unique to Dallas. Happiest Hour would need a full kitchen, several bar areas, and a rooftop patio. It would be a 10-year project, Valverde says, and the Harwood Group hoped it would generate major earnings.

There are all kinds of reasons why people don’t go back to restaurants. Sometimes the problem is obvious—the place is understaffed, the food and drinks aren’t good, the servers are unfriendly or disorganized. But it could be something as small as the space just didn’t “feel” right. Maybe the lighting is too bright or too dim, the bar top isn’t a comfortable height, or the music is a tad too loud. Perhaps the space is cluttered, or the décor is distracting. A study by The Ohio State University reported that 60 percent of restaurants fail in the first three years. With so many restaurant options all over Dallas, consumers don’t have to return to a place that wasn’t “just right.”

With some of the most spectacular views in Europe, this restaurant in London’s mighty Shard hasn’t scrimped on interior design. Inspired by gin and tea – both of which have a history in the local area of Southwark – it has dark green and brown leather, black marble herringbone and a dark oak floor.

Reminiscent of Ridley Scott’s film Blade Runner, this restaurant features digital mapping projections whereby images can be projected directly onto sheer screens and also onto the mirrored panels of a fractal ceiling weighing some 1500lbs. Bespoke projections can be created meaning the restaurant can change its look depending on the occasion or time of year.

Bolsa is in a relatively small building—it used to be an old garage—so Ring and Urrunaga knew they needed to focus on the patio. An invigorated open-air space, they realized, was essential. But linking indoor and outdoor settings is often a challenge. “Patios are really important, particularly in Dallas—everyone loves to be outside on a spring day,” Ring says. “We’re big believers in having a cool, energized, functional patio.”

Members’ clubs, then, have turned into homes from home, and the loop of fashion that began in 19th-century clubland has come full circle. Annabel’s, for so long a place that didn’t wake up until after the violet hour, is keeping the decadent nightclub, but the three-storey building above it will open its doors at 7am and keep them that way until 4am the next morning. There’ll be a long garden with a retractable roof, high-ceilinged spaces to lounge in, private dining rooms to reserve. The interior designer, Martin Brudnizki, is delving into the Renzo Mongiardino school of baroque design; Mongiardino treated rooms like sets as well, using subtle clashes of colour and layers of wildly disparate patterns to make every texture and perspective in sight seem like a complex form of enchantment. On the ground floor, the theme will be ‘English garden’, and the foliage is ‘Asian’ in the rooms above. Down in the underground vault – larger than the original – these gardens turn lapsarian. When I visited the nightclub (quite some scaffolding short of completion), I was told coyly that it would feel “somewhat hidden”, and that its theme might be described as somewhere between “paradise”, “temptation”, and “the fall of man”. There’ll be as many private nooks as spots on the dancefloor.

GalleriesDwell With Dignity’s Thrift Studio Preview PartyGable Mansfield

In the end, the bustle—deliveries have to come in through the front door, like at a New York diner—creates an energetic environment that complements the concept. And from the floating Buddha statues on the wall near the bar to the kites that sway from the ceiling, the brand is reflected in every corner of the space, however small.

When he saw the stucco and pink granite, William Baker knew he had his work cut out for him. Thai street food concept CrushCraft needed a hip, youthful vibe, and the operator trusted Baker’s Dallas design firm JonesBaker to make it happen. Baker is friendly and soft-spoken, with an eye for vintage and the belief that being well-traveled fosters creativity. He’s actually been on the streets of Thailand, and he puzzled over how to bring the bustling chaos of a Bangkok back alley to an Uptown eatery. Inspired by the beauty of Thai lettering, Baker asked the owner’s family back in Thailand to send their old boxes and license plates to use as indoor décor.

Their revenue has grown more than 10 times since their first year, and these days JonesBaker generates more than $1 million annually. Last year, they completed 36 projects. “Dallas’s endless need for restaurants makes this a good place for us to be,” Baker says. “Dallas is a breeding ground for restaurant concepts.”

Michael Caine and Shakira Caine, 1988, Courtesy of Annabel’sLady Annabel Goldsmith, Courtesy of Annabel’s

As the capital of an empire that always condemned the vulgar, London has a history of luxury exclusion. The old gentlemen’s clubs are the original model, dating back to Victorian times – the Carlton, the Travellers, White’s – but unlike Annabel’s, they were always open around the clock, serving breakfast, lunch and dinner. They held, and still hold, that poverty is forgivable but vulgarity is cheap. Membership of the East India Club, for instance, is by invitation or nomination; only then can the issue of annual dues – up to £1,120 – be politely introduced. Find yourself short in the club, and you can just put the bill on your account, but never tip the staff, never bring your ‘business papers’ in, and never, in particular, omit to dress correctly. I visited with a member who didn’t have a tie, and claimed to the steward that he’d “left it on the flight from Geneva”. In fact, he was tipsy and forgetful, and had come from Putney. The steward had a spare brought up without fuss, but there was something otherworldly about the conversation between them: you couldn’t tell whether such Genevan lies were so everyday in the Waterloo Room that they passed without notice, or these men both knew they were sharing a fiction and wouldn’t admit it.

“We created a Brooklyn warehouse look inside a shopping center box,” Baker says. “People want that authentic vibe, so we superimposed a new geometry onto a real regular place.”

“Who else has trash sent from Thailand all the way to Dallas?” he asks.

Coevál has grown to 10 employees and has gone from doing three projects a year to taking on approximately 25. Valverde, who’s trim and smartly dressed, says about 90 percent of the company’s business comes through referrals. From 2013 to 2016, he says, the company has grown a whopping 697 percent. It has tackled some of Dallas’s best-known hotspots, from trendy bars like Stirr, Next Door, and Quill, to gorgeous restaurants like Nikkei, known for the ancient-style Japanese art that glows from its walls. According to Valverde, The Rustic, one of Coevál’s first projects, earns somewhere around $12 million a year (numbers are calculated based on Texas Alcoholic Beverage Commission sales, plus a food sales estimate). And Happiest Hour, with its ubiquitous “HH” logos, skyline view, and fishbowl-sized cocktails, is estimated to bring in more than $13 million annually.

I don’t call this a good or bad thing, so much as the product of a natural law. Glamour is vulnerable to time. Of course everyone will reapply, as you would in their place, because thresholds are places where people get seen, and Annabel’s will have the starriest threshold for the starriest people. It made me think of the F. Scott Fitzgerald story that began, “Let me tell you about the very rich. They are different from you and me.” After ten years, his friend Ernest Hemingway had some esprit de l’escalier, and imagined the reply: “Yes, they have more money.” But though Hemingway thought this was a devastating riposte, Fitzgerald had it right. The rich will live in a magic house, and the unmagical people will gaze at it. The aura of glamour is only as unreal as happiness is, and we don’t punish people for wanting that. So, as I was led around the construction site at Annabel’s, and shown visuals of its finished form, I thought of its prospective membership, and what Fitzgerald wrote about them. Lionel Trilling said the novelist “had but little impulse to blame”, and added that that was “remarkable because our culture peculiarly honours the act of blaming, which it takes as the sign of virtue and intellect”. Fitzgerald knew that glamour would always be both attractive and repulsive to us, because it’s a special, varnished subset of the way everyone looks at each other – and in the mirror. We’d all like to be inside the door, glass in hand, feeling like we made it.

Since Plan B’s start 12 years ago, revenue has grown “nine or tenfold,” according to Ring. He and Urrunaga view their projects as the best advertisements for their company. “We live and die by our work,” Ring says. “We have more people come to our office based on having been to one of our restaurants than with anything else we could do.”

Restaurant concepts need everything from a solid space and stunning interior design to … perfect music.

Baker, along with his partner, JB Jones, started JonesBaker in 1998. In their early days, the two worked out of Jones’s apartment on little projects—a bathroom renovation for an acquaintance here, a small-scale design for a dive bar there. “In those days, we were begging for every $400 check,” Baker says.

“We offer turnkey services that bring everything together under one roof,” Ring says. “The brand DNA helps us address the food, beverages, service, operational flow, design, and all other aspects that come into play to make a thing what it is. It sets a path, or a truth north compass for the project.”

And, restaurateurs can’t afford to risk it. That’s why companies and individual operators alike shell out millions of dollars to premier North Texas firms like Coevál Studio, JonesBaker, and Plan B Group, which all build, brand, and design restaurant concepts from the ground up. These creative companies specialize in making spaces user-friendly, attractive—and profitable. In addition to those three Dallas-Fort Worth firms, there’s also Studio 11 Design, which designed Grayson Social in Dallas, Chino Chinatown in Trinity Groves, and Super Chix. Vision 360 worked on Howard Wang’s Uptown and Frisco barbecue joint 3 Stacks, and the Dallas Twin Peaks location. Dallas interior architect Kate Murphy is known for working closely with Phil Romano.

23 September 2013 Interior Inspiration: beautiful restaurant design

“Pakpao went through four iterations,” Valverde says. “Thirteen hundred square feet is good for a quick-service restaurant, but this was a full-service restaurant. We needed stations for the waiters, a walk-in cooler, a good-sized dining space.”

The building went through three iterations before it became what it is today. “The intent is to have the operators walk through the hypothetical space and how it may feel,” Valverde says. “We listen to what they want and what they’re imagining, and ask how the Dallas public will interact with that.”

With its minimalist design and tree-like structures of blonde wood, this canteen looks more Scandinavian than Spanish. Even so, its layout is inspired by traditional Galician cantinas and evokes through its stylish design the feeling of dining outside during rural summer festivities, according it its designers.

The JonesBaker design firm created the look of Cook Hall and Bowl and Barrel.

Since then, they’ve grown to eight employees and operate now out of a 3,500-square-foot office building tucked along Akard Street. They’ve worked on some of Dallas’s most notable restaurant locations, including Meso Maya, Rusty Taco,  Cook Hall, and Meddlesome Moth. They’re working on their 16th location of Cru wine bar, and have done 12 locations for the Flying Saucer Draught Emporium. (These project names are kept in order by year on a list of several sheets of printer paper, all taped together in a daunting chain.) JonesBaker also did Bowl & Barrel, which started as a well-proportioned space in a tidy shopping center at Park Lane. They variously raised and lowered the ceiling and changed up the brick patterns in an effort to eliminate the cookie-cutter feel. The result is an atmosphere that’s industrial and trendy, but still comfortable.

They came up with the idea of a two-sided bar by demolishing part of one wall. The effect? “You’re able to sit on the patio and look into the restaurant,” Ring says. “It has this connectivity.”

The heart of clubland was historically in St. James’s, and pockets of Mayfair; Regent Street marked the eastern border. Beyond that, you were in Soho, where people always had the vulgar habit of being bohemian, theatrical, unmoneyed and wild. As the post-war environment gradually loosened society’s laces, the younger among the rich needed somewhere to go after spending the day at their clubs, somewhere with more licence but equal prestige, so Annabel’s appeared in Mayfair, with others following suit. And yet only 20 years later, in the 1980s, what a ‘club’ comprised, in the original sense, would suddenly start to change. A new raft of members’ clubs appeared in Soho, full of artists, musicians, women, and all the decadents you’d normally see underground – but they had plush bars as well, and waiting lists, and categories of Town and Country membership. The first was the Groucho, which still describes itself as “an antidote to the stuffy gentlemen’s clubs… a bastion and refuge for arts, literature and media folk”. Francis Bacon was a member for life; Sienna Miller is a frequent patron; Caitlin Moran launched a book there. Blacks was designed as an antidote to White’s, and encourages members to bring their dogs. Soho House, the one that went global, only wants new blood from ‘the creative industries’, and discourages ‘corporate attire’. The staff tell members to remove their ties.

A copper bar, copper light shades and even copper vases on the tables make this restaurant interior glow with sophistication. It also features lots of green, inspired by the Basel tradition of painting the front doors of houses green.

The people coming in wear sneakers and sparkly jewelry and polos and even suits. In the yard, two couples take turns throwing beanbags against corn-hole boards emblazoned with the “HH” logo. At a patio table, a mother rocks her baby while her husband finishes his burger. Women in floral dresses fight over the fruit floating in their Endless Summer Sangria, a $110 fishbowl-sized shareable cocktail. On the upstairs patio, people talk closely, sway to the music, and snap selfies with the Dallas skyline glowing brightly behind them.

Situated in a converted Grade II listed 19th Century girls’ school, the third Michelin-stared restaurant to be opened by brothers Chris and Jeff Galvin has also won several awards for its design, including the Restaurant and Bar Design Award in 2009/10. The interior, by designLSM gives breathtaking vistas across the 30 metre-high cathedral-like space. Understated details complement the stunning Victorian period conversion.

In a competitive market like DFW, restaurant concepts need everything from a solid space and stunning interior design to the right signage, a great logo, and perfect music if they’re going to last past their first three years. The idea that unites all of these elements is what Royce Ring and Alex Urrunaga of Plan B Group call “the brand DNA.” They’ve been restaurant operators themselves, so they know what works—and what doesn’t.

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