October 20 2016
June 12 2017 restaurant
The Secrets Of Good Restaurant Design Revealed By The Pros The

The Secrets Of Good Restaurant Design Revealed By The Pros The The Secrets Of Good Restaurant Design Revealed By The Pros The

Short of taking to the high seas, it’s hard to get more nautical than this chic but nostalgic seafood emporium, which was inspired by sun-bleached Instagram filters and ‘70s Venice Beach surf shacks. Though this renovated meat warehouse retains its architectural bones, the industrial effect is softened through wood and textile panels on the brick walls, and accent lighting on the steel trusses. New architectural features include 16-inch-deep steel windows, steel bar shelving and antique wood strips inspired by lobster traps. What, you thought that thing on your plate walked there?

With its geometric flooring, sleek stools and metal tables, 180-seat American Food and Beverage is one sexy tavern. Designer Claudia Woods knows her way around a brasserie, having previously kitted out downtown Dallas’ CBD Provisions in a similar mix of raw materials like exposed brick and reclaimed wood, with high polish finishes. But while CBD is cozy date night material, AF+B screams “single but aloof.” In this case, “aloof” is hot.

La Peg was the final installment in contemporary arts organization, FringeArts’ new waterfront venue on the Delaware River, now a permanent home for local artists and the annual Fringe Festival. A former high-pressure pump house turned bi-level, indoor-outdoor brasserie, Stokes’ renovation retained the mechanical feel by reusing existing tanks and pumps, and honors the building’s past with a huge historic pic behind one of the two bars. A small stage hosts comedy, cabaret and theater, but before you grab that mic, remember: there are professionals in the room.

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Garnering rave national reviews for the Marcello Mastroianni-level sexiness of its floor-to-ceiling windows, plush leather banquettes and reclaimed wood flooring, three-story Cecilia’s Italian Riviera vibe is in line with the coastal European menu, as are the creamy wall palette, white columns, and subtle seaside finishes like brass and marine-blue.

We also used warm copper accents, reminiscent of the copper pans used by Italian “Nonna’s” cooking pasta in many Italian kitchens. These sorts of details I think give a sense of place and set the stage for the food to shine.

Highlight: Two oblong-shaped, stainless-steel Fireorbs suspended from the 21-foot-high ceilings. That you can’t swing on them is just plain mean.

As the site of the former Campanile — not to mention Charlie Chaplin’s onetime crib — République is as storied an LA location as they come. The renovation team focused on the Spanish-style building’s 1920s origins, with restored light fixtures and period-appropriate geometric tile flooring, white-brick walls, and rustic, reclaimed wood tables. If communal seating terrifies you, get your own table in the more polished, modern back room.

Highlight: Take a load off on the sofas that wrap around the terrace’s celestial water fountain.

Tiny houses, enormous benefits: Homeowners find freedom from mortgages, worries – and stuff

Highlight: The barstools feature metalwork by owner Walter Manke’s brother and wood seat tops by his father, so if you start singing “We Are Family”… everyone will stare at you because that would be weird.

The past: “Nobody goes to an 80-year-old bistro in Paris with the marble top that’s got huge chunks busted out of it and years of stains and a pitted surface, and says, ‘God, this feels terrible.’ You see the history. … It’s about places that look better the longer they’re open.” — Miller

Former rivals who went into business together four years ago, Hapstak and Demetriou scored a big hit with Rose’s Luxury, beloved not just for its food, but for its quirky decor and “awesome” neon sign. “That’s what [chef-owner Aaron Silverman] was looking for: that Brooklyn feel, that open skylight, the idea that things weren’t perfect,” said Hapstak. “It’s about rooms, and about not feeling like anybody [designed] anything there. Like it just existed.”

The 2015 James Beard Award winner for Best Restaurant Design is a lesson in contrasts. It has all the trappings of a landmarked 1926 Spanish Colonial, like terra-cotta roof tiles, a 27-foot-high cathedral ceiling, and an exterior courtyard, but inside? Say hi to concrete Brutalism. It’s concrete with an ecclesiastical theme, however, drawn from the 34-feet-long communal table, “side chapels,” and the altar-like bar area, at the foot of a nave. All that’s missing is a confessional booth but hey, that’s what the bartender’s for.

The trends: “You don’t need Edison light bulbs and reclaimed wood to make a restaurant successful. … I think heavy industrial design … has been done for the last five to seven years. People are craving simpler spaces.”

The Independent picked his brains to find out more about how designers piece together a restaurant’s interiors.

Inspiration: “Sometimes it’s a theater set, sometimes a magazine fashion shoot. It’s an artwork. It’s something you see resonate in some spark and connection.” — Demetriou

How can you convey the sort of food that is being served in the restaurant design?

Davis Square’s historic Rosebud dining car made a comeback recently, with a tweaked name and polished up Americana-on-wheels. The formerly rundown silver cart was gut renovated to honor the diner experience, but better, with tufted leather in place of vinyl in its cherry-red booths, and a fancier, white brick-lined rear dining room kitted out with hand-hewn woods and barrel-backed stools.

Lauren Winter and Brian Miller. (April Greer/For The Washington Post)

Highlight: The beer garden, with seating for 40 and views of the Benjamin Franklin Bridge.

How she selects furniture and fixtures: “If you can get something that is hand-built and has a touch of the irregular, it sparks something in somebody, and it makes them feel something.”

Highlight: The back room’s huge window overlooking the herb garden, from which the chef will harvest your garnish before your very eyes.

Highlight: The original crisscrossed antique redwood ceiling.

Highlight: The raised patio, with pergola. This is not your father’s dining car.

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There are two crucial initial things for us that go hand in hand when first considering the design of a restaurant. The first of these, as with all of our projects, is the concept and story behind the design. This is important to us to make sure that there is a strong narrative that is carried through the details of the design, ensuring each detail plays its part but without feeling contrived or superfluous to the design.

Colour certainly plays a large part in how people feel and behave in any space and it, paired with the lighting set the mood almost entirely in a restaurant and so should be fitting for the desired ambiance and the cuisine – although I’m sure we’ve broken every rule over the years when it comes to colour!

Architects and designers from six Washington firms that help make such evenings possible spoke with The Washington Post about what inspires them — which in turn might someday inspire home dwellers. Restaurant interiors often contribute to architectural and design trends. Designing for a restaurant, says Michael Francis of Queue Design Agency, is “this great little microcosm of an experience that allows you to experiment on a micro scale.”

Now relocated a few blocks away on Valencia Street, Mexican restaurant Loló is the bigger, brighter sister to its predecessor and entirely the vision of its owners, Executive Chef Jorge Martinez and his wife, “artist by accident,” Lorena Zertuche. Tropical-themed color and texture backs contrasting Mission District oddities like cowboy boots framed by bike tires, woven purses stuffed with flowers, bike-handlebar chandeliers, and walls of ceramic dogs and discarded car doors. Zertuche switches out elements as her tastes change, or she finds new objects — you never know when someone’s going to discard an even better car door. 

Eat the Rich was designed by Brie Husted. (Dixie D. Vereen/For The Washington Post)

How her design should make you feel: “I try to evoke a concept or a place through materiality. And that can be through the warmth of wood or the coldness of metal.”

Highlight: The oversized, 20-seater, marble-topped bar, which comes complete with a bookcase filled with taxidermy creatures. That’s just pazzo.

New York, NY (address and info) Alexander Waterworth Interiors

Highlight: The loft space overlooking the second-floor lounge.

The ugly: “It could be a budget issue, or an ego issue, where one of the partners or owners wants to put their little stamp on it and decides, ‘I like the color purple better.’ And they make the designer change the aesthetic even though the designer knows this is not the way to go.”

Wes Andersen fans are not imagining things: Westward & Little Gull really is inspired by The Life Aquatic, and that really is a portrait of Steve Zissou. Each zone of this Mediterranean-styled seafood restaurant, on the shores of Lake Union, is its own world, and that world lives in the ‘60s — from the leather tufted swivel stools to the Hans Wagner-reproduction dining chairs. Get sociable at the communal table, or park yourself at the chef’s table for a direct view of the water and cityscape.

Highlight: The pass-through window now serves cocktails to the back yard. Cocktails > bus tickets.

Discovering a restaurant at the end of an alley should prove worth it; so goes the philosophy behind Twenty Five Lusk — named after its obscure address, within a former meatpacking plant. CCS Architecture retained the exposed brick and wood columns, but elevated the warehouse feel with mirror-polished stainless steel, laminated glass, and mirrors. The former meat-curing room is now a double-height lounge, which you can scope from the second-level dining area.

Husted has designed for restaurateurs Richard Sandoval and Derek Brown. The way she approaches her projects is to “take a concept, dissect it and reinvent it so that it becomes something that evoked a place, but doesn’t replicate it,” she said.

I think it’s important that a restaurant design doesn’t feel themed but instead picks up on subtle references to the origin of the cuisine, celebrating its heritage and complementing the food. With our recent restaurant Margot in Covent Garden, we picked up on the finessed Italian cuisine by celebrating fine Italian crafts and traditions, such as broken Palladian flooring, and paying homage to some of the more characterful great Italian designers such as Gio Ponti and Carlo Mollino.

Successful design: “It’s heavy on ambiance, heavy on subtle textures and colors. It’s key to create an environment that remains fresh. It’s not a one-hit wonder, when you come in, you get a big wow, [but] you’re not interested in coming back.”

From the name and logo, right down to bar back elements like the wood cut in an employee’s garage, Shea drew up a cohesive plan and stuck to it. Befitting a restaurant designed with sightlines in mind, there is no bad vantage point, from the open kitchen, to the glowing, working wine room, and the salvaged-wood chef’s bar. The team spent months sit-testing the Scandinavian, mid-century modern furniture, which is upholstered in fabric rather than leather to absorb ambient sound.

The good: “I think the white tablecloth may make a resurgence but to a limited extent. … The people that are frequenting these industrial and quirky places, they’re getting older, they’re going to want something a little less loud, they’re going to go somewhere that’s a little more their age.”

Design Principal Stephen Martyak’s Nashville roots are much in evidence at Loretta’s, a Southern food restaurant that couldn’t be more Music City if it sang about its divorce, or its… Crushin’ It? You go, Brad Paisley! Anyway, Patsy Cline, Dolly Parton and Johnny Cash vinyl line the paneled walls and dominate the vintage juke, and there’s a marquee-lit stage, should you feel inspired to break out some Jolene.

Pet peeve: “I’m tired of so much wood everywhere. They’re not using it like a material; they’re just slapping it up.‘We made a wood salvage wall; it makes us green.’ It takes more than that.” — Hapstak

The trick: “You should see the light washing over something, but you should never see the source of the light. ”

You might be tempted to ask the staff of the art gallery you mistakenly entered where the restaurant is – and how you ended up on the East coast. The unique setting, a self-described “portal of creativity,” is inspired by the 1980s New York art scene and Miami’s famed graffiti installation, Wynwood Walls. Fulton’s rotating collaborations with local artists ensure that there is always something new to see, and the weekly series, “5×5,” offers customers a behind-the-scenes look at live art creation.

In designing Minibar and Barmini, Cooke, who worked with Spanish designer Juli Capella, a friend of chef José Andrés’s, wanted to imbue the space with a sense of whimsy. You’ll see it in a couch that looks like a cactus, or a wall of three-dimensional hands — originally intended to be a coat rack in Barmini, they now hold fresh fruit. “The place has a very Salvador Dalí surrealist vibe to it,” said Cooke. Whenever she designs a restaurant, Cooke and her team sit in every seat, so they can see what each diner’s visual experience will be.

Highlight: Depends on the rotation, but the bar back made of stacked chairs is a constant curiosity.

Lest there be any doubt that you are eating dinner in a Greyhound bus terminal, The Grey’s nods to its past include gate numbers on the wall and an open kitchen within the former ticketing booth. The landmarked, 1938 Art Deco façade was restored to its original form, while the interior transformation includes a bar in the central gate area, a private dining area in the women’s shower room, and a wine cellar in the drivers’ bunk room. 

Highlight: The reclaimed walnut and cast-zinc horseshoe bar. Stool space never looked so fetching.

Highlight: The spoon-and-decorative-driftwood art piece is a nod to Chef Gavin Kaysen’s habit of pocketing spoons from restaurants. Don’t judge him.

Atlanta, GA (address and info) NO Architecture/Smith Hanes Design

The future: “There’s something really special and rewarding to us about working on somebody’s first place. …Our dream client is, like, a 23-year-old line cook right now who in eight years is going to open a restaurant.” — Miller

Proving that there’s much more to Miami architecture than Art Deco, Juvia takes advantage of its proximity to South Beach, and its penthouse-level location, with an ultra-modern, trackless, retractable roof for year-round terrace dining. A 22-foot-high vertical plant wall allows panoramic views of downtown, while the indoor dining area’s floor-to-ceiling windows… kind of still make you wish you were out on the terrace. It’s so cool!

London-based Alexander Waterworth Interiors won a 2014 Restaurant & Bar Design Award for its industrial-elegant work. Inspired by Chef Matt Lambert’s rustic New Zealand roots, the dining room meshes raw materials like exposed brick, reclaimed barn timbers from upstate New York, and walnut table tops, with upscale touches like mid-century furniture, brass lighting, and leather banquettes. Finding the unassuming entrance on Elizabeth means instant cred or abject failure.

From the shape and squashiness of the dining chairs to the exact shade and texture of the wallpaper, a designer has revealed the lengths that go into creating the interiors of a restaurant.

Soi 38 was one of Francosco Beltran’s projects. (Dixie D. Vereen/For The Washington Post)

The bad: “Truthfully, I try to convince [clients] not to get into the business…. I went as far to tell one guy, ‘You might as well give me $50,000 and walk away now. You’ll save money.’ He went forward with [his restaurant], and he was open for a few months, and he closed.”

Dining out is a holistic experience — a commune between taste, aroma, sight, surroundings, and whether or not you can find parking (damn it what the hell is happening to this city!). The surroundings can be especially important. What kind of monster would eat sushi in a Western-themed saloon, or drop $$$ on a steak while sitting on a plastic chair? People who separate sandwiches into their constituent parts, that’s who. To the rest of us, restaurant design matters.

Some of the best restaurant design is intended to go unnoticed. Sure, there will be eye-catching components — a cool mural, a quirky bathroom — but those aren’t as important as the layout, the lighting, the carefully cultivated mood. A well-designed restaurant won’t distract from the food, and especially not from the conversation. Instead, it will subtly contribute to one of those memorable evenings when everything clicks: the meal, the service and the warm vibes.

Highlight: The ground floor’s mini, fully functioning Rosenwach water tower. Selfie like a giant.

Francis waited tables to get through architecture school, helping him understand restaurants’ flow and function. These days, he splits his time between Washington and Los Angeles. You can see the influence of the latter in Maketto, the restaurant, coffee shop and retail space on H Street NE that opened in April to rave reviews. Sit on its second-floor patio overlooking a courtyard on a sunny day, and it feels like California. And you find bits of the former in the art-deco-inspired interior of subterranean cocktail bar Denson, with glass salvaged from the historic Hecht’s warehouse on New York Avenue NE.

What it’s like to be a chef plagued by one star reviews online

What is the most challenging aspect of designing a restaurant?

What are some clever psychological tricks that designers use when creating a restaurant?

How D.C. design has evolved: “I don’t know if I want to use this word, but it’s becoming more textural. It’s becoming more modern in its sense of materials. It’s becoming less regulated, less permanent and less symmetrical.”

Exciting design: “A space that begins to unfold and tell you little secrets as you look and ponder the space. … It’s not about perfectly organized spaces. It might actually be a part of the design that is a mistake.”

Taking Smith Commons from a former carpet warehouse to a three-story house concept was not without hiccups, like a car driving through the future site of the first-floor bar (yeah) during construction. But it got there in a year. The space incorporates second-and third-floor patios, plus a meeting space, a wooden bar on each level, and a relaxed scheme of white-oak flooring, exposed-brick walls, and picture windows throughout. In other words, just like home — if you won a $50 million legal settlement from some guy who drove through your old living room.

It’s not just the food that makes a great restaurant. Take a look at the work of local and international architects who are making the places we eat more interesting.

The comfort level of furniture is also often used to encourage different dwell times in restaurants. With more formal dining we design furniture to support and hold the guests comfortably for long dining experiences. This obviously isn’t the case with faster turnover, more casual dining establishments.

When Brendan Sodikoff purchased a raw industrial space in Chicago’s West Loop for his latest BBQ venture, he decided to embrace, rather than mask, its warehouse aesthetic. He added no additional walls or paint to the four-walled, concrete-floored space, just dangling lights and a ton of Southern attitude in the form of bench seating, a self-serve counter, and vintage knickknacks. There are no windows, just barn doors that are opened up in summertime, making this a perfectly dark venue in which to eat pig like a pig.

New York, NY (address and info) Savelii Archipenko and Hecho

From a psychological point of view, one of the key aspects to a restaurant’s design is the lighting. It has to be soft and flattering to make guests feel comfortable so that they are confident and relaxed and enjoy their stay in the restaurant. We tend to do this through soft ambient lighting to complement the more targeted architectural lighting and also to suit the time of day. In my experience, the worst lighting is when there are just downlights over the tables that can cast shadows over diners faces. This can be very unflattering for guests and make them feel uncomfortable.

Peter Hapstak and Olvia Demetriou, founders, HapstakDemetriou

Favorite trend: “One of the most powerful and primal images is a campfire.” — Demetriou on open kitchens

Experiencing design: “It’s all about the sensual nature of materiality. It’s a beautiful piece of wood on a bar, or a textured piece of glass, in combination with something that is new and old. I think that’s kind of where we are in terms of design right now, finding that middle ground between something that speaks to history and something that speaks to the present day.”

While fast-food joints – with their almost-cosy, utilitarian seating and fast background music – are geared towards equally fast eating; fine-dining restaurants are adorned with luxurious materials to helps customers settle in and keep ordering off the menu. 

The second, critical element of a restaurant’s design and the most important to any restaurant is the operations of the restaurant. How do guests arrive at the restaurant? What route does the food take from the kitchen to the guests table and how is it delivered? How many different waiters will serving the space? Making sure the operational layout works seamlessly and as effortlessly as possible for the operators of the restaurant is essential in making the restaurant a success and ensuring diners have an excellent experience. Whether a fine-dining restaurant or a more casual, quick service restaurant, each process needs to be considered in great detail so that the restaurant works as a well-oiled machine.

It’s the small details that make a restaurant great and whilst they’re details that guests may not necessarily notice at first, they reveal themselves once you start to look in more detail and absorb your surroundings. It’s this approach that makes both the design and the process exciting for us and hopefully for the diners in our restaurant designs too!

For Beltran, pathways and sightlines are more important than chairs or doors or murals. Having worked at his uncle’s restaurant before architecture school, he designs with practicality in mind; the path from the kitchen never crosses the path to the bathroom, and server stations are concealed within the dining room. After the logistics comes the fun — facilitated, in part, by a table that functions as a real-life Pinterest board. Beltran and his associates fill the table with photos, materials and fabrics that inspire the concept and gradually edit them down to the essentials. Beltran designed Thai street-food restaurant Soi 38 to be gritty enough to evoke a Bangkok market at night, but polished enough for power lunches.

By Maura Judkis June 25, 2015 Email the author Follow @MauraJudkis

The biggest challenge for us is to make sure every table is a good table – whether you’ve booked months in advance for a special occasion or a last minute walk-in at a regular favourite restaurant – you should never feel hard done by. It’s interesting for us to see which tables people prefer in restaurants – different people always have different favourites. I think in a great restaurant, I want to keep going back for a different experience in different parts of the restaurant.

Highlight: The men’s room is papered in cleats and halves of colored soccer balls.

Winter and Miller don’t just design restaurants, they design neighborhoods. The duo’s architectural firm, which was acquired by Streetsense in 2013, focuses on locally owned neighborhood restaurants and the way they play off of one another. In Bloomingdale, the team designed Boundary Stone, El Camino and the Red Hen (Winter’s husband, Sebastian Zutant, is the sommelier and a partner in the restaurant). Near Shaw’s Blagden Alley, they’ll be designing for Derek Brown’sColumbia Room, Jeremiah Langhorne’s the Dabney, Tiffany MacIsaac’sButtercream Bakeshop and All Purpose, a pizzeria from the trio behind the Red Hen. “Our whole mission has been to create a better D.C.,” Winter said.

Highlight: The pink ceiling, complete with wagon wheel chandeliers.

  Olvia Demetriou and Peter Hapstak, founders of hospitality design firm HapstakDemetriou, are pictured together at the construction site of a future restaurant in Washington. April Greer/For The Washington Post

Allison Cooke. (Photograph by April Greer/For The Washington Post)

Highlight: The 25-foot-long, ship slice that is the back bar. Marvel at the dozens of exposed compartments, some of which house liquor (no surprises there), and some of which are fully realized, wallpapered dioramas.

Michael Francis designed Maketto. (Dixie D. Vereen/For The Washington Post)

Because naming the best-designed restaurants, period, would be an exercise in apples vs. Boston’s Union Oyster House (opened 1826), we decided to highlight our favorites built or remodeled within the past few years (the oldest/most recently redone is 8 years). From re-imagined warehouses to a fresh take on Charlie Chaplin’s former digs, here they are.

If a restaurant doesn’t work properly from a functionality point of view – it doesn’t matter how beautiful it is, it will never be a success. 

Tom Strother, co-founder and creative director of interior design firm Fabled Studio, has helped top restaurants including Margot, which serves upmarket Italian food, Indian street food establishment Jamavar and Parisian-style wine bar nook Noble Rot style their insides. 

The terms: “You get to core words: Heirloom. Freshness. Clean. Bright. … We start to get on the same visual language with [clients].”

Lauren Winter, studio head, and Brian Miller, project designer, Edit Lab at Streetsense

Philadelphia, PA (address and info) Stokes Architecture/Groundswell Design Group

Olvia Demetriou and Peter Hapstak. (April Greer/For The Washington Post)

With 600 seats over three levels, five distinct dining zones, and 26,000 square feet, URBO (short for “urban bohemian”) is a beho (short for behemoth — all the kids are saying it). Despite its dimensions, URBO’s design is distinctly artisanal, with reclaimed subway tile and wood, hand-hammered finishes and museum-worthy artifacts like a paymaster’s office from an antique railroad station, salvaged fire escapes, and antique radios. Open kitchens, a glass elevator and a garden-like loft area root it firmly in the present.

The present:“I think [14th Street NW] is great, but does it feel like a neighborhood? Does it have that neighborhood bar?” — Winter

While its former-garage location in historic Blagden Alley is a slow reveal, there are no secrets inside Rogue 24’s sleek, but still brick-walled interior. There are open kitchens and then there’s this: a centerpiece open cooking area that lends a theater-like vibe to the dining room and leaves no ambiguity about how your food was prepared.

What is the first thing you consider when you are given a brief for designing a restaurant?

The backyard barbecue, upgraded: Pavilions, pools and even TVs

Top Chef All-Stars winner Richard Blais marries edgy with sophisticated at this once-dilapidated, 90-year-old warehouse on the edge of San Diego’s Little Italy. The Johnson Studio stripped the interior back to the original concrete shell, and added multi-height distinct dining areas set against warm wooden walls and abstract paintings. Should you want to eat your pork porterhouse w/ Nutella mole un-harassed, the rear tables can be transformed into private seating areas with the swoosh of windowpane-check curtains.

More about: | Food | Food and Drink | restaurant | Design | interior design

Baltimore artist Gaia wrapped the walls in a black-and-gold mural featuring a dragon and other creatures, and Beltran installed a photorealistic surprise for those with a sharp eye: “Nobody notices the crocodile.”

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