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.

“Proud of what’s ours” is not just the Quilmes beer company´s slogan, it explains between the lines a message whose identity must be seen in space. In this sense, we believe that Quilmes beer company image is not only that which could be related to traditional “bodegones y cantinas from Buenos Aires”, it is above all its own history. They are its historical advertisements, its wooden beer creates, the history of its brewery, an example of the progress of an era.

The proposal of the project must be superior to what the image of what a typical ” bares porteño” suggests, otherwise we will simply be replicating what many porteños bars have already developed. From the old and irreplaceable by authentic history, to the more than well-known reditions that already exist. That is why our proposal is strong in the use of elements that refer to the history of Quilmes beer and tell us about its true essence, without losing sight of the generic aesthetic framework of the still life in which it is contained.

We work with a composition that proposes emotion and sensitivity, that impacts from its scenographic bearing. Of viable production since the patinated galvanized pipes and the wooden boxes aged with bitumen are eventually massively replicable and do not require qualified labor.

A structure that unifies both from its synthesis and from its constructive and communicational coherence. An emotional selection of elements such as the factory with its characteristic silos, the traditional billboard of Mar del Plata city, the old beer boxes that adding the beertanks compose a space where the Quilmes universe merges.

All these elements are unified through multiple pipes of steel and galvanized sheet, illuminated in clear/dark. These instruments undoubtedly communicate by themselves the presence of a portion of factory accompanying the gastronomic experience.

The layout responds openly to the street, inviting all its passers-by to enter the premises, as if it were a kiosk, as our client suggested.

The project starts from a great challenge, to preserve the identity of the existing bar hidden behind its back door and merge it with the new project. The existent bar , Victoria Brown, has a british steampunk identity, that has nothing to do with the new project.

The superposition of identities had to respect the current hidden bar identity, achieving an integration with the new project. The decision of an alley in Tokyo helped with the aesthetics of street graffiti, achieving a mix of identities on the façade and the fictitious wall of access to the bar, as if it had been spontaneously intervened by street artists.

The existing fictitious wall (door entrance to the hidden bar) served as a scenography of a typical wall at a city Tokio’s alley. We started from the concept of visual contamination typically from the “Piss Alley”, where they usually eat the traditional yakitori, top product of this restaurant & bar.

The use of electric cables simulates the typical visual pollution of Tokyo. The reinterpretation of street lightings turned into artifacts hang from a bunch of electrical cables forming pyramidal figures, creating a plastic vegetation ceiling.

The structural modulation that divides the space at the bar area, with their wooden beer creates and branded hanged flags is a direct reference  of the alleys street food stalls of Tokio.

The fuchsia and electric blue tones are an integral part of the identity from the influence of the neon atmosphere typical of Tokyo. The branding team has worked with the use of images of traditional pop & tropical musicians for visual identity. Their logo and isotype compose a set of figures that simulates the Kanji alphabet, under the simple name of elyaki (reductive of yakitori).

The idea of street art and popular culture is an integral part of the decoration, all this fused with the isotype intervened with stencils on the printed graphic applied on the interior and facade.

The presence of the Japanese sacred masks Hannya, Tengu, Ko omote, Hyottoko, Kitsune, specially painted with the colours of the bar’s identity, all form part of the aesthetics of the space.

In addition, the presence of an imposing hydroponic orchard forms part of the visuals of this Tokyo alley, proposing a scene that is more than interesting for its visualisation. The garden is full of species for consumption in both Elyaki restaurants and its hidden bar Victoria Brown also designed by our firm.

The project is located in an exclusive area of the city of Buenos Aires, within the area of the most important polo field in South America.

The project is the result of a two-factor investigation in related to the company that called us to the Stella Artois project, which we will describe as follows.

On the one hand, the building volume made us interested in refering it to the medieval constructive silhouettes that define the typical skyline of Bruges, which is very typical of Belgium, the country where the brand was born.

On the other hand, the interior work had to refer to the concept of the old typical European coffees of the beginning of the 20th century, very related to the Parisians style.

The challenge was to compose a volume inspired by these old buildings and their characteristic Belgian ceilings, but executing the figure under a contemporary vision, that is, modifying the slopes of the ceiling generating a dynamism and avoiding a regular volume generating a dynamism and avoiding a regular volume. It looks like the image of the typical buildings in front of the Dijver canal or the Bruges market.

The configuration of these ceilings forced us to understand that the windows had to dialogue in a contemporary way with that dynamism. On the other hand, in front of the building is located the polo field, and in the background the skyline of the city of Buenos Aires. The impact of these visuals was decisive in defining the dimension of the openings.

Constructively, we set up ornamented circular columns under the sloped ceilings, managing to mix an eclectic composition.

The interior organization is a typical two-level restaurant and all the visuals are directed to the polo field, hiding the services to the opposite sector.

The complex dialogue between an interior mostly represented under an image of a café of the early twentieth century, and the exterior of contemporary configuration, resulted in a complex eclectic balance of languages. This made it possible for our client to accept a contemporary image in spite of its clear inclination towards an old aesthetic.