PREVIEW Night Fever 6

night fever hospitality design

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casaplata

juan delgado

lucas y hernández-gil play with colour to spice up an industrial setting

seville – Located in the city’s historic centre, Casaplata offers a fresh perspective from the nostalgic interiors of its neighbours. The clients briefed Lucas y Hernández-Gil to design a restaurant and cocktail bar that could flexibly adapt to different types of clientele and events, and with this, accommodate varying ambiances throughout the day: from lunch, to afternoon bites and cocktails.

Searching for their own design language, the team looked to art and film for inspiration. The result is, in their words, ‘an atmosphere between a Giorgio Morandi painting and Blade Runner.’ A raw industrial interior of concrete, steel and exposed services sets the scene, enlivened with contrasting coloured furniture in pastel hues à la Morandi and punchy shades in the spirit of Seville.

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By night, coloured lighting changes the mood in tune with the DJs. Circular geometries tie the space together, from the showpiece mirrors that beautifully reflect the light and create a play of space with the portholes, to the circular tables and oversized metal halo lights that structure the different zones. Designed without superfluous elements, this eye-catching interior has both warmth and a raw edge that enhances Casaplata’s culinary experience.

above Inspired by Georgio Morandi's still life paintings, the 140-m2 interior pairs pastel shades with an austere industrial setting.

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lucas y hernández-gil

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the raw industrial interior is enlivened with contrasting coloured furniture

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left page Perforated metal tables and chairs in bold colours, designed by Kresta Design (Lucas y Hernández-Gil’s furniture design offshoot), reflect Seville’s vibrant atmosphere. right The lighting design enables changing ambiances that adapt to different types of events and music.

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nous a translucent pink flower shop steals the show in this experimental restaurant design by 0321studio

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0321studio

meat mountain

dongguan – An alluring translucent box in a hazy pink hue immediately catches the eye of curious passers-by, giving a strong first impression of Nous – an experimental restaurant and flower shop by Shenzhen-based 0321studio.

Located in the city’s Dongcheng district, the space offers visitors the opportunity to explore ‘the relationship between flora and dining in a visual, functional and emotional way.’

Challenging the usual cues that allow us to easily recognise a restaurant from the street, the designers placed the latter behind the flower shop, which functions as a visual and spatial interference between exterior and interior. The translucent block serves as a street backdrop and a dreamy background for diners, filtering a soft pink light when sunlight passes through the rectangular block.

Inside, visitors are transported into an otherworldly dining area almost entirely covered in dark grey terrazzo.

The randomness and enlarged size of its white aggregates create an extreme visual experience which further emphasises the exploratory nature of the design. The surfaces

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are complemented by metal table tops and slate-coloured textiles on bench seats. Decoration has been kept to a minimum, placing the spotlight on the pink cube volume and the all-encompassing effect of the grey terrazzo.

above In the centre of the pink rectangular volume is a long counter used to display flowers, creating a screen between the street and the diners in the restaurant. right page Floor and ceiling merge into one, creating a visual dreamscape of grey terrazzo, white speckles and lamps reminiscent of the moon.

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below A staircase made of pink glass balustrade and terrazzo steps continues the material palette of the flower shop.

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an extreme visual experience further emphasises the exploratory nature of the design

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xyz lounge

right page Furniture was custom-designed for the 360-m2 interior, resulting in a gesamtkunstwerk (a total work of art). below With a calm ambiance, the conference space is designed for focus.

science fiction collides with romanticism in didier faustino’s rose-tinted design

felipe ribon

ghent – As the social hub of the Zebrastraat conference venue, XYZ Lounge is a place of intersection, exchange and cross-culture. ‘At a time when social, sexual and gender identities are being challenged,’ Didier Faustino questions, ‘how do we create a place that is both neutral and sensual; which is neither a social marker nor a space of identity?’ In this way, the design poses its own identity, with a futuristic, ambiance as if suspended in time.

The lounge unfolds from the entrance across three zones: to the left, an open conference space with a projection screen; to the right a smaller open space that accesses the terrace; and an adjoining bar below the central nave. Guests are immediately drawn to the latter, the heart of the lounge.

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With its dramatic pitched ceiling and flesh-tinted palette of marble and stucco, it feels like a temple of opulence from the next century, complete with altar-like tables.

In contrast, the conference space has a more reflective mood in line with the overall design language. Bespoke furniture further immerses visitors in this somewhat surreal world which ‘refers to a science fictional romanticism and propels us elsewhere – at once familiar and unknown.’

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didier faustino

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‘light evokes memories, provokes affection and changes the way we behave and interact with each other’

andré klotz

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sao paulo-based designer guto requena, founder of estudio guto requena, talks about the role of light as a stimulator of happiness, memories and a more empathic world

Light plays a central role in your design for the Parisian nightclub Terminal 7. Can you tells us about what draws you to this project typology and how your light installation shapes this venue in particular? I’m a nightlife culture lover and relish in how a dance floor’s lighting design can invite us into a new and escapist sensorial event.

I believe a good clubbing experience should be a sort of lapse in space and time, to make us happy, and allow us to recharge our batteries. Light plays a major role in this.

Regarding Terminal 7, the eighth club I’ve designed since 2009, the challenge was to design a space with both a strong identity, and lots of flexibility. The parametric light sculpture we designed, called Rhizomatic Grid, answers to both requirements: it can be used as a huge chandelier with a warm yellow light during an elegant dinner; during the clubbing sessions, the software which controls the lights uses the beats of the music as input for the visual effects.

When the VJ is present he can also play with mapping projection and live dynamic effects.

In your work, how does light complement the use of technology in creating immersive experiences? In my ongoing research on ‘emotional hybrid spaces’ I use digital technologies to shape new ways of sensible interaction, aiming to stimulate empathy and encourage collective experiences. I believe light is a key element in this equation, as it can shape unforgettable memories.

In your opinion, what is the importance of light in hospitality design? Light can change our perception of space and its dimensions. It evokes memories, provokes affection, and changes the way we behave and interact with each other. That’s why I believe it should play a major role in hospitality design.

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What are the main considerations to be had in terms of lighting design in this project typology? I would say there are three main considerations: flexibility, colour and interaction. The first has to do with the possibility of diming, changing focus and positions, thus helping support a space’s different activities. The second allows the composition of different atmospheres, while the third permits a more emotional and surprising experience.

What about the main challenge? To not forget the power of shadows, we must design them as well.

Which of your previous project has most influenced your work with light today? Light Creature, a permanent art installation in the facade of a 30-floor building in Avenida Rebouça in Sao Paulo. The work was installed 3 years ago and it somehow became an architectural icon. It responds to the city’s air quality and soundscape, changing colours and movements. What is more, passers-by can interact with Light Creature via an app. This project presented a huge challenge and learning curve in regards to the use of public space (a facade of a hotel).

How can light best be used in design? I’m currently researching the power of light to stimulate empathy. I feel that this should be a mandatory aspect of lighting design in public and hospitality spaces: light as interaction, as a memory component.

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guto requena

adriĂ goula

bala perdida an optical illusion of mirrors and neon lights activates a secret space by el equipo creativo

madrid – Secretly located beneath the Hotel Axel, two brick vaults have been refurbished by El Equipo Creativo into an urban cave complete with a cocktail bar and dance floor. The potential of the provocative subterranean location inspired the design team to activate the space as a sophisticated bar and nightclub venue open for snacks and drinks during the day and dancing at night. This versatility is manifested through the flexibility of the furniture and the changeable lighting.

Named Bala Perdida (Lost Bullet), the venue’s design centres around two themes: mirrors and light. An optical illusion created by two large mirrored surfaces placed at both ends of the long vaulted room, each reflecting the other, gives the impression that the space is an endless tunnel.

At the space’s highest point, an acoustic panel is used to create a suspended ceiling and incorporates LED strips that change colour to present different atmospheres for a variety occasions. Along the bar itself, vertical lighting in fire tones adds warmth to the setting and creates a contrast to the blue and purple hues that highlight the rest of the space.

bala perdida

left page Blue and purple hues are contrasted by golden strip lighting on the bar to add warmth to the scheme and differentiate the areas. next spread Facing mirrors at either end of the vaulted cave cause an infinite reflection that turns the room into an endless tunnel.

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el villa

josĂŠ hevia

amoo imagines a fictitious long-lost shipwreck in a contemporary andalusian bar

above The original door was restored to its full height of 4.5 m, creating a grand new entrance. right Abstract marble objects structure the space and add another play on tradition.

The bespoke cork stools create a visual connection with the same material in the ceiling.

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material

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amoo

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barcelona – Local studio AMOO was commissioned to design an Andalusia-inspired bar specialising in vermouth and local, salted fish delicacies. The designers wanted to suggest a maritime theme (the client comes from a family of fishermen) without resorting to kitsch imagery like nets and anchors. Through an abstract play of colour, materials and forms, their design pays homage to this in a subtle and contemporary way.

The duo decided on cork, a familiar fishing material with the necessary acoustic benefits. It clads the ceilings and walls seamlessly, accentuating the elongated volume.

This is punctuated by the rhythm of the cork panels and generous white-painted ‘holes’ in the ceiling that open up the interior. The lower sections of the walls are clad with patterned blue-and-white tiles that hint at the water and Andalusian arabesque motifs. A series of geometric marble objects – two side tables, folding screen and bar counter – are dotted throughout the interior to define different settings, and are intended as a whole to evoke ‘the remains of the fictitious shipwreck of a large marble fishing boat.’ With this in mind and drinks in hand, patrons will be more than ready to set sail into the wee hours of the night.

left page The use of singular materials and colours lends clarity to the long and narrow 87-m2 bar, complemented by the rhythmic cuts in the cork-clad ceiling. above At the back of the establishment, the closings of the old building are demolished and the distribution of the restrooms is modified to make two large openings which welcome much needed natural light.

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amoo

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material

icha chateau

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spacemen

nicholas calcott

left page Materials and patterns helped create an enticing trompe-l'œil effect in the tunnel-like space, offering an intimate dining experience in a unique temporary setting.

zero waste bistro a temporary pavilion by linda bergroth initiates conversation about circular economy

zero waste bistro

new york – Zero Waste Bistro, designed by Linda Bergroth, embraces the concept and challenges of circular economy in the form of a fully-working pop-up café constructed for NYCxDesign. The freestanding installation, which functioned as a dining area as well as a platform for workshops and talks, was commissioned by the Finnish Cultural Institute in New York.

Made entirely from upcycled and recyclable materials, the temporary pavilion occupied an elongated gallery space which, together with its striking materiality, made for an immersive experience likened by the designer to a ‘three-dimensional expression of white noise’. The architecture of the installation – floor, walls and ceiling – was formed by panels made out of recycled industrial Tetra Pak waste. The acoustically-sound material was produced in the United States, in order to avoid unnecessary transport costs. The design also highlights the use of long-lasting Finnish design classics – such as Alvar Aalto’s stools – as a sustainable choice.

The food concept was based on an initiative by three chefs from Helsinki-based restaurant Nolla, who developed an innovative, locally-sourced menu using overlooked byproducts – all supplied without packaging. Using meals as a means to trigger conversation, the pavilion encouraged design professionals, environmentalists and foodies alike to engage in meaningful discussions. After the festival, everything from the bistro was reused, donated or recycled, showing that even a four-day temporary installation can be sustainable.

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previous spread The dotted appearance of the wall boards, table and dinner set create an almost surreal visual play, which contrasts with the pure-white Alvar Aalto stools and lighting pendants. above The common table, also designed

by Bergroth, was made in Durat’s new Palace composite collection, created by Dutch studio Most Collective, who used recycled plastic and natural pigments. right page The project’s holistic approach to sustainability encompassed both the design and food concepts.

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the immersive spatial experience was likened by the designer to a three-dimensional expression of white noise

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linda bergroth

space

david zarzoso

‘we must avoid any frivolous notion of design and reject trends in favour of space’ night fever 6

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spanish designer francesc rifĂŠ, founder and principal at francesc rifĂŠ studio, appeals to the rewards of timelessness, rationality and the rejection of trends in good spatial design

How would you describe bad spatial design? It would be the one which is improvised or created solely according to fashions. More than ever, we must avoid any frivolous notion of design, reject trends in favour of space, and be deep yet rational.

How would you characterise innovative use of space in hospitality design? In our studio, we work for spatial harmony and timelessness, and I believe that the best way to achieve this is through the correct integration of all the elements that participate in the design. A space free of superficiality and shrillness, yet at the same time deeply conceived, will always be a more comfortable space.

Throughout your career, what have been the main influences in terms of the use and organization of space?

More than any of my projects, it has been the DNA of Japanese architecture that has undoubtedly defined my career. There was a time when I often visited and worked in Japan. The sobriety and rationalism, with which I identify so much, have inspired me.

Perhaps the Caro Hotel project in Valencia (2012) is where I have left more record of these ideas. The walls form a series of historical elements that have been revealed over time: remains of an Almohad wall dating from the 12th century, or a mosaic from the 2nd century BC. The rigorous neutrality in our interior architecture was essential to achieve a good coexistence between these actors endowed with such history and emotion. The complexity of the project and its extensive execution over time led us to express reduction and simplification. Although this way of working may seem difficult to understand when the intention is to create something extraordinary, through this method of subtraction we have learned to sharpen our ingenuity.

In your opinion, what is the importance of space in this project typology, when compared to other elements, like use of materials, colour and light? As simple as it sounds, I believe that space is the main protagonist in projects. For me, it is the true luxury. Our main objective is always to work towards giving visitors a good awareness of space, and then provoke a more intimate experience through materiality, light and colour.

How do these different elements come together in your design for multi-purpose space Convent Carmen?

With the greatest respect for the original building, we tried to create very little noise through the design of a strictly minimalist structure. We wanted this structural element to function as a contemporary sculpture that gives personality to the space and provides technical solutions, as it hides all the electrical, lighting and audio-visual features. Through light, we highlighted the main elements of the church. The RGB colour light system allows you to experience space in a much more mystical and special way, so the dialogue between light and materiality is necessary and constant.

What are the main considerations to be had in terms of space in hospitality design? Order. I believe everything is achieved with it: warmth, harmony, proportion.

What are the main challenges? Nowadays, the biggest challenges are to make spaces as versatile as possible, so you have to design with various projects in mind at the same time.

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francesc rifĂŠ

przyjemność adam wiercinski's reinterpretation of the italian pizzeria grants flexibility to a small space

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below In the centre of the space, a bespoke table is divided with a steel flume for sauces. Above, terracotta ceramic pots contrast the green plant life and blue decorative details of the design.

poznan – A pavilion in a revitalised district has been transformed into a pizzeria by Wiercinski-Studio.

Despite its small size, the 30-m2 space includes a kitchen, storage room and toilet, and is able to accommodate 18 seated guests. Named Przyjemność (meaning pleasure), the restaurant is inspired by Italian hospitality and street food culture, and as such incorporates an open kitchen – a performative element as much as it is a space-saver.

Although the design intervention is minimal, bespoke details – such as the integration of a steel flume in the centre of the common granite-topped table for sauces – make clever use of the compact space. Ceramic pots have been placed on steel meshes set into the existing ceiling trusses. ‘The ceiling elements have been painted the colour of Italian terracotta so that the ceramic flower pots blend into the background and the greenery of the plants comes to the fore,’ the architect says. Cobalt-blue accents are used to contrast the white tiles cladding the walls as well as the granite, marble and terrazzo which are used throughout the scheme for the furnishings and fixtures.

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shelter leopold banchini and daniel zamarbide’s mysterious vessel is a spatial provocation to the orderliness of human interaction

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leopold banchini and daniel zamarbide

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previous spread ‘The mysterious black vessel lands in the modern space of a highly engendered concrete vault; a great spatial condition to explore the corners of what is hidden,’ the designers say.

dylan perrenoud

left page The dark cavernous interior creates an intense atmosphere where bodies can’t help but collide. At any one time, 50 lucky clubbers can cram into the 50-m2 Shelter to dance the night away.

geneva – For one night, clubbers could, literally and figuratively, take shelter from the outside world in a dark, surreal realm – one that is definitely not for the faint hearted. Designers Leopold Banchini and Daniel Zamarbide (formerly Bureau A) envisioned this pop-up night club as a mysterious, inflatable black vessel.

Fashioned from PVC membrane, the structure can be placed as a subspace within a larger interior to create the intense atmosphere of a club. Its intriguing form hints at a hidden underground world of bunkers, dens and survivalist

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shelters. Once through the airlock – akin to the experience of entering a submarine – visitors land into a dark, cavernous void. Immersed in almost complete darkness, they feel somewhat disorientated by the narrow, odd shape with hidden nooks and crannies. This feeling of claustrophobia and isolation is exacerbated by change in pressure and absence of windows. The heat and smell of sweaty, dancing bodies complete the picture. When the music’s over and the sun comes up, Shelter can be deflated and transported to another location to get the party going all over again.

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its intriguing form hints at a hidden underground world of bunkers, dens and survivalist shelters above The designers drew inspiration from Bachelard, Virilio and Colomina’s explorations of another, architecture. As they put it, ‘The underground fascinates and completes the hygienic and panoptical world of the over-ground.’ right page The PVC structure can be inflated in minutes, to create a nightclub in an unexpected or disused location, on a low budget.

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leopold banchini and daniel zamarbide