We just had to include this little, happy-looking Mediterranean take-away restaurant on TCH today. The reason? It just made us smile. Of course, there are also the clear colors and the use of wood – both features we tend to like.
Valencia, Spain-based Masquespacio completed the interior design and branding for the 40 square-meter (430 sq.ft.) Kessalao located in Bonn, Germany.
Led by creative director Ana Milena Hernández Palacios, the Masquespacio team used a drop of olive oil as the key for the brand’s logo, and combined the German word “Kess” and the Spanish word “salao”, both apparently referring to a cool, amusing boy. We know salao as “salty” and “unlucky” from Hemingway’s Old Man and the Sea, but it seems the word has a much happier tone in mainland Spain.
Pine furnishings, birch veneer paneling and raffia add both softness and Mediterranean natural elements to the space. To maximize the use of the tiny space, the raffia covering the tall stools hangs down underneath to provide space for coats and handbags.
Kessalao is Masquespacio’s first project outside Spain. - Tuija Seipell
Photographer - Eric Johansson
This is not a photograph - It's hand drawn with a pen by CJ Hendry for her upcoming IT Bag exhibition.
Flower paintings by Thomas Darnell
Marcel Marongiu designed pool - Mexico
Mirage House with an infinity pool forms the roof of this house designed as a concept by Athens studio Kois Associated Architects for the Greek island of Tinos.
Trou Normand Opens in San Francisco
Aman Canal Grande Hotel, Venice
Road to Como, Italy
Floral Installations by Rebecca Louise Law
Tree Trunk Kitchen by Werkhaus
Giusti Gardens, Verona, Italy
Cooking is a serious and competitive business and professional cooking schools can have the air of military camps where fear and strict order dominate. Nothing wrong with that in the world of celebrity chefs, fame and Michelin stars.
But for the rest of us, cooking is either a fun and enjoyable creative endeavour or a boring daily necessity best avoided at all costs.
Many consumer-facing cooking schools, sensing a growing market niche, are offering relaxed, fun classes in cool surroundings that don’t intimidate the participants.
The all-female Japanese ABC Cooking Studio has more than 125 casual cooking studios in Japan, Hong Kong and China.
High-stakes chefs train elsewhere, but ordinary women who love sophisticated cooking in a happy, relaxed atmosphere flock to ABC whose studios draw more than 250,000 participants per year.
Their latest location, in Huangpu, Shanghai, China, is a new take on their already relaxed approach to cooking. Designed by Prism Design under the direction of Reiji Kobayashi, the new studio is all white, soft and friendly.
Black ceilings, light wood accents and white main features keep the studio’s ambiance clean and professional, avoiding the all-so-common trap of too cute that would have opened up with the introduction of pink, baby blue or yellow.
You can relax now and forget all of your bad memories (should you have any…) of drab and dreary home economics classes because the newest cooking schools are cool.
It is true that The Culinary Art School in Tijuana, Mexico is not of the high-school variety – it is for serious chefs with high aspirations – but it oozes a new, cool confidence that could potentially turn even the most nonchalant teenager into a passionate chef.
The elegant use of wood is the key attribute in The Culinary Art School. Its new building was designed by San Diego, California-based Jorge Gracia Arquitecto whose founder, Jorge Gracia, was born in Tijuana in 1973.
The entire school complex carries an air of strict order, almost an ascetic solemnity. If you didn’t notice the stoves or wine racks, you could mistake this for a place of religious study.
And, passionate chefs certainly express a fervour for food, ingredients and cooking that could be likened to religious zeal. It is easy to imagine how the colours, textures and aromas of various ingredients stand out in this kind of environment. It is like a stage for culinary creation or like a frame for gastronomic artwork.
Also in the category of cool cooking schools is the Sydney Seafood School established in 1989 and completely refurbished for its 20th anniversary. It conducts cooking classes for all skill levels and draws more than 12,000 students annually.
Words such as handsome and sexy come to mind when you look at this space, the creative work of Dreamtime Australia Design, based in Sydney, Australia.
Some time ago, we have featured Dreamtime-designed Churchill Butcher Shop in Sydney.
In Sydney Seafood School, a tactile intrigue, and a contrast between serious study and serious fun, are evident in every space. The school’s entry wall is a honeycombed sandstone creation by sculptor Michael Purdy.
The dark and impressive hands-on kitchen looks formidable with lots of shiny stainless steel and glass, but its gravity is lightened by chalkboard walls with “fish graffiti” as art. The cool auditorium’s walls are lined with Icelandic fish leather. In the dining room, the harbour view competes for attention with a row of fun fishnet chandeliers and their more than 6,000 little globes. Where do we sign up? Tuija Seipell
With his IO Studio, established in 2007, Czech architect Luka Krížek has created several notable hospitality projects.
His beer bar at Brandýs nad Labem (near Prague) for Radegast is the first of a potential chain of bars for the famous brand. Radegast is owned by Plzeňský Prazdroj best known by its German name Pilsner Urquell.
We were immediately attracted to the Old-is-New-Again vibe of the former lock factory. We love well-restored, re-purposed buildings with both an old and new tale to tell.
Krížek added a nice unexpected layer of tradition by using the patterns and colours of the Cibulák porcelain also known as Zwiebelmuster or Blue Onion pattern manufactured by Meissen porcelain since the 18th century.
The rounded shape of the onion repeats nicely in the tables, chairs, lamps, vaulted ceiling and even the exposed AC pipes. - Tuija Seipell
Photography is by Alexander Dobrovodský.
Istanbul, with its magical mix of tradition and everything new, cosmopolitan and local, offers a fertile ground for new concepts and new business ideas.
Nopa, the restaurant and grill opened recently in the Nisantasi neighbourhood, is perhaps not that radical as a restaurant concept, but it has a delicious lushness and richness that appeals to us.
The grand scale and opulence speak of bygone times of train travel, gentlemen’s clubs and important residences. Marble, leather, masculine stone surfaces.
But there is also a cool modern, open-to-the world vibe created by the green vertical walls framing the patio that has a glass roof that can be opened in seconds to create an outdoor terrace.
The House Hotel group is the creator and operator of Nopa, with Istanbul’s hospitality designer darlings, Seyhan Özdemir and Sefer Cağlar of Autobahn, in charge of design. - Tuija Seipell.
In the world of fashion, luxury brands, excess and opulence, brands must shout louder and louder – or at least create something dramatically different and new - to be heard, to be noticed, to cut through the noise, to make an impact.
Moderation or modesty have never been Karl Lagerfeld’s style (an iceberg from Sweden being among his best-known past props), so once again this year, he selected a buzz-worthy location to showcase Chanel’s 2014/2015 cruise collection.
This year’s event was a glitzy do with wall-to-wall actresses, stars and princesses and 300 representatives of the world’s most influential fashion media, on a manmade island – THE Island - off the coast of Dubai.
For one night, and sparing no cost, Chanel miraculously conjured up running water, palm trees, luxury shelter and yes, also a full-scale fashion show with all the necessary AV and ambiance.
And yes, plied with that much gutsy craziness, star power and money, the world’s media has, indeed, noticed. Most likely, Chanel and Karl would call it a success. The rest of us are still slightly blinded by the glitz, wondering how far brands are willing to go to gain attention. - Tuija Seipell.
Hong Kong seems to have more than enough restaurants, yet new ones keep opening up and the best candidates always do well. The latest in the Chinese restaurant genre is Mott 32, in the Standard Chartered Bank Building in Central.
We love the echoes of the past that are visible everywhere at Mott 32 without turning the establishment into a traditional Chinese restaurant. It is all cool vibes and modern touches perfectly suitable for urban Hong Kong
of today, but in a skilfully prepared wrapping of patina and allure.
The name Mott 32 has its roots in 32 Mott Street in New York City where it was the address of the city’s first Chinese convenience store, opened in 1851 by pioneering Hong Kong families whose entrepreneurship and hard work helped establish Chinatown and spread the global love of Chinese food.
Metal, wood, rattan, leather, eccentric lighting, and countless details make Mott 32 a place where there are cool stories everywhere.
A massive abacus in the ceiling, a spectacular display of brushes, newly “decaying” ceilings in the bathroom, cool art on the walls, all of these aspects of the interior are carrying stories that echo the bygone industrial vibe of New York and the agrarian traditions, craftsmanship and hard work in China and Hong Kong. - Tuija Seipell.
New York restaurateurs, Eric Marx and Lisle Richards, known for the Wayfarer at The Quin, have taken on a massive project and turned a Meatpacking District haunt into party central.
The pair opened the elegant Monarch Room earlier this year and just recently, right below it, the Gilded Lily bar. The location of the Monarch and the Gilded Lily is 408 West 15th Street, the former home of the 70s and 80s gay party spot, Crisco Disco. The building has stood empty for three decades while the District around it has been transformed.
To create the interior for Gilded Lily, Marx and Richards worked with New York-based Roman and Williams (of Highline Hotel, Ace, Standard and numerous high-profile restaurants and residences).
They gutted the entire building right down to the support joists and then recreated from these bare bones a special blend of rough industrial brutalism and slightly sinful glamour.
Dancers on the sunken dance floor can now enjoy raw cement surfaces, golden leather seating and a new take on the disco ball: an enormous chandelier of long spikes that is synchronized to the deejay’s music beats.
Apparently the name Gilded Lily comes from the idiom of “gilding the lily” that means covering something with a thin layer of gold and/or unnecessarily enhancing something already beautiful. In Gilded Lily both are true. The already handsome raw space has been embellished by a thin touch of gold. But not completely unnecessarily as it all seems to belong perfectly and echo the past of the District and the building itself. - Tuija Seipell
Wirra Willa is a tiny, tranquil pavilion located in Somersby, NSW, Australia, on an 80-acre property that formerly operated as a citrus fruit orchard.
Designed by architect Matthew Woodward for his father, the pavilion is only 72 square meters (775 sq.ft) in size and it is surrounded by a 36 square meter (387 sq.ft) courtyard.
The villa complements the existing larger residence on the remote property and provides a special, separate place for reflection and rest. It can also be used as a self-contained guest house.
The architect’s inspiration was the Fansworth House designed by Mies van der Rohe in 1951. Just as Mies’s famous dwelling appears to be floating above the landscape, Woodward’s pavilion seems to float on the lily pond, creating a scene straight from a Monet painting.
Achieving the appearance of effortless floating became a particularly challenging aspect of this project. To gain the approvals of the local council, the building had to be raised twice during the building process.
The area is flood-prone and the finished floor level had to be half-a-meter above the “1 in 100 year” flood level although there is a dam with two overflow spill ways. In spite of the two forced raises, the structure has retained its feel of floating and the residents can still enjoy the sensation of walking on water.
Our eyes were drawn initially to the clean lines and basic materials - steel, concrete, glass, sandstone – with wood the dominant feature. Complexity is easy, but elegant, functional minimalism requires restraint and tact, both evident in this lovely villa.
We can imagine – and envy – the guests loving the relaxed, cool feeling of waking up in this pavilion, with the warm morning breeze gently shifting the white drapes. - Tuija Seipell