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 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.

The project was conceived from the beginning through the concept of American dinner reversioned through the feminine empowerment in aesthetic and artistic code of Quintín Tarantino’s films.

Their tones in pink and purple are part of the imaginary Pulp fiction (not the original) but the version ” Tarantinesque “. From this imaginary we take elements such as the motorcycle exhaust pipes also represented in front of the bar, as light supports.

In the bar the metallic frames create a modulation that gives support to a re-interpretation of the wooden american shutters, an essential reference for dinner.

The graphic always applied in code” girl power”, but crossed by a cosmic and galactic aesthetics, whose dialogues refer to a “millennial slang”.

The idea of a typical traditional London tavern, pub aesthetics was the premise of our client. In order to do so, we looked for concepts of the spirit of traditional British taverns, without falling into typical resources, nor losing the focus of the idea of a classic European restaurant with a contemporary artistic touch.

The proposal was based on the idea of resorting to materials that define this architectural aesthetic, although far from reproducing, we decided to extirpate only its DNA: “The windows of iron window frames and bare bricks. These two elements were then used in different ways throughout the venue and basically set the location’s mood.

The distribution scheme is divided into two levels. The kitchen area occupies 50% of the general floor on both levels, this is due to the great success of the food delivery business. That’s why we’ve set up a delivery office in the back area.

The restaurant is divided into two different levels of use: The family area (first floor), and the men’s area (ground floor), as indicated by the Muslim religion and is therefore the use of large boxes on the upper level.

On the facade of the Mall we have used a strategy to provide a differentiation from nearby shops, we raised a facade parallel to the existing one, through a system of metal beams and columns that support the same aesthetic language as the interior, same system of distributed glass structures and open-joint brick walls in a composition in conjunction with the double door access.

The compositional system of the bricks mutes to become “aerial” walls, with open joints crossed by screwed rods. This gave us an ethereal composition that allows us to resolve the proposal in a non-linear way to the original suggestion of a traditional London tavern.

We have taken into consideration the weight of these walls and it was essential to use structural calculations and fasteners specifically located in various areas of the existing walls.

The idea was to interlace through an interior skin system that covered all the walls and the most outstanding functional spaces. This great system is composed by an organization of bricks and windows. We developed a metal framework system, a kind of breezy brick lattice that is vaguely reminiscent of the mashrabiya, a kind of projecting oriel window characteristic of Arabic residences, in this case much less ornate than the traditional carved woodwork.

Glazed sections have different levels of transparency, in some cases without glasses and in others with old glasses or translucent or opaque glasses organized according to the functionality of each space, referencing the smoked glass of British pubs. This system of glass structure accompanies the entire interior, not only as a decorative system, but also performs as division between public areas and services areas, such as bathroom, kitchen.

The wooden cladding on the bar and floor are references to the pub and also add a touch of warmth to the environment, underscored by the partially coffered ceiling featuring floral decorations.

The most important challenge as designers and creators of spaces, is undoubtedly that it achieves a unique and singular characteristic through elements recognizable by the consumer. That’s why Fogon alludes to the usual material language of English pubs but we have interpreted it in such a way that it fits in with an overcoming and authentic idea.