Venue 54 Pop-up Restaurant in Riga

Project

268051

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Submitted

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NEW EUROPEAN BAUHAUS AWARDS : existing completed examples

Project title

Venue 54 Pop-up Restaurant in Riga

Full project title

Description

A vegetarian pop-up restaurant in an unfinished apartment overlooking the rooftops of Riga. Venue 54 is the result of hands-on workshops by the design team, chef, his friends and select local craftsmen. Its interior is a combination of one-of-a-kind upcycled pieces, the chef’s existing furniture, and practical purchases. Scaffolding serves as a miniature urban farm. The restaurant invites diners to contemplate on consumerism and interpretations of beauty, and inspires creative experimentation.

Where was your project implemented in the EU?

When was your project implemented?

Has your project benefited from EU programmes or funds?

Which programme(s) or fund(s)? Provide the name of the programme(s)/fund(s), the strand/action line as relevant and the year.

Please provide a summary of your project

Venue 54 is a pop-up vegetarian restaurant on one of the top floors of a new residential skyscraper in Riga. Our brief included finding a location, producing a design concept and bringing it to life on a low budget. The client, chef Inars Birmanis turned to OpenAD thanks to a successful previous partnership on a private dining project in 2012. The concept is driven by the meaning of pop-up – a temporary installation or event. First of all, Venue 54 popped up in a residential property, filling the space with purpose while it waits for a permanent owner. Secondly, the restaurant is designed with longevity in mind. Its furniture and features are easy to take down, transport and adapt to new locations. We wanted to show that pop-up does not equal disposable after use, and that greener choices are compatible with different lifestyles. The furniture is a combination of upcycled materials from our collection of samples and offcuts, paired with the chef’s existing assortment and considered purchases, which will last long after Venue 54 closes its doors. Construction took place on site in the format of workshops with the participation of the design team, chef, his friends and invited craftsmen. It was a collaborative hands-on experience that resulted from a solid design concept. Pop-up experiences are fleeting, transient occasions, but we wanted the project to make an impact on society, our habits and value systems. The restaurant is designed to initiate conversations, thought processes and experimentation. While due to Covid-19 it is yet to open up to diners, our public relations efforts gained coverage in numerous design industry publications, realising our hope to bring the conversation into the public domain.

Please give information about the key objectives of your project in terms of sustainability and how these have been met

Fundamentally - to disassociate pop-up concept events with single-use solutions. We needed to picture every single piece continuing life after the restaurant closes. Durability was a key consideration. Since we had acquired a collection of leftover building materials and samples, the idea is also based on finding a use for these items such as bricks and MDF offcuts. We paired them with the client’s existing furniture and select purchases such as curtains, a sink and dishware – features with a practical purpose. Though some pieces are decorative and contribute more to form than function, these too are not discardable and can be used again in future in restaurant or similar settings. The bespoke furniture is not mass-produced, but made by hand and largely on site. Local talent Agnese Landrate created the sofa covered in upcycled plastic sacks, which are also hygienic and easy to maintain. We also involved a skilled local carpenter and craftsman, Aldis Buss. Part of the brief was finding a suitable space for the restaurant. We chose an unfinished apartment in a new residential complex waiting to be lived in. In this way, at least one of the city’s empty spaces is filled, maintained and given meaning. Our client, chef Inars Birmanis was keen to grow certain ingredients on site to show that the distance from farm to table can be short if we want it to be. We created a stylised “urban farm” from scaffolding. The growing shelves are both visually attractive points in the interior, as well as functional dividers between tables and areas. What’s more, they contribute to air quality. We kept table settings minimalist because the vegetarian food itself acts as a decoration. Meals come served on dark ceramic tableware by local producer Vaidava Ceramics in collaboration with artist Laima Grigone.

Please give information about the key objectives of your project in terms of aesthetics and quality of experience beyond functionality and how these have been met

We wanted to challenge the perception of beauty, to show that it can be found in unconventional solutions and does not equate with perfection. Our work is heavily inspired by the Japanese philosophy of wabi sabi or the ability to appreciate and embrace imperfection. The age-old belief system seems increasingly relevant in today’s world when we’re surrounded by so many things and often opt to buy something rather than upcycle, reuse or repair because it’s easier, and usually cheaper. In that sense our design is intended to spark discussion among diners, trigger thought processes and inspire experimentation and creativity. The vertical “urban farms” embody the principle of do-it-yourself, visualising how many processes are dependent on individual behaviours. It is our hope that people leave the restaurant with takeaways not just in the form of food, but also ideas and principles.

Please give information about the key objectives of your project in terms of inclusion and how these have been met

By choosing to establish the restaurant on the premises of a premium class residential development, this is a means for the wider public to access a building, which is normally closed to non-residents. In this way we are forging a connection between different social groups and shaking up invisible yet noticeable barriers. The building’s location affords spectacular views over the city and its port infrastructure, inspiring a sense of pride and belonging in Riga locals, as well as providing a new viewpoint for visitors to the city. What’s more, the restaurant design can be deemed a low budget project. It illustrates how a beautiful environment is attainable via creativity, not just money. The project strengthened our belief that limits can actually stimulate creativity. Through our work we seek to inspire, educate and empower people to activate their creativity and understand that design can lead to an improved living environment for everyone. In this case we give real life examples of “one man’s trash is another man’s treasure”. We are also interested in fighting the stereotype of the architect as an elitist profession. In this case, the design concept is the work of lead architect Zane Tetere-Sulce and designer Beatrise Dzerve in close consultation with the client, however, they also physically participated in the construction process. The restaurant was built via a series of collaborative workshops involving the design team, client, invited craftsmen and friends. A lot of the furniture and fittings were assembled through experimentation, therefore it was also a learning experience for the participants, and an exercise in knowledge and skill sharing.

Please give information on the results/impacts achieved by your project in relation to the category you apply for

Our inhouse public relations efforts resulted in coverage by international publications including Design Boom, Yatzer and The Calvert Journal, as well as local platforms Fold, Interior Magazine and Deko, which attests that the project struck a chord with design practitioners and the wider public. It sparked conversation on the topic of circular design and how upcycling does not just result in functional items, but is completely capable of combining form and function. The project was also shared on social media. For example, at the time of writing this, the Facebook post by Yatzer has been shared 35 times, raising awareness of the project and the themes it touches on far beyond the borders of Latvia. The article on Design Boom has been shared 350 times. The Association of Hotels and Restaurants of Latvia shared news of the restaurant among its members and followers thus reaching an audience of hospitality professionals who have a direct possibility to make a change to the way the industry operates. Once the restaurant opens to the public, we believe social media will play its part in further spreading the word. We consider criticism a valid response as well, because it’s a contribution and can take discussions to a new level. 

Please explain the way citizens benefiting from or affected by the project and civil society have been involved in the project and what has been the impact of this involvement on the project

This project has been particularly “hands-on”, involving the lead architect, designer, chef, his friends, and local craftsmen, so it has been a case of supporting local businesses, independent contractors, and laymen. It is the result of a series of practical workshops under the creative leadership of architect Zane Tetere-Sulce who set the tone, encouraged experimentation and a collaborative spirit. This resulted in a fruitful partnership based on trust. The participants involved in the process have been introduced to the idea that creativity has the power to overcome budgets. Were it not for Covid-19 restrictions, the construction of the restaurant would have been a teambuilding exercise for the wider team at OpenAD. This approach embodies the idea that the key to a brighter future is collaborative and not just digitally. Safeguarding practical skills is vital, and this was an opportunity for at least a small group to exchange their knowledge and experience, making each other stronger. Thanks to the successful partnership, chef Inars Birmanis has now commissioned our team to design a cabin and group cooking studio for him in the coastal town of Pavilosta. While, due to Covid-19, the restaurant is yet to welcome diners, this is an initiative for the public. The design and dining experience are built to spark discussions and thought processes related to contemporary building practices, empty spaces, consumerism, and the meaning of luxury.

Please highlight the innovative character of the project

If we look at stereotypes related to green lifestyles, they’re often associated with “hippies”, hemp clothing and crafty practices like upcycling plastic household items. Circular living could do with a rebrand to reach and appeal to new followers and adopters, especially those whose financial situation allows comfort and convenience to guide their decision making. We feel we succeeded in putting a “luxury” spin on upcycling, reusing, and growing your own produce. The restaurant demonstrates that planet friendly habits work across many different lifestyles and public images. We cannot deny that introducing these practices into our daily lives takes effort on behalf of individuals, which is likely a key reason for slow uptake. However, this effort is valuable, encourages personal and community growth. We just have to show it in that light, as we have done. In short, the restaurant portrays conscious consumption as something to aspire to, and encourages choosing experiences over things. We have also addressed the topic of empty space, providing an example of how to adapt a residential space to commercial needs on a temporary basis.

Please explain how the project led to results or learnings which could be transferred to other interested parties

The participatory workshops led to a number of observations and conclusions: Public workshops run by architects, designers, craftsmen and artists could be very effective in rebranding green lifestyles and equipping people with the practical skills needed to transform their trash or old items into something usable again, Crossdisciplinary partnerships result in more daring and creative solutions. Here, the combination of brain power, academic knowledge, experience, and practical skills proved to be key, Public workshops are a means to make individuals aware of the participatory nature of democracy and how the grand scale will only change if we each make an effort, We gained so much satisfaction from the design and build process. Community and practical challenges are sources of comfort, contentment and joy, and an alternative to consumption. This project reaffirmed our belief that ideas deserve more attention than the size of a budget. Large budgets can lead to unnecessary extravagance, while limited budgets push for creativity and sustainable thinking in terms of how to make the most out of things and situations. Low budget design projects become an exercise in financial literacy. We’d acquired a collection of materials due to the nature of our work, but why not create public points for storing and exchanging such items that people acquire at home and work? These could be run by municipalities or NGOs with regular funding, who also organise workshops.

Is an evaluation report or any relevant independent evaluation source available?

By ticking this box, you declare that all the information provided in this form is factually correct, that the proposed project has not been proposed for the Awards more than once under the same category and that it has not been subject to any type of investigation, which could lead to a financial correction because of irregularities or fraud.