Space Projects creates Amsterdam store with thatched hut for Polspotten
CategoriesInterior Design

Space Projects creates Amsterdam store with thatched hut for Polspotten

A curvilinear thatched hut has been paired with terracotta-hued tiles at the Amsterdam store for homeware brand Polspotten, which was designed by local studio Space Projects.

The studio created the store to straddle a shop and an office for Polspotten, a furniture and home accessories brand headquartered in the Dutch capital.

Triangular archway in the Amsterdam Polspotten storeTriangular archway in the Amsterdam Polspotten store
Visitors enter the Polspotten store via an oversized triangular entranceway

Characterised by bold angles and arches, the outlet features distinctive terracotta-coloured walls and flooring that nod to traditional pots, Space Projects founder Pepijn Smit told Dezeen.

“The terracotta-inspired colours and materials refer to the brand’s first product, ‘potten’ – or pots,” said Smit, alluding to the first Spanish pots imported by Erik Pol when he founded Polspotten in the Netherlands in 1986.

Plush cream sofa within Amsterdam homeware storePlush cream sofa within Amsterdam homeware store
The interconnected spaces are delineated by cutouts

Located in Amsterdam’s Jordaan neighbourhood, the store was arranged across a series of open-plan rooms, interconnected by individual geometric entryways.

Visitors enter at a triangular opening, which was cut away from gridded timber shelving lined with multicoloured pots that mimic totemic artefacts in a gallery.

Curvilinear thatched hutCurvilinear thatched hut
A curvilinear thatched hut provides a meeting space

The next space features a similar layout, as well as a plump cream sofa with rounded modules and sculptural pots stacked in a striking tower formation.

Travelling further through the store, molten-style candle holders and Polspotten furniture pieces were positioned next to chunky illuminated plinths, which exhibit amorphously shaped vases finished in various coral-like hues.

Accessed through a rectilinear, terracotta-tiled opening, the final space features a bulbous indoor hut covered in thatch and fitted with a light pink opening.

The hut provides a meeting space for colleagues, according to the studio founder.

“The thatch, as a natural material, absorbs sound as well,” explained Smit.

Clusters of pots next to a circular tableClusters of pots next to a circular table
The store provides an art gallery-style space for homeware

Next to the hut, Space Projects created an acoustic wall illustrated with “hieroglyphics” of Polspotten products, which references the gallery-like theme that runs throughout the outlet.

“The store was inspired by Polspotten’s use of traditional techniques combined with a collage of their reinterpreted archetypes,” said Smit.

Office space at PolspottenOffice space at Polspotten
It is also used as an office space

Elsewhere in Amsterdam, Dutch practice Studio RAP used 3D printing and algorithmic design to create a “wave-like” facade for a boutique store while interior designer Linda Bergroth created the interiors for the city’s Cover Story paint shop to streamline the redecorating process for customers.

The photography is by Kasia Gatkowska.

Reference

SOM unveils black terracotta office block in New York
CategoriesArchitecture

SOM unveils black terracotta office block in New York

Architecture studio SOM has completed an office building in Manhattan’s Chelsea neighbourhood clad in black-glazed terracotta that was designed to complement the surrounding neighbourhood.

Called 28&7, the 12-storey-tall office building was designed to complement the nearby masonry-clad structures, while maintaining a modern look.

Black terracotta clad office building
SOM has used black-glazed terracotta for an office building in Manhattan

“The scale of the building is modest in its context,” SOM design partner Chris Cooper told Dezeen.

“Our all-black design creates a distinguishing contrast within the immediate neighbourhood of masonry buildings.”

Black terracotta clad office building
The material was chosen to contrast with and complement the surrounding masonry structures

According to the studio, it is the first example of a structure in New York that uses black terracotta. The ceramic material was given a black glaze that is then polished to create a smooth, almost reflective surface.

SOM said that the material was chosen for the way it “harmonizes” with the clear glass used for the remainder of the facade.

Referred to the building’s minimalist look  as a “perfectly tailored suit”, the cladding conceals the window’s aluminium frames.

Black terracotta clad office building
The black material is meant to change with light conditions

“The black sheen in the glazing has an elusive surface quality that changes depending on the time of day, much like the glass,” said Cooper.

“As a contemporary interpretation of a historic typology, the facade design is an honest expression of the structure, construction and use,” he continued.

“The resulting tactility of the facade feels more comfortable and inviting than the sleek counterparts all in glass.”

Wooden louvres and terrazzo in office lobby
The lobby features wooden louvres and terrazzo

The terracotta was also chosen for its “high-performing, yet-low carbon” attributes, and Cooper noted that the material has less of a footprint than steel or additional glass. It was manufactured using a dark terracotta blend from the fabrication company Shildan in Germany.

Designed before the pandemic, the building’s smaller envelope is an attempt to create a “boutique” approach to offices. The construction marks what Cooper says is a marked shift from mega-scale developments towards smaller, more flexible building typologies for offices.

The size of the building was used to leverage what Cooper calls a “community-centred workplace”, and suggested that this smaller, more open arrangement can help attract workers back to office buildings.

Because the structural columns were integrated into the facade, the floor plates are column-free, creating clear lines of sight throughout the 90,000 square-foot (8361 square-metre) plan.

Interior materials were selected to create a “feeling of comfort and warmth”, especially in the lobby area which is clad in wood and a terrazzo tiling.

Black terracotta clad office building
The 12-storey structure has a penthouse and open floor plans

Other buildings in New York City that incorporate unique shades of glazing for terracotta facades include a high rise in Long Island City with British racing green terracotta and a fire station in Brooklyn by Studio Gang that incorporates bright red terracotta details to mimic fire engines.

The material is even finding its way into the city’s supertall skyscrapers. SHoP Architects’ Steinway Tower, the skinniest supertall in the world, has two full faces clad in terracotta.

The photography is by Dave Burke/SOM.

Reference

These Terracotta Experts Are Redefining the Architectural Possibilities of an Ancient Material
CategoriesArchitecture

These Terracotta Experts Are Redefining the Architectural Possibilities of an Ancient Material

The One Rendering Challenge is now part of the Architizer Vision Awards, honoring the best architectural photography, film, visualizations, drawings, models and the talented creators behind them. Winners are published in print! Start your entry >

Great architecture marries function with aesthetics. Often, the expression of this negotiation between form and use plays out in materials, the many assemblies and combinations that define what we experience. Terracotta is a clay-based ceramic that can be glazed and has been used throughout history. But it wasn’t until the 19th century that the material began gaining new architectural applications outside roofing. With varying colors and textures depending on the type of clay, terracotta is now produced in a vast array of shapes, styles and varieties.

Shildan has become known for its rainscreens and terracotta products, which bring iconic and energy-efficient building façades to life. With over 300 institutional projects, they specialize in designing and engineering systems for high-performing facades. While a large majority of contemporary terracotta buildings include cultural institutions and arts facilities, the material can also be used in residential and commercial construction. Durable as it is beautiful, Shildan’s terracotta is used in contemporary architecture to redefine building envelopes in both rainscreens and cladding. Each of the following projects explores how Shildan rethinks terracotta and its application in diverse building types.


Mercy Corps Global Headquarters

By Hacker, Portland, OR, United States

Designed to teach and encourage visitors to engage with contemporary issues, the Mercy Corps building was built to exemplify a sustainable, community-focused approach. Doubling the size of the historic Portland Packer-Scott Building, the landmark project combined a green roof, with resource-friendly landscaping and a glass and terracotta envelope.

Certified LEED Platinum, the project uses the LONGOTON Terracotta Rainscreen Panels with extruded, double leaf, 1.6 inch (40 mm) panels. The panel has increased strength from a chain of internal I-beam supports. The panels were chosen because of their flexibility in being able to be incorporated in both horizontal and vertical support systems, as well as a flexible orientation in layout. The headquarters also includes the Action Center — a “window to the world” — featuring interactive exhibits that educate visitors about the changing nature of relief and development work.


NASA Langley Research Center – Headquarters Building

By AECOM, Hampton, VA, United States

For NASA’s Langley Research Center, a $23 million, 72,000-square foot administrative office building, AECOM provided full bridging architectural and engineering services for the headquarters. The building is conceptualized as a parallelogram on a triangular site with a two-sided entry at ground level linked by a continuous lobby. The southern entrance plaza links both through the lobby and around the building to the north plaza, which is oriented to the heart of the campus.

The headquarters building was required to achieve LEED-NC Gold certification but achieved LEED-NC Platinum certification, focusing on the reduction of operating and maintenance costs, energy efficiency, comfort for the occupants, and a low environmental impact. The project features the Shildan/Moeding ALPHATON Panel, an extruded, double leaf, 30 mm (1.18”) terracotta panel. The ALPHATON panels can be incorporated in both horizontal and vertical support systems, and they were used in the Langley project to for durability and to denote the change in building form.


NOAA Southwest Fisheries Science Center

By Multistudio, San Diego, CA, United States

For the design of the National Oceanic and Atmospheric Administration (NOAA)’s Southwest Fisheries building, the team partnered with the University of California San Diego to design a facility that would pay homage to a world-class site and create a sustainable building for environmental stewards of the ocean.

The Southwest Fisheries building takes advantage of the local microclimate while respecting the ever changing needs of the research scientists. The new facility continues the California-style legacy of an open architectural environment, and courtyards encourage interactions among researchers from different disciplines. Terracotta sun shades, green roofs, photo-voltaic panels, and a state-of-the-art 528,000 gallon ocean technology tank help this building rethink scientific building design.


UCLA Evelyn & Mo Ostin Music Center

By Kevin Daly Architects, Los Angeles, CA, United States

For this music center in Los Angeles ,the project includes a high-tech recording studio, spaces for rehearsal and teaching, a café and social space for students, and an Internet-based music production center. Music industry executive and philanthropist Morris “Mo” Ostin donated $10 million to UCLA for the music facility, now known as the Evelyn and Mo Ostin Music Center. Adjacent to the Schoenberg Music Building and the Inverted Fountain, the new structures provide faculty and students access to the latest advances in music technology, research and technology.

The design utilized Shildan’s Terracotta Baguette Sunscreen to provide subtle variation and add texture to a building. This was combined with the ALPHATON terracotta panel. Kevin Daly Architects utilized these materials and assemblies, as well as proposed a series of additions, subtractions, and modifications to the existing facilities that transformed the building into a dynamic complex that supports a new vision for music education at UCLA.


Lesley University, Lunder Arts Center

By Bruner/Cott & Associates, Inc., MA, United States

The Lunder Arts Center at Lesley was designed to be the new heart of the College of Art and Design. A center for art teaching and making, the campus is a crossroads for academic, artistic, and neighborhood communities. The terra-cotta and glass design foregrounds the site’s important historic church, initiating a dialog between 19th century religious and 21st century educational icons. An art gallery in the new glass building and a library in the historic church anchor the building at both ends; both are open to the public.

The complex is a transition from Porter Square’s large-scale industrial buildings to the smaller, finer-scaled residences and stores along the avenue. The scale and detail of the historic church inform the new building; terra cotta reflects back neighboring brick and clapboard. Registered for LEED Gold, the complex exceeds Cambridge’s strict new Stretch Energy Code. The project team used both the ALPHATON terracotta panel system, as well as Shildan’s Patinated Terracotta Rainscreen Panels.


Stephen M. Ross School of Business

By Kohn Pedersen Fox Associates, Ann Arbor, MI, United States

Key to the success of the design of the new Stephen M. Ross School building was relating the typical tiered classroom to group study spaces. To do so, the design team developed a model for early site planning studies to address the pedagogical needs of the school, which focused on assessing the capacity of existing buildings to accommodate new teaching spaces. Equally important was a sense of local identity, both for the building on the university campus and for distinct groups within the school.

Respect for the language and history of nearby buildings on campus had to be balanced with the goal of projecting a forward-looking image for the school. The new building meets these challenges set by the Ross School with an organization of elements around a central winter garden which opens directly to the street, providing a distinctive presence and a new “front door” for the school on the University of Michigan campus. Through both phases, glass, terracotta, and warm sandstone define the material vocabulary of the building. The mixture of textures offers smooth glass that is clear and fritted, machined terracotta, split-faced sandstone and water-jet finished granite to provide a contrast in color, texture and feel. Terracotta is the building’s most prominent material.

The One Rendering Challenge is now part of the Architizer Vision Awards, honoring the best architectural photography, film, visualizations, drawings, models and the talented creators behind them. Winners are published in print! Start your entry >

Reference

Eight earthy kitchens where terracotta tiles add warmth and tactility
CategoriesInterior Design

Eight earthy kitchens where terracotta tiles add warmth and tactility

For this lookbook, we’ve collated eight kitchens from Dezeen’s archive that use terracotta tiling to bring a sense of warmth into the functional space.

Terracotta – meaning baked earth in Italian – technically refers to any object made from fired clay. But most commonly, the term is used to describe pottery made from a porous type of earthenware clay that is high in iron oxides, giving it a rusty reddish brown colour.

Unlike ceramic stoneware or porcelain, terracotta is fired at lower temperatures so it does not vitrify – meaning the clay retains a coarse, organic texture and isn’t waterproof unless it is glazed.

Used as a backsplash or flooring, this can bring some much-needed colour and texture into the kitchen while helping to create a connection to the outdoors.

This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration see previous lookbooks featuring accent walls, bookshelves and sunken baths.


Budge Over Dover house in Sydney designed by YSG
Photo by Prue Ruscoe

Budge Over Dover, Australia, by YSG

Australian studio YSG used narrow terracotta tiles to “draw the outside in” to this house in Sydney, spilling from the floor of the garden patio onto the adjacent kitchen and dining area, which can be opened up to the exterior using sliding glass doors.

The rough clay is paired with shiny aubergine-coloured plaster and travertine in the sunken living room beyond, creating a contrast between raw and polished surfaces.

Find out more about Budge Over Dover ›


Dining area in Farley Farmhouse by Emil Eve Architects
Photo by Mariell Lind Hansen

Farley Farmhouse, UK, by Emil Eve Architects

When Emil Eve Architects added a gabled kitchen to a farmhouse in Wiltshire, the British studio set out to mirror the material palette of the existing home by adding arrowhead terracotta tiles to the extension’s exterior.

Inside, matching rectangular tiles were laid in a herringbone pattern on the floor while a row of clay pendant lights hang from the wooden roof beams.

Find out more about Farley Farmhouse ›


Hygge Studio by Melina Romano
Photo by Denilson Machado

Hygge Studio, Brazil, by Melina Romano

Terracotta flooring and tan brick walls lend a “rustic charm” to this São Paulo apartment, designed by Brazilian designer Melina Romano.

The tiles spill out across the entire home including the bedroom and lounge, which is framed by a screen made of decorative perforated cobogó blocks.

Find out more about Hygge Studio ›


Photo by José Hevia

Las 3 Marías, Spain, by Bajet Giramé and Nicolas Burckhardt

All-over terracotta flooring was one of the ways that Spanish studio Bajet Giramé found to connect the kitchen of this 1960s holiday home to its generous backyard, alongside the addition of generous arched openings and perforated steel doors.

“We ended up working on the whole plot, treating both house and garden as a playful matrix of varied interconnected rooms,” the studio told Dezeen.

Find out more about Las 3 Marías ›


Interiors of La Odette apartment by Crü
Photo by Adrià Goula

La Odette, Spain, CRÜ

To create a bright, open floor plan inside this apartment in a Barcelona housing block that dates back to 1877, Spanish studio CRÜ tore down most of the internal petition walls

Instead, the kitchen is now delineated by a statement wall clad in terracotta tiles – left over from the flooring and turned back-to-front to reveal their ribbed underside.

Find out more about La Odette ›


Kitchen of West Bend House in Melbourne, designed by Brave New Eco

West Bend House, Australia, by Brave New Eco

Three kinds of tiling provide textural interest inside the kitchen of this “forever home” in Melbourne, with sections of rustic terracotta contrasted against a backsplash of teal-glazed ceramics.

Corrugated tiles were also folded around the pendant light above the island that illuminates the work area, courtesy of Australian lighting brand Southdrawn.

Find out more about West Bend House ›


Como Taperia by Ste Marie
Photo by Conrad Brown

Como Taperia, Canada, by Ste Marie

Both the seating area and the open kitchen of this Spanish tapas bar in Vancouver were lined with terracotta, in a nod to the brick chimneys of Barcelona’s industrial Poble Sec power station.

Other Catalan references can be found in the restaurant’s cobalt blue accents – informed by the paintings of Joan Miró – and various abstract details that nod to the work of architect Antoni Gaudí.

Find out more about Como Taperia ›


Conde Duque apartment by Sierra + De La Higuera
Photo by German Sáiz

Conde Duque apartment, Spain, by Sierra + De La Higuera

Different spaces in this open-plan apartment in Madrid were defined by traditional Moroccan zellige tiles, with glossy yellow and green glazes and organic handcrafted surfaces.

To balance out these flashier surfaces, terracotta was used to ground the kitchen and dining area, paired with plain white walls and custom timber joinery.

Find out more about Conde Duque apartment ›

This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration see previous lookbooks featuring accent walls, bookshelves and sunken baths.

Reference

The Future of Materials: Terracotta Rain Screens and Cladding
CategoriesArchitecture

The Future of Materials: Terracotta Rain Screens and Cladding

How can architecture be a force for good in our ever-changing world? During Future Fest, we’ll pose this question to some of the world’s best architects. Launching in September, our three-week-long virtual event will be 100% free to attend. Register here!

Terracotta is a material that spans millennia. Durable as it is beautiful, terracotta has a range of inherent building properties that makes it an ideal choice for construction. In contemporary architecture and design, terracotta is specified as a way to redefine building envelopes with both rain screens and cladding. With a range of colors, textures, and forms, this ceramic is a material used throughout history. Now we’re inviting experts in materials, architecture, and interiors to discuss the Future of Materials for an entire week this September. The virtual event, Future Fest, will be 100% free to attend.

Register for Future Fest

Dating back to the Babylonians, terracotta continues to be a material selected for diverse building types around the world. It’s also redefining the future of how we design. By definition, architectural terracotta refers to a fired mixture of clay and water that can be used in non-structural and structural capacities on the exterior or interior of a building. Each of the following projects reinterprets terracotta and its application in diverse building types.


Pope John Paul II Hall

By Randić and Associates, Rijeka, Croati

Sited in one of the most important pilgrimage sites in Croatia, this Great Hall was designed alongside the Pope’s visit to Rijeka. Housing cultural activities of the monastery, the project also creates a new major entrance for the pilgrims and a large public walk. A pixel-ized terracotta volume was designed to filter light inside the structure while a columned portico forms a new public square outside.

The building features a single terracotta-brick surface. By varying the gaps between the terracotta bricks, the pixelated structure brings light into the hall. Architectural terracotta is slightly different from normal bricks, they are plain or ornamental with a glazed coating and larger in size than brick. The color goes compliments existing construction at the monastery and imitates a simple hip-roofed barn.


The Wellin Museum of Art

By Machado Silvetti, Clinton, NY, United States

TerraClad façade by Boston Valley Terra Cotta

Located on the Hamilton College campus, the Wellin Museum of art was designed as part of a new arts quad. The building includes admin offices, seminar rooms, galleries, and a monumental two-story glass archive hall. Dark terracotta cladding was used along the central volume to reinforce its role programmatically and organizationally.

The TerraClad façade product made by Boston Valley was forming using an extrusion method. The enclosure combines both terracotta and precast cladding with curtain wall fenestration. The system was chosen to ensure that the thermal performance of the exterior enclosure would contribute to the building’s success and meet the College’s sustainability goals.


The Diana Center at Barnard College

By WEISS / MANFREDI, New York, NY, United States

Terracotta Frit Panel by Goldray Industries

Located at Barnard College, the Diana Center includes a gallery space, a library, classrooms, dining, and a black box theater. A slipped atria links spaces vertically and becomes connected through ascending stairs. Luminous terracotta glass panels were used throughout the building envelope. Surrounded by a campus defined by brick and terracotta, the Diana translates the static opacity of masonry into a luminous curtain wall.

The building’s color is created by a pale terracotta-colored frit on the #2 surface and the bright red painted back panel beneath. The glass panel, provided by Goldray Industries, is acid-etched on its exterior surface to give a matte texture, and the terracotta frit is on the interior surface.


Mercy Corps Global Headquarters

By Hacker, Portland, OR, United States

LONGOTON Terracotta Rainscreen Panels by Shildan

The Mercy Corps building was built to exemplify a sustainable, community-focused approach while encouraging visitors to engage with contemporary issues. Doubling the size of the historic Portland Packer-Scott Building, the landmark project combined a green roof, with resource-friendly landscaping and a glass and terracotta envelope.

Certified LEED Platinum, the project uses Shildan/Moeding LONGOTON® terracotta with extruded, double leaf, 40mm panels. The panel has increased strength from a chain of internal I-beam supports. The panels were chosen because of their flexibility in being able to be incorporated in both horizontal and vertical support systems, as well as a flexible orientation in layout.


School of Art & Design at New York State College of Ceramics

By Ikon.5 Architects, Alfred, NY, United States

Terracotta panels by Boston Valley Terra Cotta

The terracotta tube façade for this ceramics pavilion screens both rain and solar heat, while its staggered pattern was inspired by pottery racks. The Art Pavilion was created as a “ceramic vessel” holding both light and art. The design was inspired by the region’s history of manufacturing ceramics, and incorporates the unglazed, hollow tubes with an off-white pigment.

Boston Valley’s terracotta façade system recalls the interior program while defining a material and haptic boundary. South-facing galleries are protected from direct sunlight, while the pavilion dramatically engages campus on-lookers as a piece of ceramic art. It allows passerby to see inside the exhibition gallery and places student work on public display.


The Center for Asian Art at the Ringling Museum of Art

By Machado Silvetti, Sarasota, FL, United States

Terracotta panels by Boston Valley Terra Cotta

The John and Mable Ringling Museum of Art features both a permanent collection and temporary exhibition galleries on a historic sixty-six acre estate. Believed to be originally envisioned as one of the most comprehensive art museums in the world, the Museum was ahead of its time in assembling a significant collection of Asian Art. Now governed by Florida State University, the Museum establishes the Ringling Estate as one of the largest museum-university complexes in the United States.

The Asian Art Study Center is an addition and ‘gut renovation’ and to the West Wing galleries on the southwest corner of the Museum complex. The addition’s façade is composed of deep-green, glazed terra cotta tiles that address the client’s requirement of a new monumental entrance. Machado Silvetti collaborated closely with Boston Valley Terra Cotta to develop the color, form and installation technique for the panels.

How can architecture be a force for good in our ever-changing world? During Future Fest, we’ll pose this question to some of the world’s best architects. Launching in September, our three-week-long virtual event will be 100% free to attend. Register here!

Reference

Masquespacio designs restaurant with stucco walls and terracotta pathway
CategoriesInterior Design

Masquespacio designs restaurant with stucco walls and terracotta pathway

The beauty of Spain’s Aragon province informed the earthy colour palette, natural materials and curved forms used in this fine-dining restaurant interior by Valencia studio Masquespacio.


Located in the city of Huesca, Pukkel serves up a menu of healthy food and, according to the owners, aims to offer “a sensorial experience beyond the gastronomy.”

Valencia studio Masquespacio designed the project
Pukkel is a fine dining restaurant

The interior uses a palette of natural materials and colours and undulating, textured forms that are intended to reflect the beauty of the nearby Pyrenees mountains and surrounding countryside.

“After doing a workshop with [Pukkel’s owners], Jorge and Mikel, we immediately proposed to work with 100 per cent natural materials and integrate nature into the space,” said Christophe Penasse, co-founder of Masquespacio.

Pukkel is in Huesca
Textured surfaces reference the nearby Pyrenees mountains

As well as the natural landscape, the designers wanted the interiors to reflect the restaurant’s healthy cuisine.

“We investigated the province of Huesca and started to discover the beauty of the mountains and parks in its surroundings,” added Masquespacio creative director Ana Hernández.

“We definitely found the reference we were looking for and that fitted perfectly with the healthy lifestyle concept from Pukkel.”

The design studio selected different tones of brown, white and green that are used alongside gold accents, which it said add a “little bit of sophistication” to the space.

The restaurant’s layout follows the curved lines and circular forms of the booth seating to create a winding pathway through the space. According to the designers, this is intended to create the feeling of walking through the forest or mountains.

Masquespacio designed a winding path from terracotta tiles
Dark green is combined with lighter tones

This curved path is further highlighted by the colour of the floor tiles, which change from natural terracotta to glazed green or white in the different seating areas.

Uneven surface finishes such as rough stucco, ceramic and terracotta tiles are used to reflect the textures and forms found in nature. The terracotta tiles on the floors, bars and the undulating tiles on the walls were designed specially by Masquespacio for Pukkel.

Masquespacio injected green accents into the restaurant
Terracotta tiles wind through the space

The stucco seating booths feature integrated planters filled with plants and flowers that will change depending on the season.

Other restaurants designed by the studio include the Milan outpost of Italian fast-food chain Bun, where it selected a lilac and avocado-green colour scheme to create a youthful yet “sophisticated” interior, and a tropical sushi restaurant in Valencia, Spain, that mixes Japanese and Brazilian-inspired design elements.

Reference