Chef-owner Heinz Reitbauer is a member of the Reitbauer family that operates the famous Steirereck restaurant and the Meierei café beneath it in Vienna, and the Pogush Country Inn in Styria, in the southeast of Austria.
His family’s latest contribution to the Austrian culinary excellence is the complete and spectacular renovation of Steirereck that consistently places among the top of the world’s 50 best restaurants list.
In 2005, the Reitbauers moved Steirereck from its home of 35 years in Weißgerbe Lände to Vienna, and took up the former Milchhauspavilion, an Art Nouveau or Jugendstil dairy that overlooks the lush Stadtpark and its Wienfluss promenade. They renovated the building completely prior to opening to the public.
In 2012, the owners announced an open competition to, once again, completely re-imagine the storied restaurant to meet the needs of the ever-demanding, world-travelled, upscale restaurant clientele, and to respond to the demands of a busy kitchen as well.
Viennese architecture firm PPAG architects won the competition with its innovative solution that began the development of the new restaurant environment not from a space that will contain tables, but from an individual table and its connection to its surroundings.
In the new pavilion, formed of long, molecular fingers, each table is flanked by its individual wooden background wall and located against an outer wall. This gives every table the feeling of being private but also connected to the park outside and the rest of the dining area and kitchen inside.
This rearrangement of functions and addition of space did not increase the number of seats – it remained at about 80 - but the main dining hall of the old dairy building with its newly flexible configuration of tables and partitioning now provides additional event space, and all of the inner functions of the restaurant, from food preparation and patisserie to washing, test kitchen and staff areas have been improved and expanded as well.
Wood, glass and reflective metal are the main visual elements of the new Steirereck that now nearly conceals the Milchhauspavilion yet appears to take up very little additional space. - Tuija Seipell.
Good coffee was not on an average consumer’s radar in 1971, when the story of the brand now known as Starbucks began. This was the case especially in North America where coffee culture was nonexistent.
That all started to change when Howard Schultz bought Starbucks in 1987 and started its expansion outside Seattle with the first outside the U.S. store opening that same year in Vancouver, British Columbia, Canada.
Today, Starbucks is the largest coffeehouse company in the world with about 23,500 stores in 65 countries. With the changes in lifestyles around the world, Starbucks’s idea of the local coffee shop being the “third place” between work and home has really become a reality.
Working, meeting and cooperating at coffee shops has become the norm, as has the lingo of special coffees as customers around the world order tall skinny lattes fluently.
What Starbucks has also done is open the market for smaller specialized coffee shops for those markets where the giants don’t want to go, and for those customers who don’t want the same old, standardized stores, at least not all the time.
As a result, we see daily examples of new, stylish, individual and small-chain coffee shops that manage to feel appealing even to the consumers that are by now completely coffeed-out.
And, Starbucks itself creates original concepts to fit special locations.Leaving no market or location un-Starbucked, the brand opened an amazing shop at the main entrance to the Dazaifu Tenman-gū, one of the most revered Shinto shrines in Japan.
About two million visitors a year trek to the shrine, established in 919 A.D. To match the task at hand, Starbucks recruited the 60-year-old Japanese master architect and master of the wooden slats, Kengo Kuma.
Kuma used 2000 wooden slats to weave a latticework structure that encases the entire four-meter (13 ft.) high space, creating a nest or a cave. The latticework reflects traditional Japanese architecture and fits harmoniously among the traditional buildings of the area.
In the last decade, we have covered many coffee shops that stand out. These include D’Espresso
that opened in 2010 in New York and made waves with its startling floors and ceilings covered in images of books. The Manhattan-based designers at Nemaworkshop took their cue from the nearby New York Public Library’s Bryant Park branch and went delightfully bookish.
At the edge of Little Italy on Manhattan, A New Zealand coffee culture is brewing. Luke Harwood, one of the founders of Happy Bones café on Broome Street is also one of the founders of Kiwi fashion brand Stolen Girlfriends Club.
Originally, in 2012, Harwood and artist Jason Woodside satisfied their obsession with great coffee in a space at the back of a retail boutique on Bond Street.
Then Harwood and Woodside were joined by New Zealand’s power couple Craig Nevill-Manning (Google's engineering director in NY) and wife Kirsten (previously of Facebook and Google) and now Happy Bones is its own independent little box offering espresso, art publications and an eclectic mix of retro design pieces.
We love the white-painted brick walls that make the little shoebox seem so bright and clean.
Coffee Bar’s tiny Kearny Street shop by Jones Haydy sits right at the entrance to a large parking garage and caters to the busy people of the Financial District.
It is also located on a stretch of street that has suffered from vacancies and neglected lots, and the store is optimistically attempting to bring life back to the area.
Adorned with lovely wooden walls, some of which are scorched with the Japanese Shou Sugi Ban technique that prolongs the life of the wood, the shop still retains the slightly rough industrial air with its minimalistic furnishings and exposed-concrete features.
Another San Francisco favourite is the three-location Sightglass Coffee Bar & Roastery.
The flagship coffee bar, company headquarters and roaster are now located at 270 Seventh Street in San Francisco’s SoMa neighbourhood in a restored building dating back to 1925.
The building remains unchanged outside – it’s still an ugly concrete cube – but the inside exudes the company’s artisanal expertise and obsessive focus on all things coffee.
The fabulous, multi-level building took its new shape through cooperation between Sightglass owners Justin and Jerad Morrison and Seth Boor of Boor Bridges Architecture.
Saint Frank Coffee is yet another great San Francisco renovation, located in the historic Russian Hill neighbourhood at 2340 Polk Street.
The boxy shape of the space is nicely divided with wood paneling and bright white walls that draw the eye to the center of action - the white coffee bar.
Far from San Francisco’s coffee culture, Origo Coffee Shop in Bucharest, Romania, features the same kind of great restored surroundings and smooth expanses of wood paneling .
Local architecture and design studio Lama Arhitectura discovered beautiful wood beams underneath the layers of plaster and these beams became the hanging posts for the 270 teacups that hang above the bar.
The space is a coffee shop by day and a bar by night and the solid-oak bar can be raised from sit-down height to stand-up height accordingly.
Paris is also renewing its coffee culture among stiff traditions and competition. The creative minds at L'Hôtel de Vendôme in Paris set their eyes on “High Coffee.” They don’t call it that, but it certainly looks and feels like it.
Every afternoon, superior gourmet coffee varieties are served accompanied by dainty carts full of mouth-watering sweet delicacies created with the supervision of Luc Debove, Chef Pâtissier of the Grand Hotel of Cap Ferrat.
Adding to the High Tea feel, the coffee is served in the hotel’s deliciously prissy first-floor restaurant, with its magnificent views of Place Vendôme. When the restaurant opened in 2009, it was Florence-based architect Michele Bönan’s first restaurant and hotel project in France.
The two men leading the Paris coffee revolution are Frenchman Antoine Netien and his Australian partner Tom Clarke. They opened their first Café Coutume in Paris in 2011, and brought a cool and playful sense of ‘science’ to the coffee shop.
Clean white surroundings, glass beakers and coffee origins marked in scientific-like abbreviations, such as ‘Gu’ for Guatemala.
They have since expanded in France and recently opened their first Japanese café in Tokyo’s Aoyama district.
To design this store, they invited CUT Architecture that designed their original flagship and the coffee cart for the Finnish Institute in Paris.
The Tokyo store repeats the science theme with white tiles, glass beakers and a lovely pattern of squares everywhere. The ceiling lattice and lighting, the shape of the tables, the shelving, the tiles, all bring a sense of order and harmony. Tuija Seipell
See also The Rise of the Designer Bakery
Texas-born, Atlanta-based chef-turned-restaurateur, Ford Fry, continues to enrich Atlanta’s dining offering.
Earlier this year, his Rocket Farm restaurant group opened its fifth restaurant, St. Cecilia, in The Pinnacle building in Buckhead, in the space previously occupied by Bluepointe.
To design the establishment that has room for nearly 200 in total, Fry selected Meyer Davis Studio http://www.meyerdavis.com/about/ of New York, established in 1999 by Will Meyer and Gray Davis. Fry has used the same studio for his King + Duke restaurant.
Meyer Davis’s work on prestigious retail and hospitality projects includes the revamp of W Lakeshore in Chicago and Paramount in New York, plus Oscar de la Renta’s boutiques worldwide and John Varvatos stores in New York and Las Vegas.
St. Cecilia’s most redeeming feature is the scale and the satisfying feel of pattern and repetition. The first impression is that of order without severity and spaciousness without the unwelcoming feel of coldness.
The space is high, the sightlines clear and wide with lots of natural light. Seating and tables, shelves and bottles, and rows of pendant lighting fixtures all add to the sense of harmony and tidiness, yet there are spots of whimsy and little surprises at every turn.
Bits and pieces of mementoes, old medicine bottles, old books, a plank of aged wood, a darkened painting leaning against a wall, a stuffed bird on a side board.
These details neutralize the newness and create a comfortable visual link to something old and somewhat Mediterranean, an appropriate context for the Italian-inspired menu.
And of course we love the black-and-white colour scheme, always a harmonious back drop for creative sparks.
In addition to St. Cecilia, Ford Fry also operates JCT Kitchen, No. 246, The Optimist, and King + Duke, all in Atlanta. He is rumored to be planning his sixth and seventh restaurants in Krog Street Market and in the Avalon in Alpharetta, Atlanta. Tuija Seipell
Although there is not a samovar in sight – neither anything resembling the ornate boiler of tea water - the two-month-old Samovar tea bar in The Mission area of San Francisco is most decidedly dedicated to tea. This is the fourth Samovar in owner Jesse Jacobs’ little empire (the other three are also in San Francisco), and clearly different from the others which are more traditional tea houses.
The Mission Samovar is a feast for the eyes and soul in its fine minimalist balance. What is NOT there makes this altar of tea-time contemplation so incredibly beautiful. The antidote to the bustling, loud, constantly connected coffee shop, this is “a retreat from the rat race” as Jacobs said in a magazine interview.
In addition to the highly edited selection of teas and scones, the central focus of this Samovar is the peaceful, almost prayerful atmosphere brought out by the exquisite surroundings.
The thick, white walls, against which hefty white shelves are suspended appear old and slightly weathered. And on the substantial shelves, in harmoniously spaced rows, sit the thick, white cups, custom-created by ceramists at Oakland’s Atelier Dion.
These handle-less cups are meant to be cradled in the hand, held and enjoyed, as opposed to held with the pinky pointing skyward, or clutched like a beer mug. These cups informed the design of the store, skillfully executed by the style masters at San Francisco’s Arcanum Architecture.
The limited assortment of black, green, herbal and iced teas plus masala chai and matcha, is not made from dustings out of dangly bags with hot water poured on. Instead they are ceremoniously yet swiftly prepared in a stately row of tablet-controlled, glass crucibles manufactured in Utah by Arcanum Architecture. - Tuija Seipell.
via Spotted SF
Swedish restaurateurs Magnus Ek and Agneta Green started their entrepreneurial careers in 1994 as they rented the small Oaxen Skärgårdskrog restaurant in Stockholm’s archipelago. They taught themselves the ins and outs of wine, food and fresh ingredients, eventually bought the restaurant and started to gain a steady reputation.
But the Swedish winters being what they are, the archipelago location was open only part of the year. Forward the clock from that to last year, and the grand opening of Oaxen Krog & Slip, their brand new corrugated-metal framed and so beautifully aged twin establishments, right at the old shipyards on the island of Djurgården in Stockholm’s city centre.
Designed and lovingly outfitted with repurposed, antique and retro furnishings and materials by architect Mats Fahlander and architect-designer Agneta Pettersson, the restaurants have already gained several prestigious Swedish awards in business, design and food categories.
These include Stockholm’s Restaurant of the Year 2014 recognition for Slip by the Swedish city entertainment guide Nöjesguiden, and Oaxen Krog’s awarded of Business Restaurant of the Year 2014 by the financial newspaper Dagens Industri. Oaxen Krog has already one Michelin star and Slip has won the Michelin Bib Gourmand-award.
Krog is more of a dining room and Slip a bistro. Our absolute favourites in Slip are the lovely finds dating back to fairly recent Swedish history – the wooden 1905-built craft in the ceiling and the single scull from 1920s. The old Swedish school desks, theatre-seating and repurposed tableware create a uniquely welcoming and familiar feeling.
Oaxen Krog is a bit more formal but seats only 35 and therefore retains an intimate atmosphere. Slatted oak covers the walls and ceiling , and the chairs dating back to the 1950 but still in production by the Swedish Wigells surround the tables custom-crafted by shipyard carpenters. As e the smart city set dines on organic fare, we think we can hear some Swedish Old Salty in his blond beard and blue eyes singing a melancholy song or two about the rough-but-oh-so-wholesome life on the cold shores of Sweden. - Tuija Seipell.
We just had to include this little, happy-looking Mediterranean take-away restaurant on TCH today. The reason? It just made us smile. Of course, there are also the clear colors and the use of wood – both features we tend to like.
Valencia, Spain-based Masquespacio completed the interior design and branding for the 40 square-meter (430 sq.ft.) Kessalao located in Bonn, Germany.
Led by creative director Ana Milena Hernández Palacios, the Masquespacio team used a drop of olive oil as the key for the brand’s logo, and combined the German word “Kess” and the Spanish word “salao”, both apparently referring to a cool, amusing boy. We know salao as “salty” and “unlucky” from Hemingway’s Old Man and the Sea, but it seems the word has a much happier tone in mainland Spain.
Pine furnishings, birch veneer paneling and raffia add both softness and Mediterranean natural elements to the space. To maximize the use of the tiny space, the raffia covering the tall stools hangs down underneath to provide space for coats and handbags.
Kessalao is Masquespacio’s first project outside Spain. - Tuija Seipell
Istanbul, with its magical mix of tradition and everything new, cosmopolitan and local, offers a fertile ground for new concepts and new business ideas.
Nopa, the restaurant and grill opened recently in the Nisantasi neighbourhood, is perhaps not that radical as a restaurant concept, but it has a delicious lushness and richness that appeals to us.
The grand scale and opulence speak of bygone times of train travel, gentlemen’s clubs and important residences. Marble, leather, masculine stone surfaces.
But there is also a cool modern, open-to-the world vibe created by the green vertical walls framing the patio that has a glass roof that can be opened in seconds to create an outdoor terrace.
The House Hotel group is the creator and operator of Nopa, with Istanbul’s hospitality designer darlings, Seyhan Özdemir and Sefer Cağlar of Autobahn, in charge of design. - Tuija Seipell.
Is there anything more basic, homey and familiar than a loaf of great bread? Yet it has become a luxury. More and more of us are sick of (literally and figuratively) the white, never-to-stale sliced bread in its never-to-biodegrade plastic bag.
We crave for fresh artisanal breads, natural ingredients, heritage grains, organic everything. Those who value great-tasting, healthy bread will pay for quality.
And with that quality and premium price comes the notion of design. Why should we buy that wonderful, healthy loaf at a horrible-looking bakery?
Hominess and hearty fare are great, but does the environment have to look so “homey,” too? Not any more. We are seeing more and more cool bakeries around the world.
Our fans and followers helped us track down a few examples that meet the requirements at least visually. If the loaves and other baked goods created at these establishments remain consistently as great as their environments, you can count us in as fans.
Praktik Hotels has again engaged their go-to designer, Lazaro Rosa Violán, to create their latest hotel, Praktik Bakery in Barclelona. It is a cool 74-room designer hotel where the bakery is not just a branding gimmick but the real soul of the hotel.
The bakery lets the hotel guests feel at home as the scent of fresh bread greets them in the lobby. It is also a visual feast as the baking takes place in full view. The bakery interior is rather grandiose, not a tiny hearth stuck in a corner, and it has that air of a busy urban bakery where people come and go throughout the day. The bakery/lobby/café is a living and lively place void of that mausoleum-like chilly emptiness still so prevalent in hotels.
As always, we love the clean lines, the textured surfaces and the minimalist color-scheme. And of course we love bread and bakeries. Doesn’t everyone?
Blé, Thessaloniki, Greece
Blé Bakery on Agias Sofias in Thessaloniki, Greece, most certainly fits the bill. It was designed by the minimalist architects at Claudio Silvestrin Giuliana Salmaso (London & Milan). It has the world’s largest wood oven – gigantic, at 12 meters (almost 40 feet) tall!
And the bakery is built from cob made of white clay from Crete and Milos, plus sand and straw. Blé’s four floors house a patisserie, bakery, delicatessen and a wine and mozzarella bar.
Electra, Edessa, Greece
Another cool bakery in northern Greece is located about two hours’ drive form Thessaloniki in a town called Edessa. This central Elektra Bakery location is a prototype redesign of the family-run bakery chain’s stores.
The open, minimalist design by Edessa-based Studioprototype Architects helps to disguise the tiny space of 35 square meters (376 square feet) at a busy intersection.
The large outdoor seating area adds to the appeal, and glass walls link the indoors and outdoors to each other. Furniture by Xavier Pauchard and lighting by Tom Dixon.
VyTA Boulangerie Italiana, Turin, Italy
In Italy, the drama never ends. Not even in a bakery. VyTA Boulangerie, designed by Rome-based architect Daniela Colli, is located at the epicentre of busy urban life, the Porta Nuova train station in Turin.
With its contrasting light oak and black polymer surfaces the shop resembles a high-end fashion boutique or bar much more than it does a bakery steeped in tradition or natural ingredients.
Yet, it is an engaging environment with its large L-shaped counter, the stylized natural-oak “hood” over the pastry displays, and the hexagonal beehive detailing. VyTA Boulangerie has stores in Rome, Milan, Turin and Naples.
Princi, Milan, Italy
Of course, the dramatic dawn of the designer bakery took place in Milan. Princi, also designed by Claudio Silvestrin, offers organic breads and other goodies made according to traditional recipes. And it is open 24 hours a day and even on Sundays.
Owner Rocco Princi opened his first bakery in 1986. He now has four stores in Milan and one in Soho, in London.
Joseph – Brot vom Pheinsten, Vienna, Austria
In Vienna, Austria, the latest cool destination for lovers of organic bread is Joseph - Brot vom Pheinsten (Translation: Joseph – Finest Bread), located in the 1st district at Nagelgrasse 9.
This is the first retail store for owner Josef Weghaupt and master baker Friedrich “Fritz” Potocnik whose Joseph delicacies are also available at the city’s finest cafés restaurants, delis and shops. Corporate and graphic design by Martin Dvorak.
Baker D. Chirico, Melbourne, Australia
In Melbourne, Australia, cravings for chic design and amazing bread will be satisfied at two shops owned by Daniel Chirico. In celebration of the artisan baker, his second Baker D. Chirico store in Carlton, unlike the first one in St Kilda neighbourhood, has no coffee machine, deli or other distractions.
It is all about bread. And of course, about design, wonderful curving wood slats infusing light and warmth into the tiny space. Created by March Studio, also responsible for a number of Aesop store interiors.
Bécasse Bakery, Sydney, Australia
The chic, French-inspired Bécasse Bakery is located in the new Westfield Shopping Centre in Sydney, Australia.
It is part of a group of establishments, all located on the fifth floor of the centre and all owned by Justin and Georgia North: Quarter Twenty One restaurant, store and cooking school, plus Bécasse Restaurant and Bécasse Bakery.
The bakery was designed by Sydney-based Mima Design with principals Mark McConnell and Micheline Li Yoo Foo.
Panscape Bakery, Kyoto, Japan
In Kyoto, Japan, Panscape bakery represents the new look of bakeries. The tiny space, just over 26 square metres (280 square feet), looks sleek and clean in the understated, minimalist way the Japanese master so well.
Yet, with its select, massive components of cement and aluminum plus a half-tonne log, the space also exudes solidity and strength.
The concept, architecture and interior are by Osaka-based Hiroki Kawata Architects: ninkipen!
Komsufirin, Istanbul, Turkey
In its fewer than five years of existence, Komsufirin has grown to some 60 stores in Turkey and it sells predominantly pre-baked products, so it is by no means an artisan boutique enterprise, but we like the clear, minimalist interior, redesigned by Istanbul-based Autobahn.
The store name translates as “the oven in the neighbourhood” and Autobahn principals Seyhan Özdemir and Sefer Cağlar used natural oak and white tiles to create a modern and visually spacey environment as a backdrop for the ancient process of baking.
Komsufirin is operated by the Doruk group and it is growing at a breathtaking pace, aiming for 350 stores by 2013 and 1,000 stores by 2020.
Helsinki Bakery, Osaka, Japan
One would expect to find Helsinki Bakery in Finland, but no, this one is located in Osaka, in the three-year-old Hankyu Nishinomiya Gardens shopping mall.
And not just the name, but also the white and natural-wood design have direct connections to Finland.
The store’s Japan-born designer Arihiro Miyake is based in Helsinki-Finland, and has studied in both Japan and Finland.
Simple, healthy and natural are the key words of the bakery and the Scandinavian design supports those notions perfectly.
Lagkagehuset Bakery, Copenhagen, Denmark
Lagkagehuset Bakery’s name translates as “pie house” but there is definitely no homey pie atmosphere in this location, designed by SPACE Copenhagen.
Lagkagehuset’s principals, Steen Skallebæk and Ole Kristoffersen, have been baking independently of each other since the early 1990s. But in 2008, they combined their successes in and started Lagkagehuset that now has 18 locations in Denmark. - Tuija Seipell
Discovered any new designer bakeries we should know about? Get in touch
Hong Kong seems to have more than enough restaurants, yet new ones keep opening up and the best candidates always do well. The latest in the Chinese restaurant genre is Mott 32, in the Standard Chartered Bank Building in Central.
We love the echoes of the past that are visible everywhere at Mott 32 without turning the establishment into a traditional Chinese restaurant. It is all cool vibes and modern touches perfectly suitable for urban Hong Kong
of today, but in a skilfully prepared wrapping of patina and allure.
The name Mott 32 has its roots in 32 Mott Street in New York City where it was the address of the city’s first Chinese convenience store, opened in 1851 by pioneering Hong Kong families whose entrepreneurship and hard work helped establish Chinatown and spread the global love of Chinese food.
Metal, wood, rattan, leather, eccentric lighting, and countless details make Mott 32 a place where there are cool stories everywhere.
A massive abacus in the ceiling, a spectacular display of brushes, newly “decaying” ceilings in the bathroom, cool art on the walls, all of these aspects of the interior are carrying stories that echo the bygone industrial vibe of New York and the agrarian traditions, craftsmanship and hard work in China and Hong Kong. - Tuija Seipell.
Opening this week in Antwerp, Belgium, The Jane restaurant designed by Piet Boon has all the building blocks of a success. An intriguing building: A chapel of a former military hospital that gives the restaurant the aura of a sacred place mixed with a certain darkness. An interesting location: Antwerp’s ’t Groen Kwartier that with its lofts in restored buildings and green areas designed by famous architects is developing into a trendy area.
A famous chef-owner: Sergio Herman with his young right-hand man Nick Bril running the establishment. A renowned designer: Dutch Piet Boon restaurant who used fantastic collaborators to add customized spunk. The massive lighting fixture (weighing 800 kg) in the middle of the main dining room was created by Beirut, Lebanon-based PSlab and the stained-glass windows by the Antwerp-based Studio Job led by Job Smeets and Nynke Tynagel.
Our favourite aspects of The Jane are the scale of the space - its height, massive arches and large windows, the lovely decaying celling, and the almost complete lack of colour. We like how the interior touches respect the building and echo its history.
In a media release, Nick Bril explains why they named the restaurant The Jane “…Jane is the name of a fictional woman with the same qualities as our restaurant. The Jane will be sensual, exciting and chic. It will have an attractive international air, but also a hint of darkness. It will be tasteful and sophisticated, but also rock-’n’-roll. Like our perfect woman.” - Tuija Seipell