Texas-born, Atlanta-based chef-turned-restaurateur, Ford Fry, continues to enrich Atlanta’s dining offering.
Earlier this year, his Rocket Farm restaurant group opened its fifth restaurant, St. Cecilia, in The Pinnacle building in Buckhead, in the space previously occupied by Bluepointe.
To design the establishment that has room for nearly 200 in total, Fry selected Meyer Davis Studio http://www.meyerdavis.com/about/ of New York, established in 1999 by Will Meyer and Gray Davis. Fry has used the same studio for his King + Duke restaurant.
Meyer Davis’s work on prestigious retail and hospitality projects includes the revamp of W Lakeshore in Chicago and Paramount in New York, plus Oscar de la Renta’s boutiques worldwide and John Varvatos stores in New York and Las Vegas.
St. Cecilia’s most redeeming feature is the scale and the satisfying feel of pattern and repetition. The first impression is that of order without severity and spaciousness without the unwelcoming feel of coldness.
The space is high, the sightlines clear and wide with lots of natural light. Seating and tables, shelves and bottles, and rows of pendant lighting fixtures all add to the sense of harmony and tidiness, yet there are spots of whimsy and little surprises at every turn.
Bits and pieces of mementoes, old medicine bottles, old books, a plank of aged wood, a darkened painting leaning against a wall, a stuffed bird on a side board.
These details neutralize the newness and create a comfortable visual link to something old and somewhat Mediterranean, an appropriate context for the Italian-inspired menu.
And of course we love the black-and-white colour scheme, always a harmonious back drop for creative sparks.
In addition to St. Cecilia, Ford Fry also operates JCT Kitchen, No. 246, The Optimist, and King + Duke, all in Atlanta. He is rumored to be planning his sixth and seventh restaurants in Krog Street Market and in the Avalon in Alpharetta, Atlanta. Tuija Seipell
Although there is not a samovar in sight – neither anything resembling the ornate boiler of tea water - the two-month-old Samovar tea bar in The Mission area of San Francisco is most decidedly dedicated to tea. This is the fourth Samovar in owner Jesse Jacobs’ little empire (the other three are also in San Francisco), and clearly different from the others which are more traditional tea houses.
The Mission Samovar is a feast for the eyes and soul in its fine minimalist balance. What is NOT there makes this altar of tea-time contemplation so incredibly beautiful. The antidote to the bustling, loud, constantly connected coffee shop, this is “a retreat from the rat race” as Jacobs said in a magazine interview.
In addition to the highly edited selection of teas and scones, the central focus of this Samovar is the peaceful, almost prayerful atmosphere brought out by the exquisite surroundings.
The thick, white walls, against which hefty white shelves are suspended appear old and slightly weathered. And on the substantial shelves, in harmoniously spaced rows, sit the thick, white cups, custom-created by ceramists at Oakland’s Atelier Dion.
These handle-less cups are meant to be cradled in the hand, held and enjoyed, as opposed to held with the pinky pointing skyward, or clutched like a beer mug. These cups informed the design of the store, skillfully executed by the style masters at San Francisco’s Arcanum Architecture.
The limited assortment of black, green, herbal and iced teas plus masala chai and matcha, is not made from dustings out of dangly bags with hot water poured on. Instead they are ceremoniously yet swiftly prepared in a stately row of tablet-controlled, glass crucibles manufactured in Utah by Arcanum Architecture. - Tuija Seipell.
via Spotted SF
Swedish restaurateurs Magnus Ek and Agneta Green started their entrepreneurial careers in 1994 as they rented the small Oaxen Skärgårdskrog restaurant in Stockholm’s archipelago. They taught themselves the ins and outs of wine, food and fresh ingredients, eventually bought the restaurant and started to gain a steady reputation.
But the Swedish winters being what they are, the archipelago location was open only part of the year. Forward the clock from that to last year, and the grand opening of Oaxen Krog & Slip, their brand new corrugated-metal framed and so beautifully aged twin establishments, right at the old shipyards on the island of Djurgården in Stockholm’s city centre.
Designed and lovingly outfitted with repurposed, antique and retro furnishings and materials by architect Mats Fahlander and architect-designer Agneta Pettersson, the restaurants have already gained several prestigious Swedish awards in business, design and food categories.
These include Stockholm’s Restaurant of the Year 2014 recognition for Slip by the Swedish city entertainment guide Nöjesguiden, and Oaxen Krog’s awarded of Business Restaurant of the Year 2014 by the financial newspaper Dagens Industri. Oaxen Krog has already one Michelin star and Slip has won the Michelin Bib Gourmand-award.
Krog is more of a dining room and Slip a bistro. Our absolute favorites in Slip are the lovely finds dating back to fairly recent Swedish history – the wooden 1905-built craft in the ceiling and the single scull from 1920s. The old Swedish school desks, theatre-seating and repurposed tableware create a uniquely welcoming and familiar feeling.
Oaxen Krog is a bit more formal but seats only 35 and therefore retains an intimate atmosphere. Slatted oak covers the walls and ceiling , and the chairs dating back to the 1950 but still in production by the Swedish Wigells surround the tables custom-crafted by shipyard carpenters. As e the smart city set dines on organic fare, we think we can hear some Swedish Old Salty in his blond beard and blue eyes singing a melancholy song or two about the rough-but-oh-so-wholesome life on the cold shores of Sweden. - Tuija Seipell.
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
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.
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.
Opening this week in Antwerp, Belgium, The Jane restaurant designed by Piet Boon has all the building blocks of a success. An intriguing building: A chapel of a former military hospital that gives the restaurant the aura of a sacred place mixed with a certain darkness. An interesting location: Antwerp’s ’t Groen Kwartier that with its lofts in restored buildings and green areas designed by famous architects is developing into a trendy area.
A famous chef-owner: Sergio Herman with his young right-hand man Nick Bril running the establishment. A renowned designer: Dutch Piet Boon restaurant who used fantastic collaborators to add customized spunk. The massive lighting fixture (weighing 800 kg) in the middle of the main dining room was created by Beirut, Lebanon-based PSlab and the stained-glass windows by the Antwerp-based Studio Job led by Job Smeets and Nynke Tynagel.
Our favourite aspects of The Jane are the scale of the space - its height, massive arches and large windows, the lovely decaying celling, and the almost complete lack of colour. We like how the interior touches respect the building and echo its history.
In a media release, Nick Bril explains why they named the restaurant The Jane “…Jane is the name of a fictional woman with the same qualities as our restaurant. The Jane will be sensual, exciting and chic. It will have an attractive international air, but also a hint of darkness. It will be tasteful and sophisticated, but also rock-’n’-roll. Like our perfect woman.” - Tuija Seipell
This stylish restoration of a nearly 200 year-old wine cellar combines many of our favorite attributes in a renovation: generous use of aged and new wood, lavish open spaces and a minimalist color palette.
This stylish restoration of a nearly 200 year-old wine cellar captivates us with its overall minimalist approach. It transforms the historic space to meet modern needs yet does so without losing the elegant patina and without destroying the authenticity and uniqueness of this particular location. It is not easy know where to stop, which is why so many renovations damage what was already good. Not this time.
The renovation was completed earlier this year by Lisbon, Portugal-based P06-Nuno Gusmão. The creative director of the project was Nuno Gusmão and the design leads Giuseppe Greco and Joana Proserpio.
The building, Graham’s Lodge, is located in Portugal in Vila Nova de Gaia on the Douro river estuary near the Atlantic Ocean.
The granite-walled Lodge is now not just a real, functional working building where thousands of casks of Port are aged, but also an immersive visitor centre where Graham’s Vintage Ports can be tasted and experienced as part of guided tours.
W & J Graham’s was founded in Oporto, Portugal, in 1820 by two Scottish brothers, William and John Graham.
The Lodge opened to the public for the first time in 1993, but the current renovation, commissioned by the Symington family that owns the company today, takes the visit of the constantly increasing numbers of visitors from a typical “winery tour” to an exciting, authentic experience.
The guided visits now include a visitor reception hall leading to an auditorium, the two-level Graham’s Museum, the Lodge itself, a tasting room, the Vintage Room, a shop and a wine bar and restaurant. Among the fake historic environments so prevalent in wineries, it is refreshing to see the real thing once in a while. - Tuija Seipell.
Romita Comedor is a restaurant that is less than two years old yet it has the ambience of a well-loved, casual tradition.
The interior touches - the use of wood and tile, the wood furnishings, the many plants and various surface treatments - all seem to belong here, and they seem to have belonged for a long time. Nice vintage-chic patina that also looks fresh and modern – not easy to achieve.
The dining room is located in Mexico City, in the heart of Colonia Roma, at Avenida Álvaro Obregón 49.
The building dates back to early 1900s and its style was inspired by grand railway stations. It is also protected by the INBA (Instituta Nacional de Bellas Artes).
The massive windows, glass ceiling and a retractable awning all take full advantage of the station-style architecture, and let the light in for the benefit of the many plants.
The building’s current owner, Rodrig Espinoza, and his two partners, Marcela Lugo and Arturo, designed the restaurant with the idea in mind that it would become a gathering place that would attract not just the locals but visitors as well.
Romita Comedor is known for authentic Mexican cuisine, great cocktails at the two bars, and live entertainment by well-known DJs. The building also houses a design shop and a hair salon. - Tuija Seipell
Biribildu is a new souvlaki restaurant in the Alimos (or Kalamaki) area of Athens. The quirky design of the casual fast-food eatery is by Thessaloniki architect Minas Kosmidis whose Farma Creaton restaurant we have featured previously.
The Basque word Biribildu means to turn, to make a round, to round out, to perfect, and the round form appears frequently in the design. As a traveling circus goes around from town to town it became a fitting theme for the casual eatery that offers gyros made with meat off a vertical rotating roaster.
Two circus carousel horses imply going around and around,and they also direct the customer traffic toward the ordering counter and large menu. The tables are circular, as are many of the circus-themed wall decorations.
The kitchen, washrooms and storage areas are hidden inside huge wooden “boxes” that give a nod toward the transportation crates used by a travelling circus.
The cash desk is inside what looks like a tiger’s cage and above it hang the knives of, Mr. Biribildu, the circus master himself who is, apparently, a mean knife-thrower.
We like the overall midway and boardwalk feel of the 80 square-meter (860 sq.ft.) space with its eclectic juxtaposition of elements such as the Mediterranean plaster mouldings in the ceiling and the tile pattern covering the air vents, mixed with the floor treatment that resembles a typical circus-tent floor: wet sand. - Tuija Seipell.