A restaurant refresh that brings generations together

Dundas Street Grille is an iconic Etobicoke spot frequented most commonly by the area’s baby boomers. The intention for this new design was to bridge the gap between generations and create a new and improved space for all. The client wanted to increase and optimize the bar and service area as well as introduce a dessert station in an already constricted space while maintaining seat count. Coupled with the challenge of introducing gray and blue tones to create a warm and inviting environment, the design team had our work cut out for us. 

Interior Designer: Vera Vujovic, ARIDO

Design Firm: Studio Bonton

The existing restaurant had a raised seating area at the back which was not utilized to the fullest and was isolated from the rest of the space. By dropping the height of this area, it opened up the space to foster a more versatile seating arrangement and a communal vibe. It now accommodates benches for large groups as well as booth seating for two, four and six. 

The existing service area corridor by the open kitchen has been widened -making it less of a squeeze for staff. A dessert display has been incorporated in the bar area which is unified by a sleek white quartz counter.  Poured epoxy on the floor is accented with charcoal hexagonal tiles that flow along the aisles, around and up the front of the bar. 

Solid maple planks add warmth throughout, from the ceilings to table tops, and the booth coverings in lime and blue add a playful and durable backdrop. 

In order to muffle the clatter and chatter of a restaurant, acoustical panels in light grey fabric have been added alongside the existing decorative tin tiles. This addition gives a dynamic aesthetic quality to an element which would be purely functional otherwise.

ARIDO Award Winner: McMichael Canadian Art Collection Cafe

Growing up in the surrounding region, we have fond memories of visiting the McMichael Canadian Art Collection on school trips. My great grandfather studied painting under Group of Seven artist A.J. Casson; which provided a personal connection to the Gallery’s original focus. This emotional investment was the departure point to redesign the café into a meaningful, empathetic space.

Category: EAT STAY

Interior Designer: Dyonne Fashina, ARIDO
Design Firm: Denizens Of Design Inc.

Photographer: Scott Norsworthy

What are empathetic spaces? It’s partly about being empathetic to the space in the way we redesign; while renewing the space in a way that makes it empathetic to its intended users. Reinventing the café space at the hearth of the Gallery’s entrance hall required a respectful and deeply researched approach; considerate of the heritage architecture and mindful of the indigenous land it sits on. Rejecting the Eurocentric preferences among global design elite, the space is a showcase of Canadian-made products; celebrating Canadian craftsmanship, local materials, and time-honoured tradition.

A painting in the Woodland style sits over the Corian clad reception desk at the entrance of the McMichael Canadian Art Collection.

The design solution is characterized by the legacy of the Gallery’s original founders, Signe and Robert McMichael. The building itself literally grew out of their home and personal art collection. The heritage architecture remains untouched, while new pieces are integrated into the design to give the feeling of a fixed-in place restaurant and the flexibility of a multi-purpose space.

Inspired by the founder’s vision, the interior design takes inspiration from the artwork inside and outside the gallery. Prior to the renovation, the café space felt like an afterthought; with worn out tables and chairs that were only useful during restaurant service. The new design considered the vast expanse of hard surfaces within the gallery, integrating flexible soft seating and modular felt partitions to divide the space into zones and address acoustic comfort. In the restaurant configuration, the space has a clearly defined boundary through the positioning of the banquettes and divider screens; allowing visibility from within the café to the rest of the gallery, but defining a path for traffic through it, as to not disturb restaurant guests.

The modularity of the individual elements is aesthetically appealing and useful for event setup; creating a new revenue stream for the gallery. Prior to the renovation, third-party rental companies outfitted events. Furnished with a new kit of parts, the gallery will be able to benefit from the ease of turning over the space between services and an increased venue fee, accommodating in-house rentals, which will provide additional funds after renovation costs are recuperated. The increase also benefits the patron who will no longer have to pay double for outside furnishings. Once events can pick up again, they will see the profitability benefits of the design; in the meantime, the flexibility has come in handy with pandemic uncertainty and the ability to reconfigure on the fly.

Demonstration of cafe breakdown process.

The kit of parts includes Canadian-made modular furniture and moveable screens. The existing Corian counter, was re-clad in walnut and white oak and then expanded with two new modular service bars that can be used together as one continuous service counter for the restaurant; or individually as three separate food and drink stations for events.

It was very important for this project to celebrate the traditions of Canadian craftsmanship by focusing on local makers, products, and materials. The slatted divider screens are inspired by Indigenous architecture, gathering circles, and the concept of placemaking. Their undulating inner layers incorporate felt design that references the artistic language seen in Group of Seven landscapes. Each piece has a different maker, and each bringing the maker’s individual story to the design intent. The idea was to create a collection of Canadian-made objects that are independently beautiful but collectively meaningful.

The cafe at the McMichael Canadian Art collection has several seating options with pale wood tables and white chairs.

Prior to the renovation, the space was completely open; set up with individual chairs and tables set on a diagonal. It created a large area with no defined pathways for diners, staff, or gallery visitors. The new design uses modular furniture, positioned carefully to offer glimpses of the gallery’s collection while providing a physical barrier to define boundaries without impacting the views and vistas through the space. The divider screens have a slatted structure with the top portion remaining open so that visitors can see through at standing height, but diners can benefit from some privacy at seated height.

Two screens demarcate space in the cafe area at the McMichael Canadian Art Collection.

A mix of dining tables, lounge seating, and bar height furnishings create different zones to accommodate more patrons. At the front of the restaurant, bar seating is useful for patrons that just want a quick coffee and pastry; while still providing views outside, over the heads of full-service diners seated closer to the windows. Most importantly, these pieces give the appearance of a permanent restaurant but are creatively designed to quickly reconfigure in various event setups. This is the unique approach to the space, in that nothing is completely fixed to the structure; and the space can evolve as needed.

Two staff members roll the moveable screen into place at the McMichael Canadian Art Collection.

For this project, like all of our projects, we start with empathy. Empathy for the users, the staff, the stakeholders, and empathy for the physical structure (its past, its founders, and the indigenous people who had inhabited the land). We worked with the gallery team to ensure the space was welcoming and accessible for its members, many of whom are older adults.

As mentioned, the divider screens were a key element of the design, they define the boundaries of the café space, but remain open both in position and in the slatted structure, to create definition without being oppressive. They offer privacy within the space, while their inner layers of felt dampen sounds bouncing. But most importantly, their form and positioning reflects indigenous placemaking structures of the past, to respectfully acknowledge the design ideals of the Ojibwe Anishinaabe people and their land on which the gallery sits. Unlike many restaurants that cram seats in, the space has large tables and a wide central path of travel with furniture that can easily adapt to patrons with mobility aids, giving them opportunity to sit in multiple locations within the space and not relegating them to a hidden or forgotten area.

By working with local suppliers from small-batch furniture makers to large Canadian manufacturers, we not only celebrate the vast talent our country has to offer; but we also reduce the environmental impact of transporting items from overseas. Many of the pieces were made from locally sourced materials, such as wood products native to the area, including a tree felled just outside the property.

Two wood chairs opposite a wood slat bench at the McMichael Canadian Art Collection.

In today’s world, the meaning of wellness has expanded to include concepts of identity, cultural sensitivity, and inclusivity. The new McMichael café embodies empathy for the comfort of its users, consideration for the heritage architecture, and remains mindful of the indigenous land it sits on. We took great care to ensure the new design offered views from all vantage points within the cafe to both the landscape outside and the Gallery’s collection of Canadian art inside.

Wooden chairs are placed opposite blue sofas in the cafe of the McMichael Canadian Art Collection.

In a statement from Ian Dejardin, the Executive Director indicated, “The McMichael Canadian Art Collection markets itself as ‘Home to the Art of Canada’, a phrase that we feel captures a dual truth about the place: on the one hand, it is literally the only major museum mandated to celebrate solely Canadian art, and on the other, the building grew out of, and retains much of the feel of, the home of its founders, Robert and Signe McMichael. And not just any home – the Gallery is a huge statement about Canada in itself, a vast modernist take on the log cabin idea built of huge recycled logs and fieldstone, with direct views of the unspoiled Humber River with its 12,000 years of history as the location of the Carrying Place Trail. Designing a café for such a place, in the Gallery’s massive and imposing Entrance Hall, had to reflect all of that. The design team came up with the perfect response, a mix of natural materials, blending tradition, comfort, and modernity. Carefully avoiding a mass-produced, one-size-fits-all approach, they instead commissioned individual and brilliant Canadian artisans to design to produce a series of beautiful one-off pieces of furniture in natural wood in a layout that is welcoming, with home-like touches, and comfortable for our visitors, while also being clean-lined and modern in feel. The McMichaels would have been proud – and we are delighted.”

Project Details:

Project Location: Kleinburg, ON
Project Completion Date: September 2020
Project Square Footage: 2,000 square foot restaurant setup; 5,000 square foot event setup

ARIDO Award Winner: Nando’s Woodmore Towne Centre

Located in an endcap of a busy shopping centre in Lanham, Maryland the Nando’s Woodmore location was a great location to place what would become a busy restaurant and takeout spot. The design brief was to create an intimate environment and sense of place; a celebration of South African colour and craft. The existing space was devoid of character.

Category: EAT+STAY

Interior Designer: Sarah Stafford, ARIDO
Design Firm: stré studio
Photographer: Greg Powers

The space feels like a jaunt to Johannesburg, with a constant play between raw textural finishes and saturated hits of colour and pattern. Taking inspiration from the raw earthiness found in the South African landscape and the rich colour and pattern of local fashion and design trends.

The client was clear that the eclectic and vibrant brand was front and centre, provide ample room for circulation as well as 90 seats for in-person dining. With over a thousand locations in 35 countries, we needed to create a one-of-a-kind identity while still maintaining the Nando’s soul and brand. It also needed to attract shoppers from the adjacent mall, drawing the attention from the outside without impacting the view for customers sitting inside – all while adhering to strict tenant guidelines.

In order to complete all this, while respecting a firm budget, the interior design team selected a few feature elements to maximize their impact. Custom window screens, a custom patterned brick layout on the walls, and custom beaded light fixtures overhead draw the eye while in a carefully planned restaurant space.

The intimate sit-down setting is integrated with the potential capacity of a busy take-out location. Seating areas are located along the windows to showcase the energetic dining experience and encourage patrons to come inside.

The interior design team created a deliberate arrival path and lineup area along the rear of the main dining area banquette which leads to an open takeout waiting area and bench. Take-out patrons can exit through the secondary exit door or, if dining in, can access the main dining areas from the order counter area. As much as possible, the main circulation does not flow through dining zones, but remains integrated with the restaurant experience.

The condiments counter and hand wash areas are visible and easily accessible, without creating too much traffic through the dining areas. To avoid congestion at the main order counter, we also introduced an online order pickup shelf at the secondary access point for delivery companies to gain access quickly.

Playful African-inspired textiles, colours, and textures were layered over these three elements to celebrate the richness found in South African design. These finishes were offset against the exposed brick, natural leathers, contemporary styled furnishings and bespoke details and accents.

Supporting and promoting the work of designers and fabricators from South Africa is extremely important to Nando’s. An online portal of artisans and artists provides eases the sourcing process and utilize their specialties as much as possible given the distance constraints.

Alongside the materiality, collaborations with these fabricators enabled us to create a space with authenticity at the forefront. Handmade screens line the windows, a fresh take on traditional African weaving and referencing the decorative metalwork found in the streetscapes of Mozambique. It was the reinterpretation of this craft and pattern, by using modern scale and materials, that drove the concept; reinterpreting rather than reproducing was key. A collaboration between the interior design team and fabricators The Urbanative from South Africa yielded this eye-catching element.

The custom beaded light fixtures were a design collaboration with mashT design studio, based in South Africa. This studio supports a network of artisans, and the owner of the studio is a previous winner of a Nando’s design contest held every year which helps expose up and coming designers. Each lampshade is handmade by one of the studio’s artisans, this method of manufacturing introduces the artisan’s hand making each shade slightly unique.

In addition to the online sourcing portal, Nando’s has an extensive inventory of furniture and lighting from project relocations, renovations, and closures. It is mandated to access this inventory before specifying anything new for furniture and lighting, which promotes reusing these resource-intensive elements before purchasing new.

Creating this Nando’s experience was not about achieving one uniform story. Instead, the challenge was to create multiple experiences in the space through unique dining zones defined by furniture, lighting and subtle finish changes.

Project Details:

Project Location: Lanham, MD
Project Completion Date: September 2020
Project Square Footage: 3,180 square feet