Postcard Bakery Features Bold Color and Pattern Inspired by Retro Japanese Design

This article explores the unique design elements of Glace Candy, a viral new candy shop in New York City, and how these elements can inspire residential kitchen design. Glace Candy is the sister shop to Glace, an ice cream parlor, both located on the Upper East Side near the Guggenheim Museum. The interior design, crafted by Brooklyn-based studio Faber/Hughes, blends 19th-century Parisian apothecary aesthetics with a historic New York institution feel. The co-founder, Audrey Hughes, describes the candy store as a "special little jewel box" designed to fit the high-end boutique and museum context of Madison Avenue. The shop's distinctive style incorporates an unexpected mix of walnut paneling, mint tiling, striped stone, and cloud-like lighting. The designers, Hughes and Levi Shaw-Faber, suggest how homeowners can integrate these rebellious design choices into their kitchens. A significant design takeaway is the attention given to the ceiling, often an overlooked space in kitchen design. Glace Candy features a curved walnut ceiling with wood paneling that forms a grid, framing cylinder lights and creating a cozy, retro ambiance. Shaw-Faber emphasizes that in limited spaces like the candy and ice cream shops, intentional ceiling design makes the spaces feel all-encompassing. Homeowners are encouraged to consider matching ceilings to cabinetry, adding trim for texture, or using paint to tie into the room's palette, and upgrading builder-grade lights to stylish mounted cylinders. Another key inspiration comes from the shop's choice of tile and stone. The mint tiles used around the candy displays feature a crackle glaze, which provides a balance of glossy and matte textures, contributing to a "candy-like" appearance. For those seeking to add personality, the ice cream counter's striped stone facade offers a bold yet achievable look for home kitchens. Shaw-Faber advises using strong, less brittle stones like granite, quartzite, basalt, or soapstone if cutting them into thin strips for practical application on an island front or floor. Finally, the article highlights the importance of combining durability with daring design. Despite its elevated aesthetic, Glace was built with materials chosen for their resilience against high foot traffic and potential spills, including stone, stainless steel, lacquer-coated wood, and tile. These materials are equally suitable for a home kitchen, a space that demands both beauty and longevity. Shaw-Faber notes that using non-porous materials can ensure a beautiful kitchen endures, concluding that a lasting finish is a key component of successful design. The overall message is to draw inspiration from the shop's blend of playful elegance and practicality to create unique and enduring kitchen spaces. #KitchenDesign #InteriorInspiration #TileDesign #StoneWork #CeilingDesign #MaterialSelection #HomeRenovation #DesignTrends #NYCDesign

British designer Faye Toogood has launched her inaugural homeware collection, named "Dough," which draws inspiration from the tactile processes of both baking and pottery. This sculptural ceramic series comprises six distinct pieces: a mug, a jug, a platter, a bowl, a vase, and a centerpiece. Toogood's primary objective for this collection is to integrate sculptural elements into everyday home use, particularly within the dining and living spaces. The design process for the Dough collection began with the mug and the jug. Toogood acknowledged the enduring and functional design of traditional mugs, opting instead to refine their aesthetic details. The Dough jug, for instance, features a rounded, "full bulging tummy" and an oversized, substantial handle, embodying what Toogood describes as a "Roly-Poly aesthetic." This distinctive design approach, characterized by sinuous curves and fluid lines, is consistently applied across all pieces in the collection. Each item is meticulously finished with a carefully developed glaze, available in either cream or charcoal. Toogood deliberately chose a simple, non-reflective paint finish, akin to that found on sculptures, resulting in a soft, subdued sheen rather than a high-gloss appearance. This choice underscores her vision for the homeware to function as standalone sculptural objects when not in active use. The collection's emphasis on simple finishes and unique details aims to create timeless pieces that maintain their aesthetic appeal, whether displayed as decorative elements on a mantelpiece or utilized for their intended purpose on a tabletop. The Dough collection merges functionality with artistic expression, allowing these ceramic items to serve both practical and decorative roles within a home environment, effectively bridging the gap between utilitarian objects and fine art. #FayeToogood #DoughCollection #CeramicHomeware #SculpturalDesign #InteriorDesign #HomeDecor #Pottery #ModernDesign #FunctionalArt

Blue Bottle Coffee has opened its eighth outpost in Japan and its first in Kyoto, situated in a historic 100-year-old building near the 13th-century Nanzen-ji temple and garden. This new cafe offers a tranquil retreat at the end of an unassuming alleyway, known locally as a kyomachiya, or ‘eel’s nest,’ due to its narrow opening and spacious courtyard entrance. The design concept for this new establishment beautifully merges the building's historical integrity with the modern brand culture of Blue Bottle Coffee. The interior design, largely devoid of overt branding, emphasizes the building's original character. Extensive use of wood throughout the cafe, coupled with preserved architectural elements like exposed wall patches and intricately carved beams and wooden pillars, pays homage to the structure’s century-long heritage. Schemata Architects’ Jo Nagasaka led the design, focusing on subtle modifications that blend traditional Japanese tranquility with contemporary comfort. For instance, the entryway and floor were lowered, allowing visitors to enter seamlessly while wearing shoes. Outside, paths of terrazzo mixed with crushed white gravel were laid, echoing the traditional aesthetics of old Kyoto neighborhoods. This specific Blue Bottle Coffee location in Kyoto offers not only the brand’s signature coffee, espresso, cold brew, and New Orleans-style iced coffee but also an exclusive selection of seasonal pastries. These include green tea mint cookies, which are only available at this Kyoto cafe. The aim is to provide a unique experience that reflects the local culture and the serene environment of its historic setting. The thoughtful integration of old and new elements creates a space that is both respectful of its past and relevant to its present, offering a distinctive coffee experience that aligns with Japan's renowned precision, beauty, and craft in coffee culture. #KyotoArchitecture #BlueBottleCoffee #JapaneseDesign #ZenArchitecture #CafeDesign #HistoricPreservation #SchemataArchitects #CoffeeCulture

Starbucks in Japan has achieved remarkable popularity, extending beyond its global presence to cultivate a fervent local following since its debut in Ginza in 1996. With over 1,917 stores nationwide, the brand's rapid expansion and enthusiastic reception are noteworthy. A notable instance of this widespread appeal occurred in 2015, when the opening of a Starbucks in Tottori, Japan's least populated prefecture, drew a crowd of a thousand people who queued from early morning. The launch of the world's largest Starbucks Reserve Roastery in Meguro in 2019 further exemplified its popularity, necessitating a lottery system to manage visitor access through time-slotted tickets. The brand's success in Japan is attributed to several factors, including its consistent introduction of seasonal, limited-edition beverages and merchandise, many of which are exclusive to the Japanese market. Additionally, Starbucks has adeptly integrated with local culture by creating visually appealing and distinctive spaces. These locations often incorporate innovative architecture and design, frequently blending with their inspiring surroundings to offer unique aesthetic experiences. The designs are so integrated into their environments that they often do not immediately appear to be a Starbucks until the familiar green mermaid logo is spotted. Examples of these architecturally significant Starbucks locations include the Hakodate Bayside store in Hokkaido, situated in a heritage building within the Kanemori Red Brick Warehouse district. This two-story former warehouse, dating back to the Meiji era, preserves its historic ambiance with original wooden flooring and staircase. It offers views of Hakodate Bay and a fireplace for warmth during Hokkaido's cold winters. The Hirosaki Koen-mae store in Aomori is housed within the Daihachi Dancho Kansha, a former division commander's residence built in 1917. This location, a Tangible Cultural Property, blends Western aesthetics with Japanese design elements like shoji doors and traditional wall scrolls. It also features local crafts, such as light fixtures made from beech wood using the bunaco technique and sofa backrests embroidered with Tsugaru style kogin-zashi patterns. In Kawagoe, Saitama, the Kanetsuki-dori store mirrors the 'Little Edo' townscape with a traditional warehouse-like structure, featuring a local cedarwood exterior and a tiled roof. Its interior incorporates repurposed fusuma sliding panels as framed artworks and cushions made from local Kawagoe tozan kimono fabric, tied with ume musubi-style cords. An outdoor terrace provides access to a Japanese garden, where patrons can occasionally hear the nearby Tsuki no Kane bell tower. The Starbucks Reserve Roastery Tokyo in Meguro, designed by Kengo Kuma, is one of the brand's largest roasteries globally. This four-story structure on the Meguro River features a roasting factory, an Arriviamo cocktail bar, a Teavana tea room, and a Princi bakery. Its fourth-floor terrace offers views of cherry blossoms during spring. The Yomiuriland Hana Biyori store in Tokyo is uniquely situated within a greenhouse at Yomiuriland’s Hana Biyori garden. This location provides a floral environment with blooming flower walls and hanging baskets. It features an open, light-filled space with abundant greenery, a communal table with a water feature, and counter seats overlooking an 8m-long aquarium with Okinawan coral fish. Entry requires a ticket to the botanical garden. The Nineizaka Yasaka Chaya store in Kyoto occupies a 100-year-old machiya (townhouse) from the Taisho period, seamlessly blending into the historic neighborhood. Recognized with the Kyoto Scenery Award, it preserves a traditional daibei wooden wall and features three inner courtyards converted into Japanese gardens. The upper floor resembles a classic Japanese tea house with tatami floors, zabuton cushions made from Tango kimono fabric, and tokonoma spaces displaying wall scrolls. The Meriken Park store in Kobe is located at the city’s picturesque harbor, near the Kobe Port Tower. Its facade, resembling fish scales, is constructed using the traditional hishibuki technique with diamond-shaped metal plates. The first floor offers views of the lawn and harbor, while the second floor, designed like a ship's bow with a curved glass wall, provides a cruise-like experience. The store is particularly scenic in the evening when surrounding landmarks are illuminated. The Dogo Onsen Ekisha store in Ehime is housed in a two-story Meiji-era structure built in 1912, part of the Dogo Onsen train station. Its design combines Western and traditional Japanese aesthetics with lattice windows, Victorian-style fencing, and a wooden facade. The interior features a bar counter and communal table made from repurposed railway sleepers and tracks, reflecting the area's heritage. Finally, the Dazaifu Tenmangu Omotesando store in Fukuoka, designed by Kengo Kuma, is an avant-garde installation along the pedestrian street to Dazaifu Tenmangu shrine. Its signature feature is a criss-crossing mass of 2,000 cedar wood bars, pieced together using the traditional kigumi technique without nails. The interior features zigzagging sofa seats and natural light, creating a bright and airy atmosphere. #StarbucksJapan #ArchitecturalDesign #UniqueCafes #JapaneseCulture #HeritageBuildings #KengoKuma #KyotoMachiya #TokyoArchitecture #HokkaidoHistory

Sweet Cooie's, a confectionery in Congress Park, Denver, has opened its doors as a sister store to the popular Little Man Ice Cream, owned by Paul Tamburello. The shop, which underwent a renovation before its February opening, is designed as a tribute to Tamburello's late mother, nicknamed "Cooie." The interior design aims to encapsulate her elegant and refined personal style, transforming the space into a whimsical and enchanting jewel-box. This aesthetic choice is a deliberate departure from typical confectionery designs, emphasizing a high-style approach to creating a unique customer experience. The interior design was meticulously crafted by Melissa Friday of Denver-based Xan Creative, with a focus on achieving authenticity while incorporating a feminine touch to honor Cooie. The design invites patrons to linger and appreciate the intricate details throughout the space. The walls are painted in Sherwin-Williams' Meander Blue, accented with brass trimmings, providing a sophisticated backdrop. These elements highlight a range of beautiful and playful features, including a substantial marble countertop, sparkling light fixtures that contribute to the shop's ethereal glow, and a custom-built back bar. This back bar is thoughtfully lined with jars filled with gumballs, adding a nostalgic and charming element to the overall design. Complementing these features are wavy vinyl booths, which offer comfortable seating and introduce a contemporary yet inviting texture to the environment. A particular design highlight is the use of Amelia Lincrusta paintable wallpaper from Brewster Wallcovering Company, applied beneath the wooden chair rail. This wallpaper mimics the texture and pattern of pressed-tin tiles, adding a layer of historical charm and intricate detail without the weight or cost of actual tin. This choice further enhances the shop's unique blend of classic elegance and playful whimsy. The combination of these design elements with the alluring scents of handcrafted truffles and cotton-candy-wrapped waffle cones creates a multi-sensory experience that extends beyond mere confectionery consumption. The article suggests that the success of Sweet Cooie's lies in its ability to demonstrate that exceptional design, much like delicious ice cream, is more than the sum of its individual components; it is about the harmonious integration of style, atmosphere, and sensory delight. The article was originally published in the June/July 2017 issue of 5280 Home, indicating its focus on local design and home decor trends within the Denver area. This feature underscores the establishment's contribution to the local design landscape, presenting it as a source of style inspiration. The detailed description of the interior design choices provides insights into how a commercial space can be personalized and elevated through thoughtful design, creating an immersive and memorable environment for its visitors. The integration of personal history and a distinct aesthetic vision has resulted in a confectionery that is not only a place for sweet treats but also a destination for design enthusiasts. #InteriorDesign #ConfectioneryDesign #DenverDesign #RetailDesign #WhimsicalDecor #PaulTamburello #MelissaFriday #HomeDecor

The article delves into the burgeoning 'Kitschen' trend, which advocates for infusing kitchens with personality through vintage-inspired appliances and splashes of color. Drawing insights from Pinterest, the trend highlights a growing interest in retro aesthetics, with searches for pink and bright green kitchen items on the rise. This reflects a shift in how individuals perceive their kitchens, moving beyond mere functionality to view them as central social hubs for dining, entertaining, and even working. Traditionally, homeowners have prioritized decorating living rooms, bedrooms, or home offices, often overlooking the kitchen's aesthetic potential. However, the 'Kitschen' trend encourages individuals to reconsider this by transforming their kitchens into vibrant, personalized spaces. Whether the goal is a subtle pop of color or a complete kitchen overhaul, embracing this trend can cultivate an environment that fosters joy in cooking and hosting. The article showcases a curated selection of quirky kitchen items from popular high street retailers such as John Lewis, Oliver Bonas, M&S;, and Fenwick. Each item is chosen to exemplify the 'Kitschen' aesthetic, emphasizing uniqueness and character. Highlighted products include an orange earthenware pitcher, designed to bring a Mediterranean flair to any tablescape, and a traditional Le Creuset butter dish in 'Volcanic' color, recommended for adding a touch of color and elegance to worktops. A retro red Roberts Revival DAB radio is featured as a stylish and functional addition, aligning with the current popularity of red accents in home decor. For floral enthusiasts, a yellow ceramic vase with intricate stripes is presented as a mood-boosting element, while an M&S; Neroli, Lime & Bergamot Scented Candle in a ceramic scalloped jar offers both aromatic pleasure and a reusable decorative pot. Further recommendations include a vintage blue planter, tapping into the trends of blue hues and florals, and Addison Ross's bobbin salt and pepper grinders, noted for their stylish design suitable for spring and summer tablescapes. A banana de Madeira centrepiece from the Bordallo Pinheiro range is highlighted for its nature-inspired design and versatility as a fruit bowl or serving dish. For coffee lovers, the Tresillo Ombre Mini Cafetiere & Mug Set from Oliver Bonas provides a convenient and colorful way to incorporate the 'Kitschen' aesthetic. Additionally, rainbow egg cups are suggested to brighten morning routines, and a Hay Flare Candlestick Holder offers a contemporary splash of color and dimension. Other notable items are the Oliver Bonas Orange Ceramic Gluggle Jug, praised for its playful fish design and multipurpose use as serveware, vase, or utensil holder, and John Lewis's Lisbon Fine China Tapas Plates, which evoke a European feel with their vibrant, patterned design. A 'Kitchen Disco Art Print' is recommended for those who enjoy music while cooking, adding a playful touch to the kitchen. For dessert presentation, the Fenwick Popi Dessert Plate combines on-trend red and pink hues. The Bordallo Pinheiro Pineapple Pitcher serves as a statement piece, bringing novelty and personality. Essential and colorful additions include a Le Creuset Oval Stoneware Spoon Rest and a Bordallo Small Cabbage Leaf Bowl. Finally, Cath Kidston Painted Table Double Oven Gloves offer a daintily floral, eccentric touch, and the Sazy Sofia Cake Stand in Amber provides a vintage-inspired platform for displaying baked goods. These selections collectively aim to inspire readers to personalize their kitchen spaces, reflecting current trends in home decor that prioritize character, color, and functionality. #KitchenDecor #HomeDecorating #QuirkyKitchenBuys #KitschenTrend #RetroStyle #ColorfulKitchen #HomeAccessories #InteriorDesign #SpringSummerDecor

In an era characterized by self-aware architecture, the Basic Coffee shop in Beijing, designed by Chinese architecture firm Office AIO, stands out as a prime example of a space meticulously crafted for visual appeal, particularly for social media platforms like Instagram. The cafe, which adjoins a co-working space, incorporates several contemporary design trends to create a "live advertisement" that glorifies the ritual of coffee. The interior design of Basic Coffee is dominated by a monochromatic palette of pastel pink, contributing to its distinct and photogenic aesthetic. The space features a curved timber coffee bar, which serves as a central element. Illumination is provided by globe lights that are strategically placed on the ceiling and walls, emitting a soft, warm glow that enhances the overall ambiance. These design choices aim to create an inviting and visually cohesive environment. Office AIO structured the coffee shop to highlight specific "moments" associated with the coffee-drinking experience. The architects intended these framed views to expose different actions performed by both customers and staff, effectively transforming the cafe into a dynamic visual narrative. For instance, a backlit wall is used to showcase baristas as they prepare beverages, drawing attention to their craft. Separation within the cafe is achieved through a sleek, perforated screen that hangs from the ceiling, dividing the seating area from the waiting area. This design element not only adds to the aesthetic but also helps to define distinct zones within the open space. The intention behind these carefully considered elements is to present each step in the coffee procurement process as a discrete and beautiful event. This approach, while ambitious for a clientele who might be just waking up, underscores the architects' goal of creating a highly curated and memorable experience, akin to a staged advertisement. The design emphasizes the visual journey and interaction within the space, making it a destination not just for coffee, but for its Instagrammable qualities. #CoffeeShopDesign #InteriorDesign #OfficeAIO #BeijingArchitecture #PastelPink #InstagrammableSpaces #MonochromaticPalette #ArchitecturalTrends

Acne Studios, the Swedish fashion label, has opened a new flagship store in Tokyo's Aoyama district, a move that encapsulates the brand's playful yet minimalist aesthetic. The store, located on a prominent corner of Omotesando, an area known for its architectural significance, was designed by Acne Studios' founder and creative director, Jonny Johansson, in collaboration with Stockholm-based studio Halleroed. This new location replaces a previous store on a nearby backstreet and represents the culmination of Johansson's long-standing connection and inspiration drawn from Japan. The conceptual foundation for the store was inspired by the idea of a 'garage' – an open, technical space. Johansson envisioned an interior that maintained the skeleton of the original building, incorporating extensive use of glass to create a seamless flow between the inside and outside, allowing visitors to feel connected to Aoyama. This structural openness is complemented by a unique design element: softly-textured pink granite stone. This material is used to connect various spaces, extending across floors and walls, and forms two prominent, airy staircases with clean, minimalist lines and subtly indented handrails. The choice of pink for the granite was deliberate, aimed at avoiding a 'banal' or 'naïve' impression. According to Ruxandra Halleröd, co-founder of Halleroed, the team explored various textures and materials before settling on a granite that intensifies in pink hue when flamed. This approach was intended to create a mature and nuanced pink, moving beyond typical feminine connotations to become a 'pop color' that aligns with Acne Studios' slightly vague yet distinct brand identity. Contrasting the soft pink granite, the store integrates reflective metal accents, angled mirrors, and dynamic stainless steel clothing hangers that are sharply suspended from the ceiling. This blend of materials and forms adds to the store's contemporary and edgy atmosphere. Further enhancing the creative interior are bespoke elements from long-term Acne Studios collaborators. British designer Max Lamb contributed a series of pieces, including shiny soft leather seats that appear to merge with the walls, tufted carpets, and 'Blob' chairs made from hand-dyed yarns. Illumination is provided by dozens of custom strip-lighting fixtures, conceived by designer Benoit Lalloz, which are strategically placed across ceilings and integrated into metal displays. Surrealist mannequins by artist Daniel Silver introduce an additional layer of artistry. Ruxandra Halleröd emphasizes that the design thrives on contrasts, mirroring Tokyo's own blend of high-tech and historical elements. The stark, hard-material-clad building contrasts with the irregular, shiny furniture, creating unexpected visual and tactile experiences. Christian Halleröd, also a co-founder of Halleroed, highlights Japan as a significant source of inspiration, particularly for its commitment to quality and craftsmanship. The store's opening is also marked by a collaboration with artist Takuro Kuwata, who created a series of candy-bright ceramic vessels and reinvented the brand's 'Camero' bag and denim jeans with rainbow designs and trompe l'œil effects. This reflects Johansson's perspective that "fashion is supposed to be fun" and a desire for luxury to be inclusive rather than exclusive, a philosophy that deeply informs the new Tokyo flagship. #AcneStudios #Tokyo #FlagshipStore #FashionDesign #RetailArchitecture #InteriorDesign #JapaneseCraftsmanship #ContemporaryArt

Pita and Bloom, founded in 2010 by Florencia Pita and Jackilin Hah Bloom, emerged from their collaborative experience at SCI-Arc and Greg Lynn's Form. The firm, a finalist in MoMA PS1's YAP competition in 2014, is recognized for its distinctive approach to architecture, which emphasizes color theory, abstraction, and pop art influences. Their designs integrate bright color palettes, collage, pattern, and geometry, intentionally embracing ornament in an architectural context. The practice is typically small, consisting of the two founders, and occasionally expands to include one or two designers and interns for specific projects. The motivation behind establishing their practice stemmed from a strong working relationship and friendship developed during their time at Greg Lynn's office. This led to a natural collaboration, initially exploring shared ideas on color and form through competition projects and speculative work. This early body of work provided the foundation for their nomination in the MoMA PS1 competition. Over time, their collaboration evolved from self-initiated projects to commissioned architectural work, with their academic roles at the Southern California Institute of Architecture (SCI-Arc) continuously informing and being informed by their practice. An example of this synergy is Florencia's Los Angeles River studio, which reimagined the infrastructural space as a public landscape through painting the concrete riverbed, leading to the project 'Flat Pools,' featured in 'Art Papers.' One significant challenge faced by Pita and Bloom is grounding their interests and ideas within the rapidly evolving discourse of architecture, which shifts with advancements in arts, technology, and society. Having transitioned from traditional drafting methods to embracing digital technology, and now navigating a landscape where representational techniques define architecture, they employ a range of analog and digital tools tailored to each project. Despite these evolving mediums, their core template remains consistent: defining the parameters of color and form in architecture. Their projects consistently explore color as a material with texture and patterns, and forms that transition from flat to 2.5D through concurrent lines and volumes. The firm does not set specific goals for its size, viewing growth as an organic process. They value the contributions of talented collaborators and project teams, which allows their practice to remain open and experimental while maintaining a serious and earnest approach. The benefits of a small practice, though not always by choice, include the ability to dedicate extensive time and focus to idiosyncratic and self-initiated projects. This affords them the luxury of sustained creative thought and exploration of ideas, contributing to their unique architectural output. The article showcases several projects by Pita and Bloom, illustrating their design philosophy. 'FLAT POOLS' for the Los Angeles River proposes painting the riverbed to transform it into a public landscape. 'LA MEDIANERA' in Tetla de la Solidaridad, Mexico, presents a rural house prototype for Infonavit's 'From the Territory to the Dweller' initiative. 'THE NEW ZOCALO' for Mexicantown, Detroit, was a project for the 15th Venice Architecture Biennale's U.S. Pavilion, 'The Architectural Imagination.' Finally, 'SIGNATURES' is an entry façade installation for the Princeton School of Architecture in Princeton, New Jersey. These projects exemplify their consistent exploration of color, form, and ornament in diverse architectural contexts. #ArchitecturalDesign #ColorTheory #OrnamentInArchitecture #PitaAndBloom #SmallPractice #ArchitecturalInnovation #LosAngelesArchitecture #AcademicPractice #ArchitecturalCollaboration

Romanengo, the venerable Italian confectionery founded in Genova in 1780, has inaugurated its new Milan outpost, featuring interiors masterminded by Madrid-based architects Cousi Interiorismo. This expansion marks a significant step for the brand, bringing its rich history and artisanal approach to a new city while maintaining its core identity. The design brief for Cousi Interiorismo was a delicate balance: to blend Romanengo’s established tradition, reliance on nature, and hand-manufacturing ethos with a contemporary aesthetic suitable for its Milanese debut. Alba Hurlé, co-founder of Cousi Interiorismo, emphasized the process of identifying these defining elements through close collaboration with the client and by studying the original Genova shop. The resulting design translates these principles into a modern interior that respects the brand’s heritage. The Milan store, situated within one of the city's distinctive courtyards, comprises three distinct but interconnected spaces: The Spice Bottega, the main Shop, and the Tea Room. Cousi Interiorismo co-founder Alicia Martín noted the challenge of creating a cohesive experience across these physically separated areas while allowing each to retain its unique character. The architects achieved this by employing a consistent colour scheme and material palette throughout the premises. Inside, the space is characterized by bespoke fixtures and fittings that reflect the brand's commitment to hand-manufacturing. Simplified arches and mouldings evoke a refined, old-world charm, transporting visitors. Materials like oak, brass, and marble are strategically used to enhance the natural elements and complement the rich green tones that imbue the space with a welcoming and immersive atmosphere. Floral patterns in the wallpapers and upholstery further reinforce the connection to nature, a cornerstone of Romanengo's product philosophy. Lighting plays a crucial role in the design, enhancing the sense of intimacy and subtly highlighting the confectionery products displayed in individual niches. The modest size of the premises fosters a welcoming and approachable environment. In the Tea Room, for instance, a custom-designed central counter crafted from marble and oak deliberately blurs the traditional line between customer and cashier, promoting a more relaxed interaction. This design choice underscores Romanengo's dedication to a customer experience that is both sophisticated and personal. The overall design successfully marries the historical integrity of Romanengo with a fresh, contemporary sensibility, creating a unique retail experience that celebrates the brand's 18th-century French recipes and artisanal production methods. The Milan store serves as a physical manifestation of Romanengo's journey from a historic Genovese institution to a modern sweet spot in the heart of Milan, all while honoring its roots in tradition, nature, and craftsmanship. #InteriorDesign #Confectionery #Milan #CousiInteriorismo #RetailDesign #ArchitecturalRenovation #LuxurySweets

The MoMA Design Store is relaunching the iconic Hellerware Rainbow Dinnerware collection, a design originally conceived by Massimo and Lella Vignelli in 1964. This highly anticipated re-release follows John Edelman's acquisition of Heller last year, which initially saw the return of the classic stackable Hellerware in white. The white version is currently available for pre-order directly from Heller's website. The Rainbow Dinnerware, a celebrated example of functional and aesthetic design, has experienced intermittent production since the early 2000s. Its reintroduction by the MoMA Design Store makes it exclusively available starting today. The collection is offered in sets of six pieces, each featuring a distinct vibrant color from the rainbow palette. Customers can choose from sets of dinner plates, salad plates, soup bowls, or mugs. Each 6-piece set is priced at $60 and can be purchased either online through the MoMA Design Store's website or at their physical retail locations. This revival allows design enthusiasts and collectors to acquire a piece of mid-century modern design history, known for its durable melamine construction and practical stackable form factor. The design's enduring appeal lies in its simplicity, functionality, and the cheerful aesthetic of its multi-colored options. The Hellerware collection, designed by the Vignellis, represents a significant moment in industrial design, emphasizing affordability and mass production without compromising on quality or style. The use of melamine made the dinnerware robust and suitable for everyday use, a characteristic that contributed to its popularity when it was first manufactured in Italy in 1964, and later in the United States under Alan Heller. The decision to bring back the rainbow colorway underscores the lasting demand for this vibrant and functional design. This re-release provides an opportunity for a new generation to experience the joy and practicality of the Hellerware, which remains relevant in contemporary home settings due to its timeless design and playful use of color. The collaboration with the MoMA Design Store highlights the collection's artistic and historical significance, positioning it not just as dinnerware, but as a design object worthy of a place in a modern art museum's store. #Hellerware #MoMADesignStore #RainbowDinnerware #MidCenturyModern #VignelliDesign #HomeFurnishings #Tableware #DesignRevival

This blog post category, "Restaurant and Café Design," offers a comprehensive overview of contemporary culinary establishments worldwide, focusing on the innovative materials and unconventional forms employed in their completion. It showcases a diverse array of projects, highlighting how architects and designers are pushing boundaries in creating unique dining experiences. Recent features include a bistro in Vietnam with an interlinked peaks canopy that echoes mountain ridges, demonstrating a harmonious integration of architecture with the natural landscape. Another project in Lisbon transforms a pizza restaurant with reflective steel interiors and an open facade, actively engaging with and inviting in the surrounding street activity. Vietnam also features a cafe with a striking red facade that forms a welcoming, hand-shaped entrance, illustrating creative and inviting design solutions. Further examples include a cafe in Spain by Zooco Estudio, whose curved interiors reflect the Art Deco style of the Siboney building it inhabits, showcasing respectful yet modern renovations. Wuhan, China, is home to a luxury farm retreat featuring bamboo-woven domed canopies by Various Associates, emphasizing sustainable and organic design elements. Concurrently, a restaurant in the same LuxeIsland retreat, designed by DL Atelier, uses pyramidal volumes with wood strip patterns to frame its interior spaces, offering a distinct visual and textural experience. The category also covers a hybrid hospitality space in Berlin, where COMMON has integrated a microbakery and pizzeria within a flexible interior, reflecting a growing trend towards multi-functional urban spaces. Selgascano's transparent seaside cafe in China, composed of three parallel glass volumes, exemplifies minimalist design that maximizes natural light and views. A collection of works submitted by designboom guest readers from around the world further enriches the category, providing diverse perspectives on bars, cafes, and restaurants. India Mahdavi's rose-draped speakeasy in Paris, designed for We Are Ona, merges art and gastronomy in a unique setting during Art Basel. Crosby Studios created a bright yellow alien habitat for a dessert shop in Jakarta, showcasing playful and imaginative interior design. IDST’s Wave Restaurant in Dubai combines Memphis playfulness with Mediterranean ease, offering a vibrant and relaxed dining environment. An ice cream shop in Argentina features dessert-shaped sculptures crafted from marble and wood, adding an artistic touch to a casual setting. Another ice cream shop in Thailand is uniquely tucked within a coconut grove, featuring bamboo-clad structures that blend with the natural environment. The blog also delves into a book documenting Japan's Jazz Kissa, exploring the architecture of these unique listening spaces. Maison Malapert's Frivole Restaurant in Paris' fashion district is adorned with vibrant fabrics, creating a chic and dynamic atmosphere. Parisian patisserie ABRA frames its pastries against geometric floors and bold primary colors, making the space as visually appealing as its offerings. Pluto Burger Bar in Poland by Znamy Się features a melting interior with caramel tones and fluid undulating lines, offering a whimsical and inviting experience. Isern Serra's JAÇ hifi café in Barcelona, inspired by Japanese listening bars, provides a modern take on auditory dining. Archermit's 'stone kiln in the valley' in Luzhou, China, boasts a petal-shaped roof, demonstrating innovative structural and aesthetic design. Captain George Flavor Museum in Shanghai, designed by Some Thoughts, blends the narrative of taste with an immersive experience. Kim Lenschow and NIKO JUNE's cafe in Copenhagen doubles as a design shop, highlighting synergistic retail and culinary concepts. Formant Studio's Marne Café in Mexico City layers brutalist and industrial textures for a raw yet refined aesthetic. J.AR office introduces a brutalist garden restaurant with green-tiled surfaces in Brisbane, combining robust design with natural elements. SHAWADS's Quanzhou local fish coffee shop weaves maritime heritage into an ocean-like interior. Zooco Estudio's Regma ice cream parlor in Santander, Spain, features a gridded ceiling with oak and travertine, creating a sophisticated environment. Finally, Ignacio Urquiza and Ana Paula de Alba have designed a sand-toned monolithic restaurant on Mexico’s coast, blending seamlessly with its natural surroundings. Craft & Concept’s Huit Sushi restaurant in Montreux features a custom-made LED wall, adding a modern, dynamic element to the dining experience. #RestaurantDesign #CafeDesign #ArchitecturalInnovation #InteriorDesign #SustainableDesign #HospitalityArchitecture #GlobalDesign #UniqueDiningExperiences

Metaphor Interior Architecture, a Jakarta-based interior design consultancy, services clients globally. This firm, composed of creative individuals, aims to provide optimal design solutions, specifically focusing on The Zora Kanade cluster. Christine, a senior associate, spearheads the design for Kanade Type 12. She reveals that her prior work on the Samasana Club House at The Zora provided a foundational understanding of the developer's design aspirations for the Kanade Cluster, which she extended to its three show unit houses. Her approach to the design brief involved analyzing the high-end target market and varied price points of the three housing units to determine appropriate interior design concepts. This led to distinct designs for each show unit, all incorporating a Japanese sensibility tailored for a modern, affluent demographic. Christine explains that the Japanese philosophy is translated not through direct imitation, but through the principle of 'balancing,' akin to Zen philosophy. This balance is evident in the harmonious use of colors, materials, and room composition, which collectively contribute to the desired ambiance. Elaborating on design balance, Christine highlights that each room's decor aligns with its function. For instance, a spacious area between the living and dining rooms demonstrates their strategy for balancing different zones within a single space. They also collaborate with Henco Home Decor to supply custom-designed furniture. Regarding color palettes, earth tones like brown or gray form the base, augmented by accent colors such as burnt orange, teal, and combinations thereof. While orange might not be traditionally Japanese, teal and olive are chosen for their natural associations, reflecting leaf colors. These accent colors are strategically employed to infuse a modern and luxurious feel into the Japanese aesthetic. Acknowledging the Japanese preference for simplicity, Christine clarifies that the target market's demand for luxury necessitated a nuanced approach to color, resulting in a unique modern atmosphere. The three show units, contrary to having a common thread, are each designed with distinct interior concepts to cater to their specific target markets. For example, the Type 12 unit targets a mature clientele prioritizing luxury, while Type 8+ and Type 10 units are designed with younger families in mind, featuring more youthful aesthetics. To ensure each unit resonates with potential buyers, the design process incorporates diverse consumer style preferences. These customer needs are then translated into unique designs for each unit, varying in color and overall concept. Material selection prioritizes both aesthetics and ease of maintenance, with choices like solid surface, marble, or laminate ensuring durability and practicality. #InteriorDesign #JapaneseDesign #LuxuryHomes #MetaphorInteriorArchitecture #HomeDecoration #DesignPhilosophy #ColorPalette #MaterialSelection

The Cheesecake Factory, a family-owned business that originated as a literal factory for cheesecakes, has gained recognition for its quality and, notably, its distinctive and often eccentric decor. Unlike many American sit-down chains that adhere to a consistent theme reflective of their brand, The Cheesecake Factory features an eclectic mix of elements such as sweeping columns, palm trees, and wood paneling across its various locations. This design approach, which seems to bear no direct relation to cheesecake itself, was intentionally curated based on the personal preferences of the restaurant's designer and CEO. Veteran designer Rick McCormack joined The Cheesecake Factory in 1992, after the company had already expanded beyond its Los Angeles roots. Prior to his involvement, the early restaurants lacked the unique visual flair that has since become synonymous with the brand. McCormack, in collaboration with CEO David Overton, was responsible for developing this peculiar yet comforting aesthetic. McCormack himself acknowledged the difficulty in describing the style, noting that a verbal description might lead one to believe it was poorly designed. Despite this, the actual experience of the decor is often perceived as unique and engaging. The design incorporates a wide array of influences, ranging from Egyptian motifs to Victorian English styles and frescoes reminiscent of Central Europe. McCormack revealed that the inclusion of Egyptian elements was largely due to Overton's personal appreciation for their aesthetic. This indicates that the design choices were driven more by individual taste and artistic whims than by a cohesive brand narrative related to food or dessert. A deliberate decision was made to ensure design diversity across different locations. While most chain restaurants maintain a rigid and uniform design aesthetic, The Cheesecake Factory intentionally varies the look and feel of each of its establishments. This approach prevents visual stagnation and contributes to the decor's role as a conversation starter, akin to the restaurant's famously extensive menu. Although signature Egyptian columns are prevalent in many locations, flagship restaurants, such as the one in Las Vegas, might feature variations like mosaic-style columns. Even after McCormack moved on to establish his own design studio, Studio McCormack, The Cheesecake Factory has continued its tradition of integrating a vast array of design elements. While the resulting environment might sometimes feel overwhelming, it undeniably offers a visually stimulating and never-dull dining experience. #CheesecakeFactory #RestaurantDesign #InteriorDecor #EclecticStyle #RickMcCormack #DavidOverton #CasualDining #BrandIdentity

In this installment of 'What I Love,' San Francisco-based textile designer and editor of The Textile Eye, Saana Baker, presents a mood board showcasing her current inspirations in fabrics and wallcoverings. Baker, renowned for her ability to identify exceptional prints and patterns, has curated a selection that emphasizes bold hues and tactile textures, driven by a commitment to diversity in design and a response to contemporary global shifts. Baker’s mood board is a vibrant and eclectic collection featuring samples and swatches from international makers, reflecting a broader discussion within the design industry about ethical sourcing and cultural mindfulness. She explains that the theme is deeply rooted in significant global changes, including the social justice movement and its subsequent influence on design aesthetics. The result is a maximalist-friendly compilation characterized by plush materials, striking graphic motifs, and deeply saturated colors. The chosen palette is described as rich and unusual, utilizing innovative color combinations to convey an optimistic outlook for the future. Baker provides a detailed breakdown of 25 items on her mood board. She begins with the Linyati Fabric in Waterfall by Jiun Ho Textile, a linen velvet praised for its elegant luster and livability, making it an ideal complement for complex patterns. Next is the Hingtham Wallcovering in Clay by Black Artists + Designers Guild for S. Harris, a printed grass cloth inspired by Bhutanese ikat, which achieves visual depth through fine detail and polychromatic layering. The Tiger Nest Fabric in Lake, also from Black Artists + Designers Guild for S. Harris, is a fine embroidery mimicking ikat with feathered edges, noted for its evocative name and fresh palette of chartreuse, cobalt, and pale yellow. Jiun Ho Textile's Seronera Fabric in Thorn was inspired by Jiun Ho's extensive travels in the Serengeti, aiming to evoke a mood rather than literal motifs. The Machakos Fabric in Earth and Sky by Nzuri Textiles is a hand-painted Belgian linen design by Eno Jonah, drawing inspiration from African mask details. Shinto Fabric in Cinnabar by Jiun Ho Textile is a rustic boucle with a wool-blend warp yarn that allows for subtle colorations, supporting diverse palettes. The Anna May Wong Fabric in Midnight/Teal by Makrosha, designed by Esha Ahmed, is a finely woven jacquard inspired by the glamour of the art deco period. Makrosha’s Marci Mohair in Sumac is a classic plush mohair available in a wide range of rich colors, known for its enduring quality and ability to develop character with wear. Anamar’s Lamu Meshi Fabric in Lapis Bluff is a hand-woven, ribbed plain-weave silk fabric created in the Philippines using warp screen-printing. The Lightray Wallcovering in Patina is a collaboration between visual artist Lisa Hunt and Lori Weitzner, showcasing geometric yet subtle designs translated from fine art. The Banda Indigo Flatweave Rug by Eskayel is part of a unique collaboration where designer Shanan Campanaro worked with master ikat artisans in Sumba, Indonesia, to reinterpret her watercolor designs into rugs, wallpapers, and textiles. Malene Barnett’s Heritage Wallpaper for Lulu and Georgia, created by the Black Artists + Designers Guild founder, is inspired by her hand-built ceramics, featuring a raised surface-print technique for tactile dimensionality. Karen J. Revis for A-Street Prints designed the Waves Blue Wall Mural, a flowing watercolor design intended as a wall-sized mural. The Maji Fabric in Peacock by Black Artists + Designers Guild for S. Harris is a jacquard velvet with bright blue and striking gold yarns, creating a complex pattern. Anamar’s Beijing Kikko Fabric in Lazurite Peak features a hand-screen-printed globe pattern on the warp, with each color applied separately before hand-weaving. The Hamaka Textile in Humacao by Breuwen, designed by Grey Lux, is a digital linen print inspired by the weaving legacy of his Taino ancestors. Malene Barnett’s Alaari Wallpaper for Lulu and Georgia offers a sophisticated update to millennial pinks with its tonal spice combination. The Akimbo 5 Indigo Flatweave Rug by Eskayel is another example of collaboration with ikat weavers, noted for its inky depth. Nzuri Textiles' Yankari Fabric in Turkana showcases subtle color gradations and hand-drawn details, preserving the hand-touched imperfection of Eno Jonah’s original artwork. Makrosha’s Marci Mohair in Teal is a second colorway of their luxurious mohair velvet, known for its stunning depth of color. Anamar’s Andorra Meshi Fabric in Milori Crown, an archival pattern depicting dragon scales, is a heavy, hand-woven silk with a hand-screened warp and alternating teal colors in the ribs. The Majani Trim in Brass by Black Artists + Designers Guild for S. Harris features gold-toned beads juxtaposed with stiff raffia, creating compelling material contrast. The Bhavana Desert Fabric by Black Artists + Designers Guild for S. Harris is a decorative panel stripe combining print and embroidery with an antiqued white ink and crewel-like embroidery. The Amboseli Pillow in Maasai Blue by Nzuri Textiles is a special hand-woven textile from West Africa, produced on a strip loom by weavers who commit complex traditional patterns to memory. Finally, the Patu Trim in Bark by Black Artists + Designers Guild for S. Harris is a chic trim reminiscent of Maori incised decorations, embellished with beads and tonal embroidery. #TextileDesign #InteriorDesign #MoodBoard #SaanaBaker #Fabric #Wallcovering #JacquardVelvet #EmbroideredTrims #GlobalInspiration #DiversityInDesign