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.

Old Markets: We investigate the original morphologies of fairs and markets.

Agora: Origin of the polis and first market headquarters. Meeting point, place that summons to the meeting.

Landscape: Natural event. Interactivity space. Centre for eco-perceived sustainability.

The proposal is based on the idea of recomposing the DNA of sustainable public space within the Shopping Mall, recreating green areas for recreation. Far from integrating a real nature, we emulate an intentionally orthogonal organic universe constituted as a topographic checkerboard.

We recreated a picnic environment, through the eco-perception of several of its elements as a design strategy. Its sustainable materials are part of the same concept.

We revindicate the spontaneous/deliberate congregation of mixed uses, typical of a contemporary city, as a unique and possible proposal to be implemented in today’s shopping malls. These we have divided into cells and denominated:

• Eco-wellness: Green areas recreated for use from the gastronomic (picnic).
• Recreation: Recreational spaces for leisure through topographical configurations.
• Connectivity: Areas prepared ergonomically and through specific furniture for remote work use. (networking)
• Market: Areas under the atriums ( tribunes ) for the use of commercial shops which are ideally complemented by the new use of the recreational areas.

These 4 (four) cells form a set of mixed uses and represent a dynamic, prepared to accommodate all types of audience.

Two large atriums I & II, work as viewpoints from which to view and be viewed, which cohabit and resolve recreational and gastronomic uses.

Abasto shopping centre has a long tradition, and we believe it is essential to build an independent identity, so that this space has a life of its own.

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.