Antiche Tentazzine’s Italian footprint is ubiquitous–from product and equipment to its very owners. Prevalent in its unmistakably Tuscan style are the shades of terra-cotta, the choice of tiles, and its overall run-down appearance.

We reimagined the concept as a contemporary abstraction by incorporating arches, a quintessentially ancient and ever-prominent feature of Italian architecture.

The incorporation of Spanish roof tiles plays a vital role in the aesthetic DNA, functioning in a dual manner: they are intentionally broken, symbolizing the passage of time, and their purpose has been reinterpreted to serve as lighting fixtures. The design takes into account curves, tiles, and vegetation to create a cohesive visual language.

The arches are treated with imitation golden paint, and the surfaces within them are adorned with an Arabesque-themed mesh. This mesh further emphasizes the historical inspiration behind the project.

During nighttime, the arches take center stage, representing the essence of the design, while the mesh in the bar area evokes the imagery of ancient Roman arches. All historical elements have been thoughtfully reimagined in a contemporary context, creating a playful interplay between the past and the present.

The project is inspired by the dreamlike universe of textures and materials from the Mediterranean world. The most characteristic element is the waves of the sea, which we implemented through two constructive elements on the ground and first floor. Both give a specific function, one of them as a bar back on the first floor, and the other as a long zigzagging bench that organizes the central area of the upper floor.

White tones are the most predominant throughout the space, suggested by the constructions so characteristic of those latitudes.  The use of mosaic in blue and turquoise tones is clearly a constructive resource that represents an era and an art typical of the Mediterranean.

The use of white painted wood strips as cladding in most of the space generates a rhythmic texture which suggests a relationship with the strategy used in the areas developed with the waves.

The terrazzo flooring in natural and ochre tones throughout the facility gives the space a sensibility of subtle and tiny stones that integrate with the “Mediterranean mood”.

Finally, the vegetation that emerges from the long bench predominates in its tones as if it were the integration of real nature merged with the allegorical metaphor of the sea.

From an organizational point of view, both the first floor and the upper floor are divided into two areas, the production and the service area. They are both separated by glass partitions as a typical allegory of the old factory windows. The restaurant has large areas for private use, such as the kitchens, production room, camera room and offices, representing 40% of the total area of both levels, which guarantees a functional production for the restaurant’s needs.

Antiche Tentazzine’s Italian footprint is ubiquitous–from product and equipment to its very owners. Prevalent in its unmistakably Tuscan style are the shades of terra-cotta, the choice of tiles, and its overall run-down appearance.

We reformulated the concept as a contemporary abstraction by using arches, a quintessentially ancient and ever-prominent feature of Italian architecture.

The spanish roof tiles are integral to the aesthetic DNA in a bifold manner: they are broken —signalling the passage of time—and their function has been reinterpreted as lighting. Curves, tiles and vegetation were all taken into account when designing the artifacts.

The arches are treated with imitation golden paint, and the surfaces filling them are covered with an Arabesque-themed mesh.

The nightly image underscores the arches as the very essence of the project, while the mesh in the bar is reminiscent of ancient Roman arches. All historical elements were playfully recast in a contemporary light.

The project is based in an old house in the Palermo neighborhood. The space in question underwent a complete overhaul, with two new accesses leading to two separate spaces complementing each other depending on the restaurant’s hours of operation.

Traditionally, patios in old Buenos Aires houses have been a space for congregation. Our first major design strategy was to create an access courtyard immediately adjacent to the facade as both a symbol and shock effect. This allowed for a new facade with a language of its own while still preserving the old style of the main facade. From a functional perspective, the patio is integral to the takeaway model, while also exploring a post-covid exterior use.

The proposed language was the outcome of a thorough breakdown of defining elements within the gastronomic proposal, one that celebrates the typical American pastry shop. Hence the reference to the old way of “cooling the pie by the window” and its corollary proposal to use multiple windows in the facade of the entrance courtyard.

Another determining element has been the abstract representation of “cakes or pies” made by cardboard rings as a system of “skins” covering certain areas. Prominent examples of this are the entrance arches and the back of the bar, both intended to draw the customers´ attention throughout the entire purchase process.

These “cakes or pies” also include two traditional symbols of pastry baking (the colander and the beaters) merged into a single piece.

The interior architecture language is a vernacular composition in the typical demolished industrial style. In fact, the word “demolished” itself denotes the idea of using elements simulating an “under construction” environment: wood from scaffolding, iron from construction sites, and metallic fabrics. These are all neutral materials comprising a universe of constructive layers. Surrounding them is a run-down, abandoned house where the dry vegetation has taken over.

The lighting has become a distinctive element built with wooden structure supports and surrounded by dried vegetation, representing how vegetation can take over an abandoned wooden scaffolding structure.

On the second floor, and through symbolic wooden windows and a large vegetation  creeping up through them, is a private lounge where the high cocktail bar gains presence. We emulated the idea of the tree house through the symbolic “Lagerstroemia tree” in the center of the courtyard, and the use of wood around it.

The commercial space is located in Buenos Aires. It´s small surface (735 ft² ) was decisive to its compositional strategy, since in such a small space the impact had to be immediate. Therefore, the colors had to achieve an immediate immersion effect.

Having in mind that the product are burgers, the design strategy is based on the single intervention (folds) of the single material (sheet metal), enriching the sobriety through changes of rhythm, application of textured patinas and lighting design, all of which refers to the hot iron of the baking plates.

Its rythm shifts, textured patinas, lighting design, red neon tones, and the scarce graphic intervention are all associated with the leading idea of hot cast iron plates.

The project is the result of a research we have done during the development of the identity for the Artois coffee project, in which we elaborated a language that represents the brand Stella Artois for its venues, the company that commissioned us.

There are elements in the proposal that refer to the old typical European cafés of the early twentieth century, closely related to the Parisian ones.

The arches have been a resource that we re-elaborated respecting its elegant features, but implemented as a envelope composing a volume that can be easily interpreted from the distance.

The envelope has a sequence of repeated and overlapped circumferences generating a dense but permeable boundary, in the same time opting for voids where free communication with the service is required.

The stand has two distinct facades given its asymmetrical enclave. The opposite side is incorporated into the old building of the market shed, in contrast to the stand façade, which is detached from the walls and ceiling. Both sides are connected from the bar services.

The project has a monochromatic imprint but with a heterogeneous composition in its materials, such as refractory bricks, iron and marble, all part of the tectonic family.

The antique mirror and the chandelier-like luminaires with their spheres are part of the Parisian imaginary of the cafés of the twentieth century.

The space reflects through the poetics of the temporality of the scaffolding the breaking point in the evolution from art deco to the new aesthetic order, the modernism. The idea was inspired by the exact moment of the economic crash of 29, inspired by the novel The Crack up by Scott Fitzgerald.

Osten is a cocktail bar and restaurant located in the distinguished neighborhood of Puerto Madero, in Buenos Aires. The total 460 sqm are divided in 310 sqm covered and 150 sqm exteriors.

At first glance there is a large corridor built with scaffolding and the name Osten on a sign hung on a perforated metal located at the main entrance that functions as a waiting room, as a result of an effect of provocation to discover the space step by step.

The corridor has 6 different arches that constitute the accesses to the general space. This is mainly due to the fact that these spaces can be isolated in order to divide the areas as private spaces.

The entrance to the bar is located at the end of the corridor, highlighted by a perforated metal with the bar’s identity design. This corridor divides the entire space into two large areas of use and at the back a large bar.

The outdoor area can be accessed from the sidewalk or from a special access from the interior.

The presence of scaffolding as a support for an era that could no longer stand on its own. The essential characteristic of the scaffolding devices is ultimately the temporality of their use, and it is this word “temporality” that defines the end of that era of elegance and waste of money.

These scaffoldings support large sheet metal arches painted in bronze color, but without the brightness or grandiloquence, rather aged.

These arches host all the most representative areas of the bar, such as: the access through a large corridor, the large bar & its back, the staircase and the perimeter sitting. The nodes that hold each intersection of the scaffolding are aged with old bronze paint.

Modernism is represented essentially the inner skin constructed of concrete boards and marble applied over different areas. These mables panels are disposed in between the scaffolding structure, looking for a relationship between the elegant and the provisional.

Modernism also manifests itself in the lighting system where the two worlds are combined, the modern with its acrylic tubes and through the envelope with art deco drawings. In the same way the large luminaires that simulate chandeliers, hanging with acrylic tubes and chains that represent the caireles

The graphic identity developed from the naming typography was applied in different areas, in the form of stencils on the walls and through perforations in metal sheets that also function as dividers. As a result of the typographic development, graphic pieces with feminine profiles have been developed and applied in the form of artistic paintings holded by the scaffolding system.

In the exterior area we have resolved, with the same identity elements as in the interior, as is the example of the scaffolding system to support the seat and the lighting system whose design is part of the family of elements of the interior. A large mural designed with elements of the typographic and iconographic family was developed by the brand’s team.

The tonality of old bronze, dark green, light green and blue were the result of a sober and elegant composition.

Starting off from the idea of recreating the spirit of the traditional Buenos Aires groceries without resorting to cliches, we worked with the materiality of what to us best reflects this kind of store: the wooden box for groceries. The sheer simplicity of this single element can generate spatiality both by addition and subtraction. The result attempts to describe this spirit, which was built by the abstraction of these elements. In short: constructing the decoration without decorating the construction.

As a part of the project since the creation of the general concept of the brand, the architectonic search ubiquitously attempts a comprehensive reflection of the essence of the product. A clear concept taken as a starting point allows for a narrowing of the gap between image and branding and between architecture and interiorism.

Spatiality and materiality go in the same direction when attempting to vehemently express the general idea for the project: a single-material container (floors and walls in graphite gray calcarean tiles) counters with a single-material volumetric piece that crowns the space and circumscribes situations (the old wooden grocery box).

Both these elements are in time also intervened on. Hollows are made on the upper volume built entirely with grocery boxes. Such cavities contain objects related to the developed concept: antique toasters, coffee makers/pots and some utensils.

Light monochromatism: Both the grocery boxes and the objects are treated so as to achieve a unique and subtle monochromatic texture. Dark monochromatism: The surface of the graphite gray tiles was polished so as to enhance the intrinsic qualities of the material. The vertical garden located at the stairs not only calls for a descent into the basement but also signifies a departure from the monochromatic game between grays and whites that predominates in the overall space.

Furniture and lighting equipment not only add warmth and comfort to the space but are also a part of the brand graphics on its tapestries.

The space thus manages to show off with the aid of very few elements, allowing for a more prominent role of the retail products: a good coffee and a delicious toasty.

This commission has been very particular given the specific characteristics of the site and the particular contextual situation of COVID 19.

The structure serves as an adjacent, supporting space to the existing restaurant venue, which is situated under a railway construction of the 20th century. However, the fully exterior space has resolved both aesthetic and constructive qualities, as if it were autonomous.

The design generates two asymmetrical façades, with one of them opening towards the street and the shops. in this way, the venue invites passers-by to stop and enjoy a meal in the dining area.

This area of 54 m2 of only sitting allows to host guests under the necessary health care imposed by the health authorities.

The organization of the perimetrical bars facing the outside has been decisive for a configuration that considers issues of hygiene and health.

The vegetation around the bars is not only an aesthetic feature, but it also encourages visitors to pay more attention to nature. The longitudinal formation has an active presence in all its views, especially from the park.

The presence of the brand is featured on top of the structure, as if it were a movie billboard from other times. The bold sign marks the identification and the character of the venue in a clear way, helping pedestrians identify the restaurant from afar.

The design is completed with fiberglass bars and circular PVC strips, both in red, adding bright pops of color to the overall metallic materiality.