new york city Archives

Yellow lighting illuminates Le Père store in New York by BoND

New York architecture studio BoND has used tubular lighting to create a bright yellow glow inside this men’s apparel store on Manhattan’s Lower East Side.

The first flagship for cult fashion label Le Père occupies a 1,000-square-foot (93-square-metre) corner unit on Orchard Street.

Store interior with white walls, wooden floors and a central yellow column — The flagship store for Le Père is largely painted white to allow the bright clothing to stand out

Utilising the store’s large exposure to the street, BoND opted to create an interior that would be just as impactful from the exterior as it is once inside.

“BoND designed the store to feel like a canvas, highlighting the design elements of the clothes while ensuring the space is a place that creators feel encouraged to spend time in,” the team said.

A central column encased in a translucent yellow box — A central column is encased in a translucent yellow box

The firm’s approach was to leave the majority of the space white, allowing the boldly patterned clothing to stand out, then highlighting the fitting rooms using bright yellow lighting and surfaces.

A structural column in the centre of the store encased in a translucent box is also fitted with lights to give off a sunny glow.

Yellow fitting room with a rail of clothing to the right — Yellow lighting installed in the fitting rooms emits an inviting glow

This yellow aura is immediately apparent from the street and is meant to entice passersby to step inside.

Neon lighting has seen a resurgence in retail and other commercial interiors of the past year, appearing everywhere from a Brooklyn cafe to a Calgary chicken shop.

Pair of yellow fitting rooms with tube lights either side of the mirrors — The tube lights were installed on either side of mirrors in the fitting rooms, which are also yellow

At Le Père, other elements like the tops of vintage Artek furniture are coloured red and black, to borrow from the street signs across the neighbourhood.

Floor-to-ceiling curtains along the back wall create a soft and neutral backdrop for the apparel, which is displayed on industrial metal racks.

Close-up on a curved bench with a row of cylindrical seat pillows — Custom furniture pieces were designed by BoND and fabricated by Lesser Miracle

Wide-plank wood floors are laid across the main shop floor, which doubles as a space for gatherings, conversations, exhibitions and events.

Custom furniture pieces including a curved bench were designed by BoND and fabricated by Brooklyn design and art studio Lesser Miracle.

“The design scheme blurs the lines between a store, a home and an art studio – a space that is both aspirational and livable, combining contemporary and historic elements as a playful strategy,” said the studio.

On the exterior, a generous portion of the facade is given over to a giant billboard that Le Père will use to present its seasonal visual campaigns and artwork by the brand’s collaborators.

Billboard across a storefront — A large portion of the facade is given over to a billboard to display the brand’s campaigns

The debut placement for Fall/Winter 2023 was titled And Sometimes Boys and influenced by the work of Korean visual artist Nam June Paik.

BoND was founded by Noam Dvir and Daniel Rauchwerger, who previously designed the global headquarters and showroom for the Brazilian brand PatBo in New York.

Le Père store exterior on Orchard Street — The glow from the yellow lighting is designed to entice in shoppers on the Lower East Side. Photo by BoND

The duo earlier overhauled an apartment in Chelsea for themselves, turning the dark, divided space into a light-filled home.

The photography is by Stefan Kohli, unless stated otherwise.

Reference

Interior Design

Commoncraft draws on “beauty in imperfection” for New York cafe

By Zarkon Group,06/01/2024

Distressed concrete, rowlock bricks and worn plasterwork create an intentionally unfinished appearance at this cafe in New York City’s East Village neighbourhood, designed by Brooklyn studio Commoncraft.

For its expansion into Manhattan, New Jersey-based Kuppi Coffee Company secured a 350-square-foot space on bustling St Marks Place – its second location.

Cafe with concrete walls, ceiling and floor — Textured concrete plaster envelops the interior of Kuppi Cafe in the East Village

The compact interior has just enough space for a customer area and the cafe counter, plus a prep area and a WC for staff at the back.

Commoncraft approached the front-of-house space with an ethos akin to wabi-sabi, the Japanese art of “flawed beauty”.

Cafe counter faced with rowlock-course bricks — Commoncraft chose materials for the space that appear purposefully rough and unfinished

“Employing a range of rough and raw materials, Commoncraft’s design of Kuppi Cafe seeks out the beauty in imperfection,” said the studio, which was founded by Zach Cohen and Tony-Saba Shiber.

Textured concrete plaster curves up from two perpendicular walls and over the ceiling, enveloping the room together with the concrete floor.

Concrete interior with small brick bench against a wall — The compact space features a small bench for customers awaiting their orders

Where these walls meet, a vertical element is wrapped in bluish plaster that’s peeling away to reveal a whitewash beneath.

The Kuppi logo is applied faintly at the top, and stainless-steel shelves for displaying merchandise are cut into part of the pillar’s corner.

Brick cafe counter facing a glass facade — The cafe counter is faced in bricks stacked on their sides to expose their “guts”

Zones for customer interaction – including the service counter and a small bench – are defined by terracotta bricks, which are stacked on their sides in rowlock courses “to expose their core and mortar ‘guts’.”

“Each terracotta volume is terminated by a course of cut bricks, further revealing the rough, imperfect cores,” Commoncraft said.

In such a compact space, the designers have ensured that their concept carries through each of the cafe’s elements.

“The material honesty of the space is further reinforced by a number of small details,” said Commoncraft.

A corner element is wrapped in bluish plaster that’s distressed to reveal a whitewash underneath

These include floating stainless steel shelves behind the counter, a freestanding glass splash guard for baked goods and spherical concrete pendant lights suspended at different heights above the bench.

The cafe is highly visible from the high-traffic street through its fully glazed facade.

A counter terminated by a course of cut bricks, with a glass enclosure for pastries on top — The counter is terminated by a course of cut bricks

New York City is home to thousands of cafes and coffee shops, including many independent establishments with unique interiors intended to entice customers inside.

Among them is another Commoncraft project: a Williamsburg eatery named Gertie designed as a playful tribute to the owner’s grandmother.

The photography is by Andrew Fu.

Project credits:

Client: Kuppi Coffee Company (Kevin and Vivian Kim)
Architecture and interior design: Commoncraft
Plumbing engineer: Alan R Schwartz
General contractor: LTI Construction Corp

Reference

Interior Design

Civilian draws on “grandeur” of early cinemas for Sandbox Films offices

By Zarkon Group,23/12/2023

New York studio Civilian has designed the headquarters for a documentary production company in Manhattan’s Flatiron District, which includes an art deco-influenced screening room.

The offices for award-winning Sandbox Films are located in a landmarked 1920s neo-gothic skyscraper, and provide the company with its first dedicated workspace.

Office reception with meeting room visible through glass and mint green sliding doors — Civilian’s interiors of the Sandbox Films offices draw upon multiple references, from old movie theatres to colours used by Danish modernist Poul Henningsen

Spread across 4,200 square feet (390 square metres) of space, the program includes an open-plan reception area that doubles as an events space, a conference room, private and open offices, and production and editing suites.

There’s also a 22-seat screening room with a Dolby Atmos sound system, in which the team and their visitors can preview the completed or in-progress cuts.

A custom, double-sided sofa upholstered in velvet and boucle fabric — In the centre of the reception area is a custom, double-sided sofa upholstered in velvet and boucle fabrics

The non-profit documentary production company makes cinematic science films, many of which have won or received nominations for prestigious awards.

Among them are Fire of Love, which was nominated for Best Documentary Feature at the 95th Academy Awards in 2022; Emmy-winning Fathom; Sundance winner All Light, Everywhere; and Fireball, co-directed by Werner Herzog.

Meeting room with table featuring ash legs and a white lacquered top — Another custom design is the meeting room table, which has ash legs and a white lacquered top

“Inspired by [our] clients’ love for the craft of storytelling, the space was informed by the grandeur of the amenity-rich yet intimate early movie houses of Stockholm and Amsterdam, art deco cinemas, the architectural colour gestures of Danish modernist designer Poul Henningsen, and the vanished world of interwar New York conjured by the project’s Broadway address,” said Civilian.

The reception area revolves around a circular stone-topped bar, which demarcates a staff pantry area by day, and can be used for serving food and drinks for events.

A pair of swiveling Milo Boughman chairs with a sculptural side table — Vintage pieces sourced for the space include a pair of swivelling Milo Boughman chairs

“With an active roster of screenings, events and a residency program for independent filmmakers, the space acts as an office as well as a dynamic center of gravity for New York’s nonfiction film community at large,” the team said.

A custom double-sided, Pierre Chareau-inspired boucle and velvet sofa sits opposite a pair of refinished Milo Boughman swivel chairs.

Bar and pantry area with plaster walls and oak millwork — A bar area in reception acts as a pantry by day and is used for hosting events in the evening

Marquee lights are installed in rows along the sides of the existing ceiling beams, with additional sconces mounted on the plastered pantry wall.

Structural columns have been wrapped in travertine cladding to highlight thresholds between the different spaces.

Swivel chairs in front of a periwinkle blue divider, with film posters behind — Wood panelling and film posters hark back to art deco movie theatres

On either side of the reception, acoustic partitions with glass panels and mint-green frames cordon off the bright conference room and a private office.

Furnishing the conference room is a custom-designed meeting table that combines a solid ash frame and a high-gloss curved lacquer top, surrounded by vintage Tobia Scarpa Sling Chairs.

A communal workspace withsit-stand desks, oak dividers and plenty of ledges for plants — A communal workspace features sit-stand desks, oak dividers and plenty of ledges for plants

From reception, a neon-lit burgundy door leads into the screening room, where three tiers of seating face the large screen like in a mini movie theatre.

The cushioned seats are upholstered in soft powder-blue fabric, which contrasts with walnut wainscoting, and sound-absorbing brown wool wall panels that conceal the equipment.

Each chair has an individual armrest table for placing drinks or writing notes, complete with a small light created in collaboration with Lambert et Fils.

More private offices, sound-proofed editing suites and an open workspace are accessed via a short L-shaped corridor.

A 22-seat screening room with three seating tiers — A 22-seat screening room allows the team and their visitors to preview documentary films

In the communal work area, sit-stand desks feature white oak divider panels and are topped with a stone ledge for displaying objects and plants.

“This project has given us an opportunity to draw from so many inspiring references, from its iconic Broadway location to historic theatre architecture, to create an elevated and layered space that supports the work Sandbox is doing to uplift documentary film talent,” said Civilian co-founder Ksenia Kagner.

Screening room chairs with individual armrest tables — The screening rooms boasts a Dolby Atmos sound system, and includes chairs with individual armrest tables for drinks or note-writing

“We also felt it was important to be responsive to the changing priorities of the modern workplace, creating open, multipurpose spaces that nurture interaction and foster a sense of community,” she added.

Civilian was founded in 2018 by Kagner and Nicko Elliott, and the designers have since completed projects ranging from the transformation of Detroit’s historic Book Depository into a headquarters for tech company Newlab, to the renovation of a historic Bed-Stuy townhouse for themselves.

The photography is by Chris Mottalini.

Project credits:

Client: Sandbox Films (Simons Foundation)
Client rep: Cushman and Wakefield
Civilian scope: Interior design, creative direction, furniture design
Architect of record: LB Architects
Mechanical engineer: WB Engineers
AV engineer: Spectra
Acoustic engineer: WSDG
Production studio consultant: Tom Paul
Contractor: L&K Partners

Reference

Interior Design

Rockwell Group creates atmospheric lobby and restaurant at PAC NYC

By Zarkon Group,20/12/2023

Ribbons of light guide patrons from the lobby to the restaurant inside the Perelman Performing Arts Center at the World Trade Center, where the interiors are designed by New York-based Rockwell Group.

The studio founded by designer David Rockwell recently completed the public spaces that include the Metropolis restaurant and adjoining lounge areas within the cube-shaped building, which local architecture studio Rex wrapped in thin marble panels.

Small stage with low lounge seating in front — The lobby of the PAC NYC venue includes a stage for programmed performances

The volume holds three flexible and interchangeable theatres that can be infinitely customised for different performance styles, artistic expressions and viewing experiences.

These are accessed via the elevated lobby level, reached by climbing a grand exterior staircase that draws visitors under the building’s cube form and up through its base.

A bridge with seating behind a translucent marble facade — A bridge behind the building’s translucent marble facade accommodates seating

This dramatic entry sequence culminates at a lobby lounge and restaurant that form a new 9,120-square-foot (847 square metres) “community space” for Lower Manhattan, according to Rockwell.

“The restaurant is intentionally woven throughout the public experience,” he told Dezeen. “There is no hard line between the lobby lounge, restaurant, and terrace, with one space melting into the next.”

Entrance to Metropolis restaurant at PAC NYC — The lobby flows into the Metropolis restaurant, located the other side of angled trusses

The designer’s primary aim was to provide “a celebratory, communal atmosphere; connecting guests, whether you’re the first party there for dinner or the last one there post-show”.

Rockwell’s combined experience in hospitality and performance design – he has won multiple Tony Awards for his Broadway sets – helped him to craft a seamless experience between these connected functions.

LED lights within wooden ribbons across the ceiling — LED lights within wooden ribbons follow pathways and form “nodes” above gathering areas

“Creating a magical journey up into PAC NYC and intertwined with the lobby was a thrilling challenge, especially because the lobby and Metropolis will be host to many free performances on the small stage there,” said the designer.

This stage will feature a varied program of performers who will entertain diners from a carefully placed vantage point, which allows sightlines from all corners of the lobby and restaurant.

The highlighted gathering spaces include the bar

Lounge seating for up to 30 positioned closest to the stage is intentionally low-slung, so as not to obstruct the views for those further away.

A bridge that runs along the inner side of the translucent stone facade holds additional seating, overlooking the grand entry staircase through huge panes of glass.

Dining tables between leather chairs and banquettes — Jewel-toned fabrics and textured surfaces warm the interiors

The Metropolis restaurant is helmed by Swedish-Ethiopian chef Marcus Samuelsson, and serves an elevated, eclectic menu billed as “a love letter to New York City” to both performancegoers and the general public.

Beyond the host stand and the diagonal structural trusses that flank it, the layout is split down the middle, with soft seating arranged on either side of the central axis.

Wide view of Metropolis restaurant — Rockwell Group designed the restaurant and lobby to act as a “communal space” for Lower Manhattan

“The furniture is designed for flexibility and comfort, defined by several smaller areas with lots of seating variety, made up of banquettes and loose furniture and organised around a collection of vintage area rugs,” said Rockwell.

Glowing bands within sapele wood ribbons trace curved shapes across its ceiling, beckoning guests into the space and also highlighting key areas for gathering such as the bar with chandelier-like “nodes” overhead.

Jewel-toned upholstery pairs with rich walnut panelling for a warm and inviting feel, and the fabrics and other textured surfaces soften the polished concrete flooring.

A 70-seat outdoor terrace at the back of the building will also offer al fresco dining during the summer months, visible from the interior through a huge glass wall.

Outdoor dining terrace in front of marble building facade — There’s space for 70 al fresco diners on the outdoor terrace

There’s also a speakeasy-like private dining room for intimate gatherings of up to 16.

PAC NYC is one of the final pieces in the 16-acre World Trade Center redevelopment masterplan, joining skyscrapers by SOM, RSHP, and SANAA, the transit hub and a church by Santiago Calatrava, and a 9/11 Museum by Snøhetta.

Seating on outdoor terrace with New York skyscrapers in the background — Rockwell aimed to create “a celebratory, communal atmosphere” both inside and out

Celebrating its 40th anniversary next year, Rockwell Group has designed interiors for restaurants all over Manhattan, including Zaytinya, Katsuya, Casa Dani and Wayan.

The firm also worked on The Shed venue at Hudson Yards, which also hosts performances along with exhibitions and other events within a highly flexible space beneath a giant “telescoping” cover.

The photography is by Adrian Gaut.

Reference

Interior Design

Martin Brudnizki designs Gilded Age-interiors for Fifth Avenue hotel

By Zarkon Group,18/12/2023

Martin Brudnizki Design Studio has designed the interiors for a 1907 Renaissance-style palazzo building in New York, which has been turned into a luxury boutique hotel by architecture studio Perkins Eastman.

The Fifth Avenue Hotel sits on the site of what was once one of the last mansions of The Gilded Age.

Throughout the late 19th century, the home of Charlotte Goodridge at 250 Fifth Avenue hosted receptions and musical evenings as part of New York’s social season.

Green classical screen separates bedroom spaces — Classical fixtures contrast a contemporary colour palette in the hotel’s rooms

Perkins Eastman added a 24-storey glass tower, designed with PBDW Architects, to the five-storey brick and limestone building.

This was originally designed by McKim, Mead & White as the Second National Bank in 1907, replacing Goodridge’s 19th century home.

Drawing on the history of the neighbourhood and heritage of the building, Martin Brudnizki Design Studio (MBDS) aimed to create an aesthetic for the new hotel that would embrace “Bohemian romanticism and the glamour of the gilded age,” while maintaining contemporary styling.

Green walls and ornate fittings and fixtures — Martin Brudnizki has employed colour and texture to reflect global travels

“One of the biggest challenges was that we were working with both an existing and a new building at the same time, which each presented their own challenges architecturally,” studio founder Martin Brudnizki told Dezeen.

“We worked with the architects to marry the historic narrative with the contemporary tower addition, which reflects New York today, and the concept of the modern traveller,” he said.

Yellow curtains in The Fifth — A corner bedroom features yellow curtains

Rooms feature a rich colour palette of garden greens, buttercup yellow and peony pink with gold accents.

Bold patterns and textures jostle each other in a “harmonious and fun way, juxtaposing modernity with the classic finishings,” the designer said.

green walls and bespoke coffee tables at The Fifth Avenue hotel — The hotel’s walls host an extensive art collection

“The intersection of interiors with architecture is so important. The mansion is a much more classical response to the history and details of the building, whilst the tower enthuses a more modern touch,” Brudnizki explained.

“Both are unified by the choices of colours and certain furniture, fixtures and equipment that carry between the two sites.”

Bedrooms feature a global blend of references, including Pagoda-style table lamps, custom wardrobes informed by traditional Chinese cabinets, antique inlaid side tables, Murano glass chandeliers and star-like ceiling lights.

The double-height entrance lobby features walls panelled with faceted antique mirrors, marble floors and grand arched windows – which echo throughout the hotel bedrooms as room dividers between sleeping and sitting areas.

Rich colours evoke the gilded age — Rooms have been designed to have a residential feel

“We loved the idea that all these great characters had once walked along the boulevard of Fifth Avenue and the fabulous parties hosted within the mansions of Fifth Avenue; the people and the conversations that took place,” said Brudnizki.

“We wanted to create a space that felt as though its interiors had been brought together over time, pulling items from our muse’s travels and adventures from across the globe.”

Double height lobby at The Fifth Avenue Hotel manhattan — Antique glass panelling and modern mirrored artworks fill the double-height lobby

“It is a truly eclectic and layered project that is intended to feel as though it has been around since the days of The Gilded Age,” the designer concluded.

Other boutique hotels recently published on Dezeen include Christian Louboutin’s hotel Vermelho in Portugal and Trunk Hotel Yoyogi Park in Tokyo, by Keiji Ashizawa Design and Norm Architects.

Photography is by William Abranowicz.

Reference

Interior Design

Pierre Yovanovitch opens design gallery in New York City penthouse

By Zarkon Group,17/12/2023

French designer Pierre Yovanovitch has opened his first US showroom and gallery in Manhattan’s Chelsea neighbourhood, displaying over 80 pieces from his own furniture brand.

Recognisable designs including the iconic Bear Chair fill the 10,000 square feet (930 square metres) of gallery and office space on the penthouse level of 555 West 25th Street.

Dining table with eight round-backed chairs, and a light fixture above — Pierre Yovanovitch chose a penthouse in a pre-war building for his New York gallery

This business expansion offers a permanent base for Yovanovitch and his team in New York, and allows customers and clients from his largest retail market to see the Pierre Yovanovitch Mobilier products first-hand.

“Having worked on residential projects in the US since the beginning of my practice in 2001 and with two successful furniture collection debuts (2017 and 2019) in New York, the opening of my first gallery space in America and new official New York headquarters, is a long-awaited realization for me,” said Yovanovitch.

Room with exposed ceiling beams, whitewashed brick and dark wood floors — The exposed ceiling beams, whitewashed brick and dark wood floors are all typical of a New York loft

Inside the pre-war building, the gallery unfolds through a series of partial rooms that flow into one another without doorways or thresholds.

Throughout, exposed ceiling joists and ductwork are paired with dark wood flooring and whitewashed brick, typical of a New York loft space.

Furniture pieces styled like a living room — The gallery is laid out as a series of residential-style vignettes, which flow into one another

The largest display area centres around a sculptural fireplace, with a smooth plaster form that curves outward towards the base.

Furniture is oriented around the hearth, including a gently arced sofa and a chartreuse-toned resin coffee table, accompanied by the fluffy wing-backed Clifford armchair.

Wooden dining table with glass light above — Yovanovitch curated a selection of artworks to accompany his furniture pieces

A variety of lounge and dining room vignettes showcase the products in suggested combinations with one another in residential-style layouts.

Other designs on show include the new Callis Table Lamp, the Roze Dining Table, the Arthur Sofa and the Artemis Rug.

Living room vignette facing a fireplace — A variety of signature furniture and lighting designs are on display alongside new pieces

All are made in collaboration with specialist craftspeople and are “created with longevity and exceptional quality in mind” according to the brand.

“The brand pays homage to Yovanovitch’s Provencal roots, in particular the region’s natural light, rich and varied natural materials and colourways of the surrounding nature, as well as the historic commitment to craft associated with the region,” said a statement from the gallery.

The wide array of furniture and lighting pieces are presented alongside a selection of contemporary art curated by Yovanovitch – including works by Camille Henrot, Wolfgang Tillmans and Alicja Kwade – in an attempt to tie the gallery in with Chelsea’s status as an arts destination.

“It seems only fitting to open my first gallery location in the epicenter of New York’s art scene,” he said. “Not only is contemporary art central to my design practice, the neighborhood’s architectural history serves as reflection to my approach of revitalising historic spaces to fit a contemporary design aesthetic.”

Long dining table with blue and white upholstered chairs — All of the Pierre Yovanovitch Mobilier products are “created with longevity and exceptional-quality in mind”

The New York gallery opening follows the debut of the brand’s new Paris showroom, which began welcoming visitors to a street-level space in the Marais neighbourhood from October 2023.

This move from the previous location in the 2nd arrondissement also strategically places Pierre Yovanovitch Mobilier amongst the city’s art galleries.

Sculptural fireplace accompanied by Pierre Yovanovitch's iconic Bear Chair — A sculptural fireplace anchors the largest area, accompanied by Yovanovitch’s Clifford chair

Yovanovitch founded his design practice in 2001 after working for fashion house Pierre Cardin. His interior design work has ranged from the salmon-pink and butter-yellow gift shop at Villa Noailles and ski hotel Le Coucou in France, to the high-end Hélène Darroze restaurant at The Connaught in London and ski hotel Le Coucou.

Earlier this year, the designer created a set with moving elements for Verdi’s Rigoletto at the Basel Opera.

The photography is by Stephen Kent Johnson.

Reference

Interior Design

Format Architecture designs “delightfully untraditional” Brooklyn restaurant

By Zarkon Group,10/12/2023

Bright colours, neon lighting and expressive furniture create a playful mood inside this Brooklyn restaurant, designed by local studio Format Architecture Office.

Cafe Mars is an Italian eatery located in Gowanus, founded by co-chefs Jorge Olarte, and Paul D’Avino – whose grandfather lived across the street when he first emigrated from Campania in 1901.

White oak arch over light grey bar counter, accompanied by hot pink chairs — Playful furniture throughout Cafe Mars includes chairs with hot-pink arched and zigzag legs

Honouring these roots, the restaurant is designed as a celebration of all things Italy: from the Memphis design movement of the 1980s to the glamorous Amalfi Coast.

“It was important to connect the intent of the culinary experience with the intent of the spatial experience,” said Format principal and co-founder Andrew McGee.

The bar and open kitchen framed by white oak panels — The bar and open kitchen are framed by white oak panels

“If the driving force of the menu was to showcase knowledge and love of traditional Italian cuisine, twisted and subverted at just the right moments to create something playfully rebellious and unusual, it seemed only natural to reference the character and movement in [Ettore] Sottsass and the Memphis style with a similar vintage in the architecture and design realm,” he continued.

View through arch towards banquette seating and tables with exposed brick above — Above each table in the main dining space is a yellow panel with a hole cut-out, exposing the building’s original brick

To enter the 1,100-square-foot (100-square-metre) restaurant, visitors must turn a pasta die door handle sourced from local third-generation manufacturer D Malardi & Sons.

“The detail is a charming nod to the building’s pasta factory and Italian grocery history whilst ushering in its restaurant future,” the studio said.

Row of white and yellow double-sided banquettes — The custom banquettes are coloured one yellow for every two white

Once inside the long narrow front space, the bar area can be found on the right and a row of back-to-back banquettes runs along the left.

The bar and the open kitchen further down are framed by white oak panelled arches, revealing a bright blue back bar that echoes the same shape.

Dining room with cobalt-coloured seating and exposed brick walls — The “blue room” in the back features cobalt-coloured seating that contrasts the exposed brickwork

A tall, light grey counter forms an L-shape within the first arch, with a lower surface for diners seated in custom chairs by Studio Apotroes with hot pink zig-zag legs.

More seats – this time with white details – face the kitchen area, beside a bright green shelving unit for tableware tucked under the bar counter.

Pendant light with hot pink cord above blue banquette and wood tables — Hot pink reappears in the cords of pendant lights, which have shades made from mushroom mycelium

Opposite, the custom double-sided banquettes have ribbed edges and are coloured one yellow for every two white.

In between are arched yellow panels with circular holes that expose the original brick walls behind, and Stuff by Andrew Neyer globe pendants that hang above each table.

View through black archway into purple-hued bathroom — Pasta illustrations by artist Massimo Mongiardo are found throughout the interior, including in the bathroom

The “blue room” in the back features cobalt-coloured seating that contrasts the exposed brick walls, black window frames and white hexagonal floor tiles.

Hot pink reappears in the cords of pendant lights with MushLume shades made from mushroom mycelium, while bespoke wooden tables have puzzle-piece tops that slot together in various configurations.

At night, colourful LED lights within the circular wall elements, under the bar counter and above the back bar all match a neon sign in the window, which traces the Cafe Mars logo designed by artist Massimo Mongiardo.

His illustrations of pasta shapes can be found throughout the interiors, including in the bathrooms, and across the black-painted roller shutters pulled down when the restaurant is closed.

Black roller shutter covered with colourful illustrations of pasta shapes — Mongiardo’s illustrations also cover the black roller shutter on the exterior

“The goal was to strike a delicate balance between fanciful and comforting, transformative and familiar,” said Format co-founder and principal Matthew Hettler.

“The design, however loud, becomes a backdrop for a quality experience, and that is something we are excited about.”

A neon version of the Cafe Mars logo sits in the window, matching the colorful LED lighting inside

Other relative newcomers to Brooklyn’s ever-evolving culinary scene include Nabila’s, a Lebanese spot designed by Frederick Tang Architecture, and Usonian-inspired eatery Sereneco featuring interiors by Carpenter + Mason.

Over in Manhattan, the number of Italian restaurants continues to balloon, with Bad Roman and Cucina Alba among the many to have opened in the past year.

The photography is by Nick Glimenakis.

Project credits:

Architecture and interior design: Format Architecture Office
Project team: Clare Hačko, David Hettler, Matt Hettler, Andrew McGee
Construction: Rusk
Structural engineer: Blue Sky Design
MEP engineer: Department of Approvals

Reference

new york city

Yellow lighting illuminates Le Père store in New York by BoND

Commoncraft draws on “beauty in imperfection” for New York cafe

Civilian draws on “grandeur” of early cinemas for Sandbox Films offices

Martin Brudnizki designs Gilded Age-interiors for Fifth Avenue hotel

Pierre Yovanovitch opens design gallery in New York City penthouse

Format Architecture designs “delightfully untraditional” Brooklyn restaurant

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