The Food Store

Front cover photography: © Project M Plus (Meiwen See) // Jayde's Market Back cover photography: © Hotel Daniel Vienna // Daniel Bakery

$30.00 [USA] £25.00 [GB]

Contents Foreword

4

148

RL

156

35 GRAMMI

152

Maison Marou Saigon

160

Motín

Ice-cream Parlors

Case Studies Bakeries & Pâtisseries

164

Maui Pops

180

Softsrve Ice Cream & Dessert Bar

168

ZERO-e ice cream café

184

Winter Milk

10

Gaudenti 1971—Vittorio Emanuele II

62

Mister Baker

172

Prossima Fermata—ice cream laboratory

188

Milk Land

14

Belle Époque

66

Gard’Ann Patisserie

176

Kinber Made

192

Spooning Cookie Dough Bar

18

Coconut Pastelería

70

Pâtisserie NUMOROUS

22

Flour and Salt Bakery

74

Tafelzier Patisserie

26

Home Bakery

80

PavoMea

30

Lust auf Vollkorn—concept store

86

Pâtisserie Es-T

34

M Tang

90

Yí PATISSERIE

38

Laura’s Bakery—Værnedamsvej

94

Temper Chocolate & Pastry

42

Ciambelleria Alonzi

98

Pâtisserie Alex

46

Daniel Bakery

102

BLANCHIR

50

Mökki

106

Mélimélo

56

Meet Mia

110

cadeau de rincotté

Delicatessens, Food Gifts & Grocery Stores 196

Choya Ume Specialty Shop

218

Kostarelos

202

Jayde’s Market

222

Sushi Bento—Kameari store

208

HI-LO Liquor

224

Villa de Patos

214

Abarrotes Delirio

228

Jugen

Conversations: The Designers 231

id inc.

236

kissmiklos

234

TOC. designstudio

239

Union Atelier

Cafés & Restaurants 114

Cafe Ki

132

Julieta, Pan & Café

120

Citizen Sprout

136

El Moro

124

Casca

140

Sabah

128

DON JUAN coffee & cakes

144

Maruzen Tea Roastery

Credits

242

Index

246

Contents Foreword

4

148

RL

156

35 GRAMMI

152

Maison Marou Saigon

160

Motín

Ice-cream Parlors

Case Studies Bakeries & Pâtisseries

164

Maui Pops

180

Softsrve Ice Cream & Dessert Bar

168

ZERO-e ice cream café

184

Winter Milk

10

Gaudenti 1971—Vittorio Emanuele II

62

Mister Baker

172

Prossima Fermata—ice cream laboratory

188

Milk Land

14

Belle Époque

66

Gard’Ann Patisserie

176

Kinber Made

192

Spooning Cookie Dough Bar

18

Coconut Pastelería

70

Pâtisserie NUMOROUS

22

Flour and Salt Bakery

74

Tafelzier Patisserie

26

Home Bakery

80

PavoMea

30

Lust auf Vollkorn—concept store

86

Pâtisserie Es-T

34

M Tang

90

Yí PATISSERIE

38

Laura’s Bakery—Værnedamsvej

94

Temper Chocolate & Pastry

42

Ciambelleria Alonzi

98

Pâtisserie Alex

46

Daniel Bakery

102

BLANCHIR

50

Mökki

106

Mélimélo

56

Meet Mia

110

cadeau de rincotté

Delicatessens, Food Gifts & Grocery Stores 196

Choya Ume Specialty Shop

218

Kostarelos

202

Jayde’s Market

222

Sushi Bento—Kameari store

208

HI-LO Liquor

224

Villa de Patos

214

Abarrotes Delirio

228

Jugen

Conversations: The Designers 231

id inc.

236

kissmiklos

234

TOC. designstudio

239

Union Atelier

Cafés & Restaurants 114

Cafe Ki

132

Julieta, Pan & Café

120

Citizen Sprout

136

El Moro

124

Casca

140

Sabah

128

DON JUAN coffee & cakes

144

Maruzen Tea Roastery

Credits

242

Index

246

Foreword Text by Paolo Emilio

Founding member of NINE associati, Emilio Bellisario is an architect and designer located in Italy and professor

Bellisario

of the master’s degree course in Interior Design of IED Milano. He was also the co-founder and CEO of ZO_ loft architecture and design—an award-winning collective of designers focusing on innovative, iconic, and flexible design products—as well as Editor and Head of External Relationships at Cityvision magazine. Emilio has contributed articles to several books and magazines and organized events, exhibitions, workshops, and international competitions, referring to the topics of globalization, urban utopias, and additive technologies.

Winner of a number of important international prizes and awards, he has also been invited to exhibit— as architect and designer—in many international exhibitions. His work has been documented by the most important specialized magazines and publishings worldwide.

“You can’t do the same thing in San Francisco [as] in Paris. What matters is

The first point is using the shop as a

the physical and conceptual context, which is why I need [to make] a very

medium to tell and involve in a learning

careful [analysis of the work], before designing: [by] studying history, literature, geography, even poetry and philosophy … We have to invent a new solution [each time] and books help us.”

path while shopping. The second point is enabling connections with the territory.

On the one hand, then, retail designers must be able to interpret a project brief, analyzing brand’s competitors,

This quote was by Gae Aulenti—one of the few well-known female architects working in Italy, distinguished by her innovative creations both in Italy and abroad, following a proactive vision linked to the past, but always strongly projected towards the future— and I strongly agree with her sentiments. While having a brand identity is definitely important, having a retail identity is becoming increasingly vital.

Having an identity—whatever it is—is the big deal. People want to identify themselves within a brand and that brand must have its own statement, a believing in which consumers can identify themselves. Similarly, the store must have its own identity that needs to coincide with that of the brand. The store space must express the same distinctiveness when customers are inside. As such, the brand identity needs to match

sensing the market changes focusing on the most flexible, exportable, and repeatable solution, too.

On the other hand—as Gae Aulenti always stressed during her life and as I, too, believe—going back to the physical context, the history, the local materials, looking at local craftsmanship and typical workmanship, or simply

with the shopping experience.

analyzing the society, the people’s needs,

In an era in which Google, Pinterest, Instagram, Facebook, and other social media

starting point for designers who are

platforms have often replaced books and specialized magazines, the abuse of the

asked to create a retail project.

internet and social networks, as project inspiration platforms, has levelled out. The online phenomenon has improved the designers’ know-how, standardizing their concept, their mood-boards, their strategies, their design language, and their quality of projects, too. So retailers live within the paradox of being authentic and innovative and, at the

4

understanding the brand’s values, and

their habits, it becomes a fundamental

Being able to interpret or re-interpret both of these elements allows retail designers to develop a unique creative strategy, their

same time, it is much more challenging to emerge and stand out from competitors.

personal expressive language to describe

What to do then?

innovative way. This is a design attitude

the brand experience to customers in an

5

Foreword Text by Paolo Emilio

Founding member of NINE associati, Emilio Bellisario is an architect and designer located in Italy and professor

Bellisario

of the master’s degree course in Interior Design of IED Milano. He was also the co-founder and CEO of ZO_ loft architecture and design—an award-winning collective of designers focusing on innovative, iconic, and flexible design products—as well as Editor and Head of External Relationships at Cityvision magazine. Emilio has contributed articles to several books and magazines and organized events, exhibitions, workshops, and international competitions, referring to the topics of globalization, urban utopias, and additive technologies.

Winner of a number of important international prizes and awards, he has also been invited to exhibit— as architect and designer—in many international exhibitions. His work has been documented by the most important specialized magazines and publishings worldwide.

“You can’t do the same thing in San Francisco [as] in Paris. What matters is

The first point is using the shop as a

the physical and conceptual context, which is why I need [to make] a very

medium to tell and involve in a learning

careful [analysis of the work], before designing: [by] studying history, literature, geography, even poetry and philosophy … We have to invent a new solution [each time] and books help us.”

path while shopping. The second point is enabling connections with the territory.

On the one hand, then, retail designers must be able to interpret a project brief, analyzing brand’s competitors,

This quote was by Gae Aulenti—one of the few well-known female architects working in Italy, distinguished by her innovative creations both in Italy and abroad, following a proactive vision linked to the past, but always strongly projected towards the future— and I strongly agree with her sentiments. While having a brand identity is definitely important, having a retail identity is becoming increasingly vital.

Having an identity—whatever it is—is the big deal. People want to identify themselves within a brand and that brand must have its own statement, a believing in which consumers can identify themselves. Similarly, the store must have its own identity that needs to coincide with that of the brand. The store space must express the same distinctiveness when customers are inside. As such, the brand identity needs to match

sensing the market changes focusing on the most flexible, exportable, and repeatable solution, too.

On the other hand—as Gae Aulenti always stressed during her life and as I, too, believe—going back to the physical context, the history, the local materials, looking at local craftsmanship and typical workmanship, or simply

with the shopping experience.

analyzing the society, the people’s needs,

In an era in which Google, Pinterest, Instagram, Facebook, and other social media

starting point for designers who are

platforms have often replaced books and specialized magazines, the abuse of the

asked to create a retail project.

internet and social networks, as project inspiration platforms, has levelled out. The online phenomenon has improved the designers’ know-how, standardizing their concept, their mood-boards, their strategies, their design language, and their quality of projects, too. So retailers live within the paradox of being authentic and innovative and, at the

4

understanding the brand’s values, and

their habits, it becomes a fundamental

Being able to interpret or re-interpret both of these elements allows retail designers to develop a unique creative strategy, their

same time, it is much more challenging to emerge and stand out from competitors.

personal expressive language to describe

What to do then?

innovative way. This is a design attitude

the brand experience to customers in an

5

12

Bakeries & Pâtisseries

13

12

Bakeries & Pâtisseries

13

16

Bakeries & Pâtisseries

17

16

Bakeries & Pâtisseries

17

Flour and Salt Bakery Flour and Salt Bakery is a chain of

The name of the chain was derived from the

represented by custom shapes that suggest a flour particle

in the custom-designed tiles in the floor and the neon

stores based in Taipei offering local and

purity and authenticity of the baked goods

and a salt crystal. The two elements were connected by

pendant lamps in the ceiling. The branding was echoed

Taipei, China

international baked goods and specialty

and their ingredients. It works well in both

a looping symbol meaning “and,” influenced by Japanese

in environmental graphics that activate the space with

1668 square feet (155 square meters)

food and drinks prepared with a focus on

Chinese and English, and in the Chinese

handwriting, which is commonly used throughout Asia.

patterns. The designers created a system of food and

organic ingredients.

version, there is a double meaning in one

Pentagram

2017

Pentagram was appointed to design the branding for the market-style restaurant, which involved creating a name from its ingredients—“flour” and “salt”—to become an

22

Bakeries & Pâtisseries

drink pictograms, which were integrated into the custom

of the characters, which also stands for

The color palette chosen was a utilitarian black and white,

black-and-white wallpaper and etched into the wooden

“conversation.” The English typography was

which was also used on the packaging. The contemporary

panels. Signage was understated, with the logo on an

set in Sofia Pro Black and Chinese characters

look and feel stands out from other restaurants in the

exterior façade and a functional magnetic menu board at

were custom designed.

marketplace, which often employ an illustrative approach

the main counter.

and earth tones to appear organic.

iconic identity. Additionally, the project tackled

The straightforward construction of

the design of the interiors, the graphics, and

the name was complemented by a

The identity was integrated into the restaurant interiors,

layout of the restaurant. The interior of Flour and Salt was

creation of environmental packaging.

logo comprised of simple graphic icons

also designed by Pentagram. The shapes of the logo repeat

crafted to be a large and open market-style space loosely

As part of the interior design, the team developed the

23

Flour and Salt Bakery Flour and Salt Bakery is a chain of

The name of the chain was derived from the

represented by custom shapes that suggest a flour particle

in the custom-designed tiles in the floor and the neon

stores based in Taipei offering local and

purity and authenticity of the baked goods

and a salt crystal. The two elements were connected by

pendant lamps in the ceiling. The branding was echoed

Taipei, China

international baked goods and specialty

and their ingredients. It works well in both

a looping symbol meaning “and,” influenced by Japanese

in environmental graphics that activate the space with

1668 square feet (155 square meters)

food and drinks prepared with a focus on

Chinese and English, and in the Chinese

handwriting, which is commonly used throughout Asia.

patterns. The designers created a system of food and

organic ingredients.

version, there is a double meaning in one

Pentagram

2017

Pentagram was appointed to design the branding for the market-style restaurant, which involved creating a name from its ingredients—“flour” and “salt”—to become an

22

Bakeries & Pâtisseries

drink pictograms, which were integrated into the custom

of the characters, which also stands for

The color palette chosen was a utilitarian black and white,

black-and-white wallpaper and etched into the wooden

“conversation.” The English typography was

which was also used on the packaging. The contemporary

panels. Signage was understated, with the logo on an

set in Sofia Pro Black and Chinese characters

look and feel stands out from other restaurants in the

exterior façade and a functional magnetic menu board at

were custom designed.

marketplace, which often employ an illustrative approach

the main counter.

and earth tones to appear organic.

iconic identity. Additionally, the project tackled

The straightforward construction of

the design of the interiors, the graphics, and

the name was complemented by a

The identity was integrated into the restaurant interiors,

layout of the restaurant. The interior of Flour and Salt was

creation of environmental packaging.

logo comprised of simple graphic icons

also designed by Pentagram. The shapes of the logo repeat

crafted to be a large and open market-style space loosely

As part of the interior design, the team developed the

23

32

Bakeries & Pâtisseries

33

32

Bakeries & Pâtisseries

33

Ciambelleria Alonzi NINE associati

Handing down the craft secret of food

the organoleptic qualities of the products

required over time, without adjusting the masonry or

and confectionary traditions since 1890—

cooked in its oven.

having to change the furniture.

Driven by the need to renew the old wood-

The concept of their trademark Sallecone biscuit (made

oven and baking spaces that were no longer

with legume and carob flours) was inspired by one of

adequate for the fast-paced retail shop that

the city’s little-known historic figures, Cardinal Cesare

complemented the bakery, NINE associati

Baronio. The biscuit worked as both a delightful product

worked with the limited area—269 square

for visitors to take away and a useful device for sharing a

Situated in the center of Sora—

feet (25 square meters)—to transform

unique aspect of the city’s cultural identity.

hometown of Cardinal Cesare Baronio—

the old workspace into more an optimal

the family-run artisan company of over

and flexible floorplan. The new shop was

six generations used limited machinery,

designed to be able to adapt to both baking

preferring manual techniques, to enhance

and sales and allow for reconfiguration if

Sora, Italy

including the secret processing the

269 square feet (25 square meters)

ciambella sorana bread—the historic

2015

Italian Ciambelleria Alonzi required a new look and enlisted NINE associati to help them achieve it.

42

Bakeries & Pâtisseries

43

Ciambelleria Alonzi NINE associati

Handing down the craft secret of food

the organoleptic qualities of the products

required over time, without adjusting the masonry or

and confectionary traditions since 1890—

cooked in its oven.

having to change the furniture.

Driven by the need to renew the old wood-

The concept of their trademark Sallecone biscuit (made

oven and baking spaces that were no longer

with legume and carob flours) was inspired by one of

adequate for the fast-paced retail shop that

the city’s little-known historic figures, Cardinal Cesare

complemented the bakery, NINE associati

Baronio. The biscuit worked as both a delightful product

worked with the limited area—269 square

for visitors to take away and a useful device for sharing a

Situated in the center of Sora—

feet (25 square meters)—to transform

unique aspect of the city’s cultural identity.

hometown of Cardinal Cesare Baronio—

the old workspace into more an optimal

the family-run artisan company of over

and flexible floorplan. The new shop was

six generations used limited machinery,

designed to be able to adapt to both baking

preferring manual techniques, to enhance

and sales and allow for reconfiguration if

Sora, Italy

including the secret processing the

269 square feet (25 square meters)

ciambella sorana bread—the historic

2015

Italian Ciambelleria Alonzi required a new look and enlisted NINE associati to help them achieve it.

42

Bakeries & Pâtisseries

43

Meet Mia Marita Bonačić, Negra Nigoević Zagreb, Croatia 861 square feet (80 square meters) 2015

A Croatian cake shop located in Zagreb,

large luminous “HEY” welcoming sign. This

even travel up the walls to create depth

designers Marita Bonačić and Negra Nigoević

lighting piece also dictated other lighting

and character. The furniture—including

were approached to create the name, visuals

elements in the interior, with frosted white

padded benches, fixed circular tables, and

and packaging, product design, interior,

LED bulbs evenly dispersed across the ceiling

upholstered seats—have the typology of a

styling, and photo shooting of the store,

over the two zones becoming the leitmotif.

1950s diner.

which needed to be unified to write the

Soft ambient lighting (apart from the “HEY”

branding story.

sign), pendants, and an oversized felt “hat”

Based on the catchphrase and name of the store—”Meet Mia”—the architects decided

56

Bakeries & Pâtisseries

chandelier was situated in one zone, with a copper “candlestick” in the other.

Copper was used as an accent color and to offer texture to the plush setting. Mainly found in the décor, it was also placed in the chandelier and seating, as well as plumbing

to approach the interior design from a

Wedding gray walls, oak flooring, and white

tubes used to hang vertical gardens, menus

meeting-place perspective, which lead

ceramic tile, hexagonal ceramic tile was

and daily offerings.

to the space’s first signature element: a

used to spill into the timber floors and 57

Meet Mia Marita Bonačić, Negra Nigoević Zagreb, Croatia 861 square feet (80 square meters) 2015

A Croatian cake shop located in Zagreb,

large luminous “HEY” welcoming sign. This

even travel up the walls to create depth

designers Marita Bonačić and Negra Nigoević

lighting piece also dictated other lighting

and character. The furniture—including

were approached to create the name, visuals

elements in the interior, with frosted white

padded benches, fixed circular tables, and

and packaging, product design, interior,

LED bulbs evenly dispersed across the ceiling

upholstered seats—have the typology of a

styling, and photo shooting of the store,

over the two zones becoming the leitmotif.

1950s diner.

which needed to be unified to write the

Soft ambient lighting (apart from the “HEY”

branding story.

sign), pendants, and an oversized felt “hat”

Based on the catchphrase and name of the store—”Meet Mia”—the architects decided

56

Bakeries & Pâtisseries

chandelier was situated in one zone, with a copper “candlestick” in the other.

Copper was used as an accent color and to offer texture to the plush setting. Mainly found in the décor, it was also placed in the chandelier and seating, as well as plumbing

to approach the interior design from a

Wedding gray walls, oak flooring, and white

tubes used to hang vertical gardens, menus

meeting-place perspective, which lead

ceramic tile, hexagonal ceramic tile was

and daily offerings.

to the space’s first signature element: a

used to spill into the timber floors and 57

58

Bakeries & Pâtisseries

59

58

Bakeries & Pâtisseries

59

Tafelzier Patisserie TOC. designstudio

Tafelzier Patisserie first opened its doors

and corporate wording, everything came from

subtle tones. White and gray with copper details met

in 2017 when owner and pâtissier Jens

the hands of the interdisciplinary office.

the current colors of the season. For spring and summer,

Nuremberg, Germany

Brockerhof—who had always been

1184 square feet (110 square meters)

fascinated by the perfection and sensuality

The concept that TOC. designstudio

of French pastry making—decided to inspire

developed for the brand included the idea

the people of Nuremberg with “sweet works

of expressing the change of seasons, not

In addition to the large refrigerated counter for fresh

of art.”

only in the product, but also in the interior

pâtisserie products, the packaged goods were presented on

design and corporate design. The change

an oversized cake, atop of which a white gorilla winks. A

was treated similarly to the fashion industry,

tasting area in the store allows customers to enjoy the sweet

which changes the collection twice a year.

delicacies along with a coffee in soft lounge armchairs.

pâtisserie. From naming and interior design

The overall appearance of the brand was

In order to meet the high precision of the pâtissier’s

to corporate design, photos, packaging design,

minimalist and elegant—a style with soft,

craftsmanship, the counter and built-in components

2017

In intensive workshops with the pastry chef, the team of TOC. designstudio developed a unique concept around the world of the

74

Bakeries & Pâtisseries

these became orange and red tones, and dark green tones in winter.

75

Tafelzier Patisserie TOC. designstudio

Tafelzier Patisserie first opened its doors

and corporate wording, everything came from

subtle tones. White and gray with copper details met

in 2017 when owner and pâtissier Jens

the hands of the interdisciplinary office.

the current colors of the season. For spring and summer,

Nuremberg, Germany

Brockerhof—who had always been

1184 square feet (110 square meters)

fascinated by the perfection and sensuality

The concept that TOC. designstudio

of French pastry making—decided to inspire

developed for the brand included the idea

the people of Nuremberg with “sweet works

of expressing the change of seasons, not

In addition to the large refrigerated counter for fresh

of art.”

only in the product, but also in the interior

pâtisserie products, the packaged goods were presented on

design and corporate design. The change

an oversized cake, atop of which a white gorilla winks. A

was treated similarly to the fashion industry,

tasting area in the store allows customers to enjoy the sweet

which changes the collection twice a year.

delicacies along with a coffee in soft lounge armchairs.

pâtisserie. From naming and interior design

The overall appearance of the brand was

In order to meet the high precision of the pâtissier’s

to corporate design, photos, packaging design,

minimalist and elegant—a style with soft,

craftsmanship, the counter and built-in components

2017

In intensive workshops with the pastry chef, the team of TOC. designstudio developed a unique concept around the world of the

74

Bakeries & Pâtisseries

these became orange and red tones, and dark green tones in winter.

75

84

Bakeries & Pâtisseries

85

84

Bakeries & Pâtisseries

85

88

Bakeries & Pâtisseries

89

88

Bakeries & Pâtisseries

89

96

Bakeries & Pâtisseries

97

96

Bakeries & Pâtisseries

97

100

Bakeries & Pâtisseries

101

100

Bakeries & Pâtisseries

101

DON JUAN coffee & cakes On Resavska Street in the center of the

reminiscent of childhood. A whitewashed

Belgrade, a refreshed new concept for

rustic timber floor that travels up the walls

Belgrade, Serbia

DON JUAN coffee & cakes was created by

and a logo made seemingly of chocolate

538 square feet (50 square meters)

Vladimir Paripovic. Rebelling against the

offer particular allure to visitors.

2016

façades of this famous city street, the cake

Vladimir Paripovic

stone and concrete, gray tones and old shop sought to bring something special to cake and coffee lovers.

Aspiring to create interesting shadows and patterns, the design team chose to hang cakes on the window. Specially placed lighting was situated to illuminate the table

Designed in retro pink, white, and yellow

and chairs and dozens of coffee cups were

with gold details, the colors worked to soften

hung on the wall, casting a captivating

the straight lines of the space and create

silhouette across the entire space.

an environment where “magic happens,” 128

Cafés & Restaurants

129

DON JUAN coffee & cakes On Resavska Street in the center of the

reminiscent of childhood. A whitewashed

Belgrade, a refreshed new concept for

rustic timber floor that travels up the walls

Belgrade, Serbia

DON JUAN coffee & cakes was created by

and a logo made seemingly of chocolate

538 square feet (50 square meters)

Vladimir Paripovic. Rebelling against the

offer particular allure to visitors.

2016

façades of this famous city street, the cake

Vladimir Paripovic

stone and concrete, gray tones and old shop sought to bring something special to cake and coffee lovers.

Aspiring to create interesting shadows and patterns, the design team chose to hang cakes on the window. Specially placed lighting was situated to illuminate the table

Designed in retro pink, white, and yellow

and chairs and dozens of coffee cups were

with gold details, the colors worked to soften

hung on the wall, casting a captivating

the straight lines of the space and create

silhouette across the entire space.

an environment where “magic happens,” 128

Cafés & Restaurants

129

134

CafĂŠs & Restaurants

135

134

CafĂŠs & Restaurants

135

El Moro Cadena Concept Design

The brand El Moro has been one of the

products that have set El Moro apart and

unmistakable mosaics that gave the brand

today with the collective subconscious in a

most popular images of daily life in Mexico

delighted its customers for generations.

its personality, were contrasted with a white

new brand experience, which projects the

hue inspired by sugar.

true DNA of El Moro.

Mexico City, Mexico

City since 1935, captivating a variety

8805 square feet (818 square meters)

of audiences with its rich flavors, hot

2015

136

figurative relationship between such

Language and furniture aligned, forming a

elements and proposed a simplification

unique expression reminiscent of the Golden

in form, taking them to their minimalist

Age in Mexico—when an Art Deco style

The guiding principle in the design of the

expression to retain its essence but with a

dominated the city’s poster ads, movies,

project was in understanding their family

fresher and more dynamic form. This new

fonts, and architecture—providing sufficient

values and history in order to merge them

take on endless compositional possibilities

graphic elements, symbols, and even

into a new strategic vision. Classic wall tiles

significantly enhanced the brand’s identity,

communication through different artistic

became the main source of inspiration, along

communication, architecture, and interior

means, thus creating a new integrated

with stained-glass windows to backdrop the

design. The chromatic palette, born from the

concept that emotionally connects people

chocolates, and churros—claimed by some to be the best in the country’s capital.

Cafés & Restaurants

The new graphic system considered the

137

El Moro Cadena Concept Design

The brand El Moro has been one of the

products that have set El Moro apart and

unmistakable mosaics that gave the brand

today with the collective subconscious in a

most popular images of daily life in Mexico

delighted its customers for generations.

its personality, were contrasted with a white

new brand experience, which projects the

hue inspired by sugar.

true DNA of El Moro.

Mexico City, Mexico

City since 1935, captivating a variety

8805 square feet (818 square meters)

of audiences with its rich flavors, hot

2015

136

figurative relationship between such

Language and furniture aligned, forming a

elements and proposed a simplification

unique expression reminiscent of the Golden

in form, taking them to their minimalist

Age in Mexico—when an Art Deco style

The guiding principle in the design of the

expression to retain its essence but with a

dominated the city’s poster ads, movies,

project was in understanding their family

fresher and more dynamic form. This new

fonts, and architecture—providing sufficient

values and history in order to merge them

take on endless compositional possibilities

graphic elements, symbols, and even

into a new strategic vision. Classic wall tiles

significantly enhanced the brand’s identity,

communication through different artistic

became the main source of inspiration, along

communication, architecture, and interior

means, thus creating a new integrated

with stained-glass windows to backdrop the

design. The chromatic palette, born from the

concept that emotionally connects people

chocolates, and churros—claimed by some to be the best in the country’s capital.

Cafés & Restaurants

The new graphic system considered the

137

RL Situated in Taoyuan, China, RL is a

“dark and bright mystery.” As a result, the

The right side of the space belongs to the

restaurant serving pastry and fine cuisine.

fascinating visual impact works to trigger

cuisine chef where fine French burgers are

Taoyuan, China

Seeking a design with a subtle and stylish

customers’ curiosity.

served against a black backdrop. In order

1184 square feet (110 square meters)

flair for their branding and interior, the

2016

to be as simple as the name—which is

Union Atelier

design elements were ultimately decided comprised of two letters.

The left side of the space belongs to the pastry chef in shades of snowy white.

Exquisite handmade French desserts are placed nicely inside the shiny showcase.

The space was divided into two parts with a

By using white glossy tiles, white painted

high contrast of black and white tones. The

bricks, stainless finishing, and beautiful

designers extended the materials from the

bright marble, the room is as elegant as the

ground to the ceiling with these two hues,

delicate desserts.

to create a powerful contrast within the space, the designers choose glossy black tiles, black painted bricks, blackened metal, and dark wood to not only try to create a conversation with the white space, but also to keep the space stylish.

creating, what they describe as a kind of 148

Cafés & Restaurants

149

RL Situated in Taoyuan, China, RL is a

“dark and bright mystery.” As a result, the

The right side of the space belongs to the

restaurant serving pastry and fine cuisine.

fascinating visual impact works to trigger

cuisine chef where fine French burgers are

Taoyuan, China

Seeking a design with a subtle and stylish

customers’ curiosity.

served against a black backdrop. In order

1184 square feet (110 square meters)

flair for their branding and interior, the

2016

to be as simple as the name—which is

Union Atelier

design elements were ultimately decided comprised of two letters.

The left side of the space belongs to the pastry chef in shades of snowy white.

Exquisite handmade French desserts are placed nicely inside the shiny showcase.

The space was divided into two parts with a

By using white glossy tiles, white painted

high contrast of black and white tones. The

bricks, stainless finishing, and beautiful

designers extended the materials from the

bright marble, the room is as elegant as the

ground to the ceiling with these two hues,

delicate desserts.

to create a powerful contrast within the space, the designers choose glossy black tiles, black painted bricks, blackened metal, and dark wood to not only try to create a conversation with the white space, but also to keep the space stylish.

creating, what they describe as a kind of 148

Cafés & Restaurants

149

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books@imagespublishing.com www.imagespublishing.com Copyright Š The Images Publishing Group Pty Ltd 2019 The Images Publishing Group Reference Number: 1532

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Title:

The Food Store: 50+ Stunning Interior Designs & Branding Concepts

Author:

Paolo Emilio Bellisario [Introduction text]

ISBN:

9781864708424

Printed by Everbest Printing Investment Limited, in Hong Kong/China

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The information and illustrations in this publication have been prepared and supplied by Paolo Emilio Bellisario and the contributors. While all reasonable efforts have been made to ensure accuracy, the publishers do not, under any circumstances, accept responsibility for errors, omissions and representations, express or implied.